Podcasts about Titian

David Mayernik is an architect, artist, writer, educator and most of all, he is a life-long student. David grew up in Allentown Pennsylvania. As he tells us during this episode, even at a young age of two he already loved to draw. He says he always had a pencil and paper with him and he used them constantly. His mother kept many of his drawings and he still has many of them to this day.   After graduating from University of Notre Dame David held several positions with various architectural firms. He always believed that he learned more by teaching himself, however, and eventually he decided to leave the professional world of architecture and took teaching positions at Notre Dame. He recently retired and is now Professor Emeritus at Notre Dame.   Our conversation is far ranging including discussions of life, the importance of learning and growing by listening to your inner self. David offers us many wonderful and insightful lessons and thoughts we all can use. We even talk some about about how technology such as Computer Aided Design systems, (CAD), are affecting the world of Architecture. I know you will enjoy what David has to say. Please let me know your thoughts through email at michaelhi@accessibe.com.     About the Guest:   David Mayernik is an architect, artist, writer, and educator. He was born in 1960 in Allentown, Pennsylvania; his parents were children of immigrants from Slovakia and Italy. He is a Fellow of the American Academy in Rome and the British Royal Society for the Encouragement of Arts, Manufactures, and Commerce, and has won numerous grants, awards and competitions, including the Gabriel Prize for research in France, the Steedman Competition, and the Minnesota State Capitol Grounds competition (with then partner Thomas N. Rajkovich). In 1995 he was named to the decennial list of the top forty architects in the United States under forty. In the fall of 2022, he was a resident at the Bogliasco Foundation in Liguria and the Cini foundation in Venice.   His design work for the TASIS campus in Switzerland over twenty-eight years has been recognized with a Palladio Award from Traditional Building magazine, an honorable mention in the INTBAU Excellence Awards, and a jury prize from the Prix Européen d'Architecture Philippe Rotthier. TASIS Switzerland was named one of the nine most beautiful boarding schools in the world by AD Magazine in March 2024. For ten years he also designed a series of new buildings for TASIS England in Surrey.   David Mayernik studied fresco painting with the renowned restorer Leonetto Tintori, and he has painted frescoes for the American Academy in Rome, churches in the Mugello and Ticino, and various buildings on the TASIS campus in Switzerland. He designed stage sets for the Haymarket Opera company of Chicago for four seasons between 2012 and 2014. He won the competition to paint the Palio for his adopted home of Lucca in 2013. His paintings and drawings have been exhibited in New York, Chicago, London, Innsbruck, Rome, and Padova and featured in various magazines, including American Artist and Fine Art Connoisseur.   David Mayernik is Professor Emeritus with the University of Notre Dame, where for twenty years he taught in the School of Architecture. He is the author of two books, The Challenge of Emulation in Art and Architecture (Routledge, UK) and Timeless Cities: An Architect's Reflections on Renaissance Italy, (Basic Books), and numerous essays and book chapters, including “The Baroque City” for the Oxford Handbook of the Baroque. In 2016 he created the online course The Meaning of Rome for Notre Dame, hosted on the edX platform, which had an audience of six thousand followers. Ways to connect with David:   Website: www.davidmayernik.com Instagram: davidmayernik LinkedIn: davidmayernik EdX: The Meaning of Rome https://www.edx.org/learn/humanities/university-of-notre-dame-the-meaning-of-rome-the-renaissance-and-baroque-city     About the Host:   Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening!   Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast   If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset .   Leave us an Apple Podcasts review   Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.       Transcription Notes:   Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:17 Well, hi and welcome once again. Wherever you happen to be, to another episode of unstoppable mindset. Today, we get to chat with David Mayernik, unless you're in Europe, and then it's David Mayernik, but either way, we're glad to have him. He is an architect. He is an award winning architect. He's an author. He's done a number of things in his life, and we're going to talk about all of those, and it's kind of more fun to let him be the one to talk more about it, and then I can just pick up and ask questions as we go, and that's what we'll do. But we're really glad that he's here. So David, welcome to unstoppable mindset.   David Mayernik ** 01:57 Oh, thanks so much. Michael, thanks for the invitation. I'm looking forward to it.   Michael Hingson ** 02:02 Well, I know we've been working on getting this set up, and David actually happens to be in Italy today, as opposed to being in the US. He was a professor at Notre Dame for 20 years, but he has spent a lot of time in Europe and elsewhere, and I'm sure he's going to talk about that. But why don't we start, as I mentioned earlier, as I love to do, tell us kind of about the early David growing up.   David Mayernik ** 02:25 Well, so my both of my parents passed away several years ago, and when I was at my mom's funeral, one of our next door neighbors was telling my wife what I was like when I was a kid, and she said he was very quiet and very intense. And I suppose that's how I was perceived. I'm not sure I perceived myself that way I did. The thing about me is I've always drawn my mom. I mean, lots of kids draw, but I drew like credibly, well, when I was, you know, two and three years old. And of course, my mother saved everything. But the best thing about it was that I always had paper and pencil available. You know, we were terribly well off. We weren't poor, but we weren't, you know, well to do, but I never lacked for paper and pencils, and that just allowed me to just draw as much as I possibly could.   Michael Hingson ** 03:16 And so I guess the other question is, of course, do you still have all those old drawings since your mom kept   David Mayernik ** 03:23 them? Well, you know? Yeah, actually, after she passed, I did get her, Well, her collection of them. I don't know that all of them. My father had a penchant for throwing things away, unfortunately. So some of the archive is no longer with us, but no but enough of it. Just odds and bits from different areas of my life. And the thing is, you know, I was encouraged enough. I mean, all kids get encouraged. I think when they're young, everything they do is fabulous, but I had enough encouragement from people who seem to take it seriously that I thought maybe I had something and and it was the kind of thing that allowed me to have enough confidence in myself that I actually enjoyed doing it and and mostly, my parents were just impressed. You know, it just was impressive to them. And so I just happily went along my own way. The thing about it was that I really wanted to find my own path as somebody who drew and had a chance in high school for a scholarship to a local art school. I won a competition for a local art school scholarship, and I went for a couple of lessons, and I thought, you know, they're just teaching me to draw like them. I want to draw like me. So for better or worse, I'm one of those autodidacts who tries to find my own way, and, you know, it has its ups and downs. I mean, the downside of it is it's a slower learning process. Is a lot more trial and error. But the upside of it is, is that it's your own. I mean, essentially, I had enough of an ego that, you know, I really wanted to do. Things my way.   Michael Hingson ** 05:02 Well, you illustrate something that I've believed and articulate now I didn't used to, but I do now a lot more, which is I'm my own best teacher. And the reality is that you you learn by doing, and people can can give you information. And, yeah, you're right. Probably they wanted you to mostly just draw like them. But the bottom line is, you already knew from years of drawing as a child, you wanted to perhaps go a slightly different way, and you worked at it, and it may have taken longer, but look at what you learned.   David Mayernik ** 05:37 Yeah, I think it's, I mean, for me, it's, it's important that whatever you do, you do because you feel like you're being true to yourself somehow. I mean, I think that at least that's always been important to me, is that I don't, I don't like doing things for the sake of doing them. I like doing them because I think they matter. And I like, you know, I think essentially pursuing my own way of doing it meant that it always was, I mean, beyond just personal, it was something I was really committed to. And you know, the thing about it, eventually, for my parents was they thought it was fabulous, you know, loved great that you draw, but surely you don't intend to be an artist, because, you know, you want to have a job and make a living. And so I eventually realized that in high school, that while they, well, they probably would have supported anything I did that, you know, I was being nudged towards something a little bit more practical, which I think happens to a lot of kids who choose architecture like I did. It's a way, it's a practical way of being an artist and and that's we could talk about that. But I think that's not always true.   Michael Hingson ** 06:41 Bill, go ahead, talk about that. Well, I think that the   David Mayernik ** 06:44 thing about architecture is that it's become, well, one it became a profession in America, really, in the 20th century. I mean, it's in the sense that there was a licensing exam and all the requirements of what we think of as, you know, a professional service that, you know, like being a lawyer or a doctor, that architecture was sort of professionalized in the 20th century, at least in the United States. And, and it's a business, you know, ostensibly, I mean, you're, you know, you're doing what you do for a fee. And, and so architecture tries to balance the art part of it, or the creative side, the professional side of it, and the business side. And usually it's some rather imperfect version of all of those things. And the hard part, I think the hardest part to keep alive is the art part, because the business stuff and the professional stuff can really kind of take over. And that's been my trial. Challenge is to try to have it all three ways, essentially.   Michael Hingson ** 07:39 Do you think that Frank Lloyd Wright had a lot to do with bringing architecture more to the forefront of mindsets, mindsets, and also, of course, from an art standpoint, clearly, he had his own way of doing things.   David Mayernik ** 07:54 Yeah, absolutely he comes from, I mean, I wouldn't call it a rebellious tradition, but there was a streak of chafing at East Coast European classicism that happened in Chicago. Louis Sullivan, you know, is mostly responsible for that. And I but, but Right, had this, you know, kind of heroic sense of himself and and I think that his ability to draw, which was phenomenal. His sense that he wanted to do something different, and his sense that he wanted to do something American, made him a kind of a hero. Eventually, I think it coincided with America's growing sense of itself. And so for me, like lot of kids in America, my from my day, if you told somebody in high school you wanted to be an architect, they would give you a book on Frank Lloyd Wright. I mean, that's just, you know, part of the package.   Michael Hingson ** 08:47 Yeah, of course, there are others as well, but still, he brought a lot into it. And of course there, there are now more architects that we hear about and designers and so on the people what, I m Pei, who designed the world, original World Trade Center and other things like that. Clearly, there are a number of people who have made major impacts on the way we design and think of Building and Construction today,   David Mayernik ** 09:17 you know, I mean America's, you know, be kind of, it really was a leader in the development of architecture in the 20th century. I mean, in the 19th century was very much, you know, following what was happening in Europe. But essentially, by the 20th century, the America had a sense of itself that didn't always mean that it rejected the European tradition. Sometimes it tried to do it, just bigger and better, but, but it also felt like it had its, you know, almost a responsibility to find its own way, like me and, you know, come up with an American kind of architecture and and so it's always been in a kind of dialog with architecture from around the world. I mean, especially in Europe, at Frank Lloyd Wright was heavily influenced by Japanese architecture and. And so we've always seen ourselves, I think, in relationship to the world. And it's just the question of whether we were master or pupil to a certain extent,   Michael Hingson ** 10:07 and in reality, probably a little bit of both.   David Mayernik ** 10:12 Yeah, and we are, and I think, you know, acknowledging who we are, the fact that we didn't just, you know, spring from the earth in the United States, where we're all, I mean, essentially all immigrants, mostly, and essentially we, you know, essentially bring, we have baggage, essentially, as a culture, from lots of other places. And that's actually an advantage. I mean, I think it's actually what makes us a rich culture, is the diversity. I mean, even me, my father's family was Slovak, my mother's family Italian. And, you know from when I tell you know Europeans that they think that's just quintessentially American. That's what makes you an American, is that you're not a purebred of some kind.   Michael Hingson ** 10:49 Yeah, yeah. Pure purebred American is, is really sort of nebulous and and not necessarily overly accurate, because you are probably immigrants or part other kinds of races or nationalities as well. And that's, that's okay.   David Mayernik ** 11:08 It's, it's rich, you know, I think it's, it's a richer. It's the extent to which you want to engage with it. And the interesting thing about my parents was that they were both children of first generation immigrants. My mom's parents had been older Italian, and they were already married, and when they came to the States, my father's parents were younger and Slovak, and they met in the United States. And my father really wasn't that interested in his Slovak heritage. I mean, just, you know, he could speak some of the language, you know, really feel like it was something he wanted to hold on to or pass along, was my mom was, I mean, she loved her parents. She, you know, spoke with him in Italian, or actually not even Italian, the dialect from where her parents came from, which is north of Venice. And so she, I think she kind of, whether consciously or unconsciously, passed that on to me, that sense that I wanted to be. I was interested in where I came from, where the origins of my where my roots were, and it's something that had an appeal for me that wasn't just it wasn't front brain, it was really kind of built into who I was, which is why, you know, one of the reasons I chose to go to Notre Dame to study where I also wound up teaching like, welcome back Carter, is that I we had a Rome program, and so I've been teaching in the Rome program for our school, but we, I was there 44 years ago as a student.   Michael Hingson ** 12:28 Yeah. So quite a while, needless to say. And you know, I think, well, my grandmother on my mother's side was Polish, but I I never did get much in the way of information about the culture and so on from her and and my mom never really dealt with it much, because she was totally from The Bronx in New York, and was always just American, so I never really got a lot of that. But very frankly, in talking to so many people on this podcast over almost the last four years, talking to a number of people whose parents and grandparents all came to this country and how that affected them. It makes me really appreciate the kind of people who we all are, and we all are, are a conglomerate of so many different cultures, and that's okay, yeah? I mean,   David Mayernik ** 13:31 I think it's more than okay, and I think we need to just be honest about it, yeah. And, you know, kind of celebrate it, because the Italians brought with them, you know, tremendous skills. For example, a lot of my grandfather was a stone mason. You know, during the Depression, he worked, you know, the for the WPA essentially sponsored a whole series of public works projects in the parks in the town I grew up in Allentown, Pennsylvania. And Allentown has a fabulous park system. And my grandfather built a lot of stone walls in the parks in the 1930s and, you know, all these cultures that came to the states often brought, you know, specialized skills. You know, from where they they came from, and, and they enriched the American, you know, skill set, essentially, and, and that's, you know, again, that's we are, who we are because of that, you know, I celebrated I, you know, I'm especially connected to my Italian heritage. I feel like, in part because my grandfather, the stone mason, was a bit of jack of all trades. He could paint and draw. And my mom, you know, wrote poetry and painted. And even though she mostly, you know, in my life, was a was a housewife, but before she met my father, and they got married relatively late for their day, she had a professional life in World War Two, my mom actually went to Penn State for a couple of years in the start of at the start of the war, and then parents wanted her to come home, and so she did two years of engineering. Penn State. When she came back to Allentown, she actually got a job at the local airplane manufacturing plant that was making fighter planes for the United States called company called volte, and she did drafting for them. And then after World War Two, she got a job for the local power company drafting modern electrical kitchens and and so I've inherited all my mom's drafting equipment. And, you know, she's, she's very much a kind of a child of the culture that she came from, and in the sense that it was a, you know, artistic culture, a creative culture. And, you know, I definitely happy and proud of   Michael Hingson ** 15:37 that. You know, one of the things that impresses me, and I think about a lot in talking to so many people whose parents and grandparents immigrated to this country and so on, is not just the skill sets that they brought, but the work ethic that they had, that they imparted to people. And I think people who have had a number of generations here have not always kept that, and I think they've lost something very valuable, because that work ethic is what made those people who they were   David Mayernik ** 16:08 absolutely I mean, my Yeah, I mean my father. I mean absolutely true is, I mean tireless worker, capable of tremendous self sacrifice and and, you know, and that whole generation, I mean, he fought in World War Two. He actually joined, joined the Navy underage. He lied about his age to get in the Navy and that. But they were capable of self, tremendous self sacrifice and tremendous effort. And, you know, I think, you know, we're always, you know, these days, we always talk about work life balance. And I have to say, being an architect, most architects don't have a great work life balance. Mostly it's, it's a lot of work and a little bit of life. And that's, I don't, you know. I think not everybody survives that. Not every architects marriage survives that mine has. But I think it's, you know, that the idea that you're, you're sort of defined by what you do. I think there's a lot of talk these days about that's not a good thing. I I'm sort of okay with that. I'm sort of okay with being defined by what I do.   Michael Hingson ** 17:13 Yeah, and, and that that's, that's okay, especially if you're okay with it. That's good. Well, you So you went to Notre Dame, and obviously dealt with architecture. There some,   David Mayernik ** 17:28 yeah. I mean, the thing, the great thing about Notre Dame is to have the Rome program, and that was the idea of actually a Sicilian immigrant to the States in the early 20th century who became a professor at Notre Dame. And he had, he won the Paris prize. A guy named Frank Montana who won the Paris prize in the 1930s went to Harvard and was a professor at Notre Dame. And he had the good idea that, you know, maybe sending kids to five years of architecture education in Indiana, maybe wasn't the best, well rounded education possible, and maybe they should get out of South Bend for a year, and he, on his own initiative, without even support from the university, started a Rome program, and then said to the university, hey, we have a Rome program now. And so that was, that was his instinct to do that. And while I got, I think, a great education there, especially after Rome, the professor, one professor I had after Rome, was exceptional for me. But you know, Rome was just the opportunity to see great architecture. I mean, I had seen some. I mean, I, you know, my parents would go to Philadelphia, New York and, you know, we I saw some things. But, you know, I wasn't really bowled over by architecture until I went to Rome. And just the experience of that really changed my life, and it gave me a direction,   Michael Hingson ** 18:41 essentially. So the Rome program would send you to Rome for a year.   David Mayernik ** 18:46 Yeah, which is unusual too, because a lot of overseas programs do a semester. We were unusual in that the third year out of a five year undergraduate degree in architecture, the whole year is spent in Rome. And you know, when you're 20 ish, you know, 20 I turned 21 when I was over there. It's a real transition time in your life. I mean, it's, it was really transformative. And for all of us, small of my classmates, I mean, we're all kind of grew up. We all became a bit, you know, European. We stopped going to football games when we went back on campus, because it wasn't cool anymore, but, but we, we definitely were transformed by it personally, but, it really opened our eyes to what architecture was capable of, and that once you've, once you've kind of seen that, you know, once you've been to the top of the mountain, kind of thing, it can really get under your skin. And, you know, kind of sponsor whatever you do for the rest of your life. At least for me, it   Michael Hingson ** 19:35 did, yeah, yeah. So what did you do after you graduated?   David Mayernik ** 19:40 Well, I graduated, and I think also a lot of our students lately have had a pretty reasonably good economy over the last couple of decades, that where it's been pretty easy for our students to get a job. I graduated in a recession. I pounded the pavements a lot. I went, you know, staying with my parents and. Allentown, went back and forth to New York, knocking on doors. There was actually a woman who worked at the unemployment agency in New York who specialized in architects, and she would arrange interviews with firms. And, you know, I just got something for the summer, essentially, and then finally, got a job in the in the fall for somebody I wanted to work with in Philadelphia and and that guy left that firm after about three months because he won a competition. He didn't take me with him, and I was in a firm that really didn't want to be with. I wanted to be with him, not with the firm. And so I then I picked up stakes and moved to Chicago and worked for an architect who'd been a visiting professor at Notre Dame eventually became dean at Yale Tom Beebe, and it was a great learning experience, but it was also a lot of hours at low pay. You know, I don't think, I don't think my students, I can't even tell my students what I used to make an hour as a young architect. I don't think they would understand, yeah, I mean, I really don't, but it was, it was a it was the sense that you were, that your early years was a kind of, I mean an apprenticeship. I mean almost an unpaid apprenticeship at some level. I mean, I needed to make enough money to pay the rent and eat, but that was about it. And and so I did that, but I bounced around a lot, you know, and a lot of kids, I think a lot of our students, when they graduate, they think that getting a job is like a marriage, like they're going to be in it forever. And, you know, I, for better or worse, I moved around a lot. I mean, I moved every time I hit what I felt was like a point of diminishing returns. When I felt like I was putting more in and getting less out, I thought it was time to go and try something else. And I don't know that's always good advice. I mean, it can make you look flighty or unstable, but I kind of always followed my my instinct on that.   Michael Hingson ** 21:57 I don't remember how old I was. You're talking about wages. But I remember it was a Sunday, and my parents were reading the newspaper, and they got into a discussion just about the fact that the minimum wage had just been changed to be $1.50 an hour. I had no concept of all of that. But of course, now looking back on it, $1.50 an hour, and looking at it now, it's pretty amazing. And in a sense, $1.50 an hour, and now we're talking about $15 and $16 an hour, and I had to be, I'm sure, under 10. So it was sometime between 1958 and 1960 or so, or maybe 61 I don't remember exactly when, but in a sense, looking at it now, I'm not sure that the minimum wage has gone up all that much. Yes, 10 times what it was. But so many other things are a whole lot more than 10 times what they were back then,   David Mayernik ** 23:01 absolutely, yeah. I mean, I mean, in some ways also, my father was a, my father was a factory worker. I mean, he tried to have lots of other businesses of his own. He, you're, you're obviously a great salesman. And the one skill my father didn't have is he could, he could, like, for example, he had a home building business. He could build a great house. He just couldn't sell it. And so, you know, I think he was a factory worker, but he was able to send my sister and I to private college simultaneously on a factory worker salary, you know, with, with, I mean, I had some student loan debt, but not a lot. And that's, that's not possible today.   Michael Hingson ** 23:42 No, he saved and put money aside so that you could do that, yeah, and,   David Mayernik ** 23:47 and he made enough. I mean, essentially, the cost of college was not that much. And he was, you know, right, yeah. And he had a union job. It was, you know, reasonably well paid. I mean, we lived in a, you know, a nice middle class neighborhood, and, you know, we, we had a nice life growing up, and he was able to again, send us to college. And I that's just not possible for without tremendous amount of debt. It's not possible today. So the whole scale of our economy shifted tremendously. What I was making when I was a young architect. I mean, it was not a lot then, but I survived. Fact, actually saved money in Chicago for a two month summer in Europe after that. So, you know, essentially, the cost of living was, it didn't take a lot to cover your your expenses, right? The advantage of that for me was that it allowed me time when I had free time when I after that experience, and I traveled to Europe, I came back and I worked in Philadelphia for the same guy who had left the old firm in Philadelphia and went off on his own, started his own business. I worked for him for about nine months, but I had time in the evenings, because I didn't have to work 80 hours a week to do other things. I taught myself how to paint. And do things that I was interested in, and I could experiment and try things and and, you know, because surviving wasn't all that hard. I mean, it was easy to pay your bills and, and I think that's one of the things that's, I think, become more onerous, is that, I think for a lot of young people just kind of dealing with both college debt and then, you know, essentially the cost of living. They don't have a lot of time or energy to do anything else. And you know, for me, that was, I had the luxury of having time and energy to invest in my own growth, let's say as a more career, as a creative person. And you know, I also, I also tell students that, you know, there are a lot of hours in the day, you know, and whatever you're doing in an office. There are a lot of hours after that, you could be doing something else, and that I used every one of those hours as best I could.   Michael Hingson ** 25:50 Yeah. Well, you know, we're all born with challenges in life. What kind of challenges, real challenges did you have growing up as you look back on it?   David Mayernik ** 26:01 Yeah, my, I mean, my, I mean, there was some, there was some, a few rocky times when my father was trying to have his own business. And, you know, I'm not saying we grew up. We didn't struggle, but it wasn't, you know, always smooth sailing. But I think one of the things I learned about being an architect, which I didn't realize, and only kind of has been brought home to me later. Right now, I have somebody who's told me not that long ago, you know? You know, the problem is, architecture is a gentleman's profession. You know that IT architecture, historically was practiced by people from a social class, who knew, essentially, they grew up with the people who would become their clients, right? And so the way a lot of architects built their practice was essentially on, you know, family connections and personal connections, college connections. And I didn't have that advantage. So, you know, I've, I've essentially had to define myself or establish myself based on what I'm capable of doing. And you know, it's not always a level playing field. The great breakthrough for me, in a lot of ways, was that one of the one of my classmates and I entered a big international competition when we were essentially 25 years old. I think we entered. I turned 26 and it was an open competition. So, you know, no professional requirements. You know, virtually no entry fee to redesign the state capitol grounds of Minnesota, and it was international, and we, and we actually were selected as one of the top five teams that were allowed to proceed onto the second phase, and at which point we we weren't licensed architects. We didn't have a lot of professional sense or business sense, so we had to associate with a local firm in Minnesota and and we competed for the final phase. We did most of the work. The firm supported us, but they gave us basically professional credibility and and we won. We were the architects of the state capitol grounds in Minnesota, 26 years old, and that's because the that system of competition was basically a level playing field. It was, you know, ostensibly anonymous, at least the first phase, and it was just basically who had the best design. And you know, a lot of the way architecture gets architects get chosen. The way architecture gets distributed is connections, reputation, things like that, but, but you know, when you find those avenues where it's kind of a level playing field and you get to show your stuff. It doesn't matter where you grew up or who you are, it just matters how good you are, yeah,   Michael Hingson ** 28:47 well, and do you think it's still that way today?   David Mayernik ** 28:51 There are a lot fewer open professional competitions. They're just a lot fewer of them. It was the and, you know, maybe they learned a lesson. I mean, maybe people like me shouldn't have been winning competitions. I mean, at some level, we were out of our league. I wouldn't say, I wouldn't say, from a design point of view. I mean, we were very capable of doing what the project involved, but we were not ready for the hardball of collaborating with a big firm and and the and the politics of what we were doing and the business side of it, we got kind of crushed, and, and, and eventually they never had the money to build the project, so the project just kind of evaporated. And the guy I used to work with in Philadelphia told me, after I won the competition, he said, you know, because he won a competition. He said, You know, the second project is the hardest one to get, you know, because you might get lucky one time and you win a competition, the question is, how do you build practice out of that?   Michael Hingson ** 29:52 Yeah, and it's a good point, yeah, yeah.   David Mayernik ** 29:55 I mean, developing some kind of continuity is hard. I mean, I. Have a longer, more discontinuous practice after that, but it's that's the hard part.   Michael Hingson ** 30:07 Well, you know, I mentioned challenges before, and we all, we all face challenges and so on. How do we overcome the challenges, our inherited challenges, or the perceived challenges that we have? How do we overcome those and work to move forward, to be our best? Because that's clearly kind of what you're talking about here.   David Mayernik ** 30:26 Yeah, well, the true I mean, so the challenges that we're born with, and I think there are also some challenges that, you know, we impose on ourselves, right? I mean, in this, in the best sense, I mean the ways that we challenge ourselves. And for me, I'm a bit of an idealist, and you know, the world doesn't look kindly on idealist. If you know, from a business, professional point of view, idealism is often, I'm not saying it's frowned upon, but it's hardly encouraged and rewarded and but I think that for me, I've learned over time that it's you really just beating your head against the wall is not the best. A little bit of navigating your way around problems rather than trying to run through them or knock them over is a smarter strategy. And so you have to be a little nimble. You have to be a little creative about how you find work and essentially, how you keep yourself afloat and and if you're if you're open to possibilities, and if you take some risks, you can, you can actually navigate yourself through a series of obstacles and actually have a rich, interesting life, but it may not follow the path that you thought you were starting out on at the beginning. And that's the, I think that's the skill that not everybody has.   Michael Hingson ** 31:43 The other part about that, though, is that all too often, we don't really give thought to what we're going to do, or we we maybe even get nudges about what we ought to do, but we discount them because we think, Oh, that's just not the way to do it. Rather than stepping back and really analyzing what we're seeing, what we're hearing. And I, for 1am, a firm believer in the fact that our inner self, our inner voice, will guide us if we give it the opportunity to do that.   David Mayernik ** 32:15 You know, I absolutely agree. I think a lot of people, you know, I was, I for, I have, for better or worse, I've always had a good sense of what I wanted to do with my life, even if architecture was a you know, conscious way to do something that was not exactly maybe what I dreamed of doing, it was a, you know, as a more rational choice. But, but I've, but I've basically followed my heart, more or less, and I've done the things that I always believed in it was true too. And when I meet people, especially when I have students who don't really know what they love, or, you know, really can't tell you what they really are passionate about, but my sense of it is, this is just my I might be completely wrong, but my sense of it is, they either can't admit it to themselves, or they can't admit it to somebody else that they that, either, in the first case, they're not prepared to listen to themselves and actually really deep, dig deep and think about what really matters to them, or if they do know what that is, they're embarrassed to admit it, or they're embarrassed to tell somebody else. I think most of us have some drive, or some internal, you know, impetus towards something and, and you're right. I mean, learning to listen to that is, is a, I mean, it's rewarding. I mean, essentially, you become yourself. You become more, or the best possible self you can be, I guess.   Michael Hingson ** 33:42 Yeah, I agree. And I guess that that kind of answers the question I was was thinking of, and that is, basically, as you're doing things in life, should you follow your dreams?   David Mayernik ** 33:53 You know, there's a lot, a lot of people are writing these days, if you read, if you're just, you know, on the, on the internet, reading the, you know, advice that you get on, you know, the new services, from the BBC to, you know, any other form of information that's out there, there's a lot of back and forth by between the follow your dreams camp and the don't follow your dreams camp. And the argument of the don't follow your dreams camp seems to be that it's going to be hard and you'll be frustrated, and you know, and that's true, but it doesn't mean you're going to fail, and I don't think anybody should expect life to be easy. So I think if you understand going in, and maybe that's part of my Eastern European heritage that you basically expect life to be hard, not, not that it has to be unpleasant, but you know it's going to be a struggle, but, but if you are true to yourself or follow your dreams, you're probably not going to wake up in the middle of your life with a crisis. You know, because I think a lot of times when you suppress your dreams, they. Stay suppressed forever, and the frustrations come out later, and it's better to just take them on board and try to again, navigate your way through life with those aspirations that you have, that you know are really they're built in like you were saying. They're kind of hardwired to be that person, and it's best to listen to that person.   Michael Hingson ** 35:20 There's nothing wrong with having real convictions, and I think it's important to to step back and make sure that you're really hearing what your convictions are and feeling what your convictions are. But that is what people should do, because otherwise, you're just not going to be happy.   David Mayernik ** 35:36 You're not and you're you're at one level, allowing yourself to manipulate yourself. I mean, essentially, you're, you know, kind of essentially deterring yourself from being who you are. You're probably also susceptible to other people doing that to you, that if you don't have enough sense of yourself, a lot of other people can manipulate you, push you around. And, you know, the thing about having a good sense of yourself is you also know how to stand up for yourself, or at least you know that you're a self that's worth standing up for. And that's you know. That's that, that thing that you know the kids learn in the school yard when you confront the bully, you know you have to, you know, the parents always tell you, you know, stand up to the bully. And at some level, life is going to bully you unless you really are prepared to stand up for something.   Michael Hingson ** 36:25 Yeah, and there's so many examples of that I know as a as a blind person, I've been involved in taking on some pretty major tasks in life. For example, it used to be that anyone with a so called Disability couldn't buy life insurance, and eventually, we took on the insurance industry and won to get the laws passed in every state that now mandate that you can't discriminate against people with disabilities in providing life insurance unless you really have evidence To prove that it's appropriate to do that, and since the laws were passed, there hasn't been any evidence. And the reason is, of course, there never has been evidence, and insurance companies kept claiming they had it, but then when they were challenged to produce it, they couldn't. But the reality is that you can take on major tasks and major challenges and win as long as you really understand that that is what your life is steering you to do,   David Mayernik ** 37:27 yeah, like you said, and also too, having a sense of your your self worth beyond whatever that disability is, that you know what you're capable of, apart from that, you know that's all about what you can't do, but all the things that you can do are the things that should allow you to do anything. And, yeah, I think we're, I think it's a lot of times people will try to define you by what you can't do, you   Michael Hingson ** 37:51 know? And the reality is that those are traditionally misconceptions and inaccurate anyway, as I point out to people, disability does not mean a lack of ability. Although a lot of people say, Well, of course it, it is because it starts with dis. And my response is, what do you then? How do you deal with the words disciple, discern and discrete? For example, you know the fact of the matter is, we all have a disability. Most of you are light dependent. You don't do well with out light in your life, and that's okay. We love you anyway, even though you you have to have light but. But the reality is, in a sense, that's as much a disability is not being light dependent or being light independent. The difference is that light on demand has caused so much focus that it's real easy to get, but it doesn't change the fact that your disability is covered up, but it's still there.   David Mayernik ** 38:47 No, it's true. I mean, I think actually, yeah, knowing. I mean, you're, we're talking about knowing who you are, and, you know, listening to your inner voice and even listening to your aspirations. But also, I mean being pretty honest about where your liabilities are, like what the things are that you struggle with and just recognizing them, and not not to dwell on them, but to just recognize how they may be getting in the way and how you can work around them. You know, one of the things I tell students is that it's really important to be self critical, but, but it's, it's not good to be self deprecating, you know. And I think being self critical if you're going to be a self taught person like I am, in a lot of ways, you you have to be aware of where you're not getting it right. Because I think the problem is sometimes you can satisfy yourself too easily. You're too happy with your own progress. You know, the advantage of having somebody outside teaching you is they're going to tell you when you're doing it wrong, and most people are kind of loath do that for themselves, but, but the other end of that is the people who are so self deprecating, constantly putting themselves down, that they never are able to move beyond it, because they're only aware of what they can't do. And you know, I think balancing self criticism with a sense of your self worth is, you know, one of the great balancing acts of life. You.   Michael Hingson ** 40:00 Well, that's why I've adopted the concept of I'm my own best teacher, because rather than being critical and approaching anything in a negative way, if I realize that I'm going to be my own best teacher, and people will tell me things, I can look at them, and I should look at them, analyze them, step back, internalize them or not, but use that information to grow, then that's what I really should do, and I would much prefer the positive approach of I'm my own best teacher over anything else.   David Mayernik ** 40:31 Yeah, well, I mean, the last kind of teachers, and I, you know, a lot of my students have thought of me as a critical teacher. One of the things I think my students have misunderstood about that is, it's not that I have a low opinion of them. It's actually that I have such a high opinion that I always think they're capable of doing better. Yeah, I think one of the problems in our educational system now is that it's so it's so ratifying and validating. There's so we're so low to criticize and so and the students are so fragile with criticism that they they don't take the criticism well, yeah, we don't give it and, and you without some degree of what you're not quite getting right, you really don't know what you're capable of, right? And, and I think you know. But being but again, being critical is not that's not where you start. I think you start from the aspiration and the hope and the, you know, the actually, the joy of doing something. And then, you know, you take a step back and maybe take a little you know, artists historically had various techniques for judging their own work. Titian used to take one of his paintings and turn it away, turn it facing the wall so that he couldn't see it, and he would come back to it a month later. And, you know, because when he first painted, he thought it was the greatest thing ever painted, he would come back to it a month later and think, you know, I could have done some of those parts better, and you would work on it and fix it. And so, you know, the self criticism comes from this capacity to distance yourself from yourself, look at yourself almost as as hard as it is from the outside, yeah, try to see yourself as other people see you. Because I think in your own mind, you can kind of become completely self referential. And you know, that's that. These are all life skills. You know, I had to say this to somebody recently, but, you know, I think the thing you should get out of your education is learning how to learn and like you're talking about, essentially, how do you approach something new or challenging or different? Is has to do with essentially, how do you how do you know? Do you know how to grow and learn on your own?   Michael Hingson ** 42:44 Yeah, exactly, well, being an architect and so on. How did you end up going off and becoming a professor and and teaching? Yeah, a   David Mayernik ** 42:52 lot of architects do it. I have to say. I mean, there's always a lot of the people who are the kind of heroes when I was a student, were practicing architects who also taught and and they had a kind of, let's say, intellectual approach to what they did. They were conceptual. It wasn't just the mundane aspects of getting a building built, but they had some sense of where they fit, with respect to the culture, with respect to history and issues outside of architecture, the extent to which they were tied into other aspects of culture. And so I always had the idea that, you know, to be a full, you know, a fully, you know, engaged architect. You should have an academic, intellectual side to your life. And teaching would be an opportunity to do that. The only thing is, I didn't feel like I knew enough until I was older, in my 40s, to feel like I actually knew enough about what I was doing to be able to teach somebody else. A lot of architects get into teaching early, I think, before they're actually fully formed to have their own identities. And I think it's been good for me that I waited a while until I had a sense of myself before I felt like I could teach somebody else. And so there was, there was that, I mean, the other side of it, and it's not to say that it was just a day job, but one of the things I decided from the point of your practice is a lot of architects have to do a lot of work that they're not proud of to keep the lights on and keep the business operating. And I have decided for myself, I only really want to do work that I'm proud of, and in order to do that, because clients that you can work for and be you know feel proud of, are rather rare, and so I balanced teaching and practice, because teaching allowed me to ostensibly, theoretically be involved with the life of the mind and only work for people and projects that interested me and that I thought could offer me the chance to do something good and interesting and important. And so one I had the sense that I had something to convey I learned. Enough that I felt like I could teach somebody else. But it was also, for me, an opportunity to have a kind of a balanced life in which practice was compensated. You know that a lot of practice, even interesting practice, has a banal, you know, mundane side. And I like being intellectually stimulated, so I wanted that. Not everybody wants   Michael Hingson ** 45:24 that. Yeah, so you think that the teaching brings you that, or it put you in a position where you needed to deal with that?   David Mayernik ** 45:32 You know, having just retired, I wish there had been more of that. I really had this romantic idea that academics, being involved in academics, would be an opportunity to live in a world of ideas. You know? I mean, because when I was a student, I have to say we, after we came back from Rome, I got at least half of my education for my classmates, because we were deeply engaged. We debated stuff. We, you know, we we challenged each other. We were competitive in a healthy way and and I remember academics my the best part of my academic formation is being immensely intellectually rich. In fact, I really missed it. For about the first five years I was out of college, I really missed the intellectual side of architecture, and I thought going back as a teacher, I would reconnect with that, and I realized not necessarily, there's a lot about academics that's just as mundane and bureaucratic as practice can be so if you really want to have a satisfying intellectual life, unfortunately, you can't look to any institution or other people for it. You got to find it on your own.   46:51 Paperwork, paperwork,   David Mayernik ** 46:55 committee meetings, just stuff. Yeah, yeah,   Michael Hingson ** 47:00 yeah. Yeah, which never, which never. Well, I won't say they never help, but there's probably, there's probably some valuable stuff that you can get, even from writing and doing, doing paperwork, because it helps you learn to write. I suppose you can look at it that way.   David Mayernik ** 47:16 No, it's true. I mean, you're, you're definitely a glass half full guy. Michael, I appreciate that's good. No. I mean, I, obviously, I always try to make get the most out of whatever experience I have. But, I mean, in the sense that there wasn't as much intellectual discourse, yeah, you know, as my I would have liked, yeah, and I, you know, in the practice or in the more academic side of architecture. Several years ago, somebody said we were in a post critical phase like that. Ideas weren't really what was driving architecture. It was going to be driven by issues of sustainability, issues of social structure, you know, essentially how people live together, issues that have to do with things that weren't really about, let's call it design in the esthetic sense, and all that stuff is super important. And I'm super interested in, you know, the social impact of my architecture, the sustainable impact of it, but the the kind of intellectual society side of the design part of it, we're in a weird phase where it that's just not in my world, we just it's not talked about a lot. You know,   Michael Hingson ** 48:33 it's not what it what it used to be. Something tells me you may be retired, but you're not going to stop searching for intellectual and various kinds of stimulation to help keep your mind active.   David Mayernik ** 48:47 Oh, gosh, no, no. I mean, effectively. I mean, I just stopped one particular job. I describe it now as quitting with benefits. That's my idea of what I retired from. I retired from a particular position in a particular place, but, but I haven't stopped. I mean, I'm certainly going to keep working. I have a very interesting design project in Switzerland. I've been working on for almost 29 years, and it's got a number of years left in it. I paint, I write, I give lectures, I you know, and you obviously have a rich life. You know, not being at a job. Doesn't mean that the that your engagement with the world and with ideas goes away. I mean, unless you wanted to, my wife's my wife had three great uncles who were great jazz musicians. I mean, some quite well known jazz musicians. And one of them was asked, you know, was he ever going to retire? And he said, retire to what? Because, you know, he was a musician. I mean, you can't stop being a musician, you know, you know, if, some level, if you're really engaged with what you do, you You never stop, really,   Michael Hingson ** 49:51 if you enjoy it, why would you? No, I   David Mayernik ** 49:54 mean, the best thing is that your work is your fun. I mean, you know, talking about, we talked about it. I. You that You know you're kind of defined by your work, but if your work is really what you enjoy, I mean, actually it's fulfilling, rich, enriching, interesting, you don't want to stop doing that. I mean, essentially, you want to do it as long as you possibly can. Yeah,   Michael Hingson ** 50:13 and it's and it's really important to do that. And I think, in reality, when you retire from a job, you're not really retiring from a job. You're retiring, as you said, from one particular thing. But the job isn't a negative thing at all. It is what you like to do.   David Mayernik ** 50:31 Yeah. I mean, there's, yeah, there's the things that you do that. I mean, I guess the job is the, if you like, the thing that is the, you know, the institution or the entity that you know, pays your bills and that kind of stuff, but the career or the thing that you're invested in that had the way you define yourself is you never stop being that person, that person. And in some ways, you know, what I'm looking forward to is a richer opportunity to pursue my own avenue of inquiry, and, you know, do things on my own terms, without some of the obligations I had   Michael Hingson ** 51:03 as a teacher, and where's your wife and all that.   David Mayernik ** 51:06 So she's with me here in LUCA, and she's she's had a super interesting life, because she she she studied. We, when we were together in New York, she was getting a degree in art history, Medieval and Renaissance studies in art history at NYU, and then she decided she really wanted to be a chef, and she went to cooking school in New York and then worked in a variety of food businesses in New York, and then got into food writing and well, food styling for magazines, making food for photographs, and then eventually writing. And through a strange series of connections and experiences. She got an opportunity to cook at an Art Foundation in the south of France, and I was in New York, and I was freelancing. I was I'd quit a job I'd been at for five years, and I was freelancing around, doing some of my own stuff and working with other architects, and I had work I could take with me. And you know, it was there was there was, we didn't really have the internet so much, but we had FedEx. And I thought I could do drawings in the south of France. I could do them in Brooklyn. So, so I went to the south of France, and it just happens to be that my current client from Switzerland was there at that place at that time, scouting it out for some other purpose. And she said, I hear you're architect. I said, Yeah. And I said, Well, you know, she said, I like, you know, classical architecture, and I like, you know, traditional villages, and we have a campus, and we need a master plan architect. And I was doing a master plan back in Delaware at that time, and my wife's you know, career trajectory actually enabled me to meet a client who's basically given me an opportunity to build, you know, really interesting stuff, both in Switzerland and in England for the last, you know, again, almost 29 years. And so my wife's been a partner in this, and she's been, you know, because she's pursued her own parallel interest. But, but our interests overlap enough and we share enough that we our interests are kind of mutually reinforcing. It's, it's been like an ongoing conversation between us, which has been alive and rich and wonderful.   Michael Hingson ** 53:08 You know, with everything going on in architecture and in the world in general, we see more and more technology in various arenas and so on. How do you think that the whole concept of CAD has made a difference, or in any way affected architecture. And where do you think CAD systems really fit into all of that?   David Mayernik ** 53:33 Well, so I mean this, you know, CAD came along. I mean, it already was, even when I was early in my apprenticeship, yeah, I was in Chicago, and there was a big for som in Chicago, had one of the first, you know, big computers that was doing some drawing work for them. And one of my, a friend of mine, you know, went to spend some time and figure out what they were capable of. And, but, you know, never really came into my world until kind of the late night, mid, mid to late 90s and, and, and I kind of resisted it, because I, the reason I got into architecture is because I like to draw by hand, and CAD just seemed to be, you know, the last thing I'd want to do. But at the same time, you, some of you, can't avoid it. I mean, it has sort of taken over the profession that, essentially, you either have people doing it for you, or you have to do it yourself, and and so the interesting thing is, I guess that I, at some point with Switzerland, I had to, basically, I had people helping me and doing drawing for me, but I eventually taught myself. And I actually, I jumped over CAD and I went to a 3d software called ArchiCAD, which is a parametric design thing where you're essentially building a 3d model. Because I thought, Look, if I'm going to do drawing on the computer, I want the computer to do something more than just make lines, because I can make lines on my own. But so the computer now was able to help me build a 3d model understand buildings in space and construction. And so I've taught myself to be reasonably, you know, dangerous with ArchiCAD and but the. Same time, the creative side of it, I still, I still think, and a lot of people think, is still tied to the intuitive hand drawing aspect and and so a lot of schools that gave up on hand drawing have brought it back, at least in the early years of formation of architects only for the the conceptual side of architecture, the the part where you are doodling out your first ideas, because CAD drawing is essentially mechanical and methodical and sort of not really intuitive, whereas the intuitive marking of paper With a pencil is much more directly connected to the mind's capacity to kind of speculate and imagine and daydream a little bit, or wander a little bit your mind wanders, and it actually is time when some things can kind of emerge on the page that you didn't even intend. And so, you know, the other thing about the computer is now on my iPad, I can actually do hand drawing on my iPad, and that's allowed me to travel with it, show it to clients. And so I still obviously do a lot of drawing on paper. I paint by hand, obviously with real paints and real materials. But I also have found also I can do free hand drawing on my iPad. I think the real challenge now is artificial intelligence, which is not really about drawing, it's about somebody else or the machine doing the creative side of it. And that's the big existential crisis that I think the profession is facing right now.   Michael Hingson ** 56:36 Yeah, I think I agree with that. I've always understood that you could do free hand drawing with with CAD systems. And I know that when I couldn't find a job in the mid 1980s I formed a company, and we sold PC based CAD systems to architects and engineers. And you know, a number of them said, well, but when we do designs, we charge by the time that we put into drawing, and we can't do that with a CAD system, because it'll do it in a fraction of the time. And my response always was, you're looking at it all wrong. You don't change how much you charge a customer, but now you're not charging for your time, you're charging for your expertise, and you do the same thing. The architects who got that were pretty successful using CAD systems, and felt that it wasn't really stifling their creativity to use a CAD system to enhance and speed up what they did, because it also allowed them to find more jobs more quickly.   David Mayernik ** 57:35 Yeah, one of the things it did was actually allow smaller firms to compete with bigger firms, because you just didn't need as many bodies to produce a set of drawings to get a project built or to make a presentation. So I mean, it has at one level, and I think it still is a kind of a leveler of, in a way, the scale side of architecture, that a lot of small creative firms can actually compete for big projects and do them successfully. There's also, it's also facilitated collaboration, because of the ability to exchange files and have people in different offices, even around the world, working on the same drawing. So, you know, I'm working in Switzerland. You know, one of the reasons to be on CAD is that I'm, you know, sharing drawings with local architects there engineers, and that you know that that collaborative sharing process is definitely facilitated by the computer.   Michael Hingson ** 58:27 Yeah, information exchange is always valuable, especially if you have a number of people who are committed to the same thing. It really helps. Collaboration is always a good thing,   David Mayernik ** 58:39 yeah? I mean, I think a lot of, I mean, there's always the challenge between the ego side of architecture, you know, creative genius, genius, the Howard Roark Fountainhead, you know, romantic idea. And the reality is that it takes a lot of people to get a building built, and one person really can't do it by themselves. And So collaboration is kind of built into it at the same time, you know, for any kind of coherence, or some any kind of, let's say, anything, that brings a kind of an artistic integrity to a work of architecture, mostly, that's got to come from one person, or at least people with enough shared vision that that there's a kind of coherence to it, you know. And so there still is space for the individual creative person. It's just that it's inevitably a collaborative process to get, you know, it's the it's the 1% inspiration, 99% perspiration. Side architecture is very much that there's a lot of heavy lifting that goes into getting a set of drawings done to get

Kuliah Bahrul Mazi Jilid 4 yang berlangsung di Surau Lake Homes, Bertam, Pulau Pinang pada 22 Februari 2012.~ Ziarah menziarahi rumah sahabat menjadi amalan sahabat Nabi~ Sahabat Nabi ramai orang miskin, sampai air minum pun tak ada~ Tak selesa tengok isteri sahabat marah khadam~ Pengaduan laknat dan maki hamun yang keluar dari mulut seseorang~ Bila kata kat seseorang celaka, takutnya celaka patah balik kepada kita~ Jangan maki orang, sebab kita pun bukan baik sangat, takut makian memakan diri~ Semasa Nabi bermusafir dan dengar orang memaki unta~ Orang lelaki rimas dengar "hinggaq"~ Cara orang arab balancing unta~ Kita tak boleh sebut orang malaun~ Marah kepada anak, berpada-pada, jangan keluar perkataan laknat~ Sahabat yang dikelar "himar", dan cerita kawan di gelar "bogey"~ Abdullah yang suka mengembirakan Nabi~ Sahabat ditangkap dan disebat kerana minum arak~ Nabi tetap bagi peluang untuk orang yang berdosa~ Demi Allah dalam hati dia, dia sayang Allah dan Rasul-- BAHRUL MAZI JILID MUKA SURAT 23 --~ Bab musafir dan solat kita bermusafir~ Tajuk tentang solat jamak dan qasar~ Apa hikmah, dalil dan kebaikan solat jamak dan qasar~ Mufti cukup ramai semasa buat haji dan umrah~ Permasalahan yang complicated dalam solat jamak dan qasar~ Perbincangan dalam kitab Bahrul Mazi, akan berdasarkan hadis Nabi~ Hal agama tidak boleh direka-reka~ Inovasi dalam sujud syukur~ Anugerah Allah kepada umat Nabi Muhammad~ Agama Islam bukan bergantung semata-mata logik~ Titian sirat umpama kartun~ Maksud musafir yang harus~ Jamak Qasar 40 Penyamun nak samun bank~ Sepanjang bermusafir dengan Nabi, solat 4 rakaat diringkaskan menjadi 2~ Tiada solat qabliah dan ba'diah dalam musafir~ Boleh pilih nak solat penuh atau qasar~ Sebelum datangnya perintah solat 5 waktu~ Cara solat sebelum peristiwa isra' mikraj~ Ketika musafir dibolehkan berbuka puasa~ Solat qasar dalam musafir lebih awla~ Tujuan ulama "tidak straight to the point" analogi cuba jalan alternatif~ Dalil dan perbezaan pendapat tentang solat sunat rawatib semasa musafir~ Bergaduh nak buat solat tarawih 8 rakaat atau 20 rakaat~ Solat sunat mutlak (witir dan dhuha) dalam musafir~ Kalau nak kenal hati budi sesorang, musafir dengan dia tiga hari~ Sahabat sayang Nabi maksimum, sebab musafir dengan Nabi dan kenal rapat Nabi~ Pengalaman Nabi buat ibadah haji~ Sahabat ada yang tak ikut turutan Nabi buat ibadah haji~ Kadar jarak yang dibolehkan solat jamak dan qasar~ Bila faham formula, mai masalah macam mana pun boleh selesai~ Perbezaan jarak yang dibolehkan jamak dan qasar antara mazhab~ Salah faham tentang maksud bermukim--Sokong Projek Zonkuliah Dengan Menyumbang Ke Akaun Berikut : ➢ MAYBANK (Produksi Zonkita) - 557250054584➢ PAYPAL - paypal.me/DanaZK---☑● Doakan Dimurahkan Rezeki dan Diberikan Kesihatan Yang Baik Untuk Kami Teruskan Projek ZonKuliah ☑●✚ Untuk update terkini sila like Facebook Page kami : www.facebook.com/zonkuliah---#Zonkuliah #UstazShamsuri #KuliahAgama

This is a little episode about how I think a one-of-a-kind whale is kind of like the 16th -17th century Mannerist artist El Greco, and also like us. It sounds a little far fetched but admit it, you like me when I'm weird, you weirdo'sEl Greco:Artworks mentioned: “The Vision of St John” 1608-14 and "View of Toledo" 1599-1600 (El Greco), “Les Desmoiselles D'Avignon" 1907 (Picasso), "Rocks at Fontainbleu" 1890's (Cézanne)Artists mentioned: Vincent Van Gogh, Paul Cézanne, Hilma Af Klint, Pablo Picasso, Eugène De la Croix, Salvador Dali, Michelangelo, Caravaggio, Diego Velázquez, Titian, Tintoretto, Ignacio ZuloagaWriters mentioned: Emily Dickinson, Franz Kafka, Roger FryLearn more about El Greco's figurine models with a fascinating lecture by Xavier Bray for the Frick Collection: https://youtu.be/_8xYkflNbU0?si=eCIL_P-tFdtPbDmOThe Whale:Watch the documentary: https://www.kanopy.com/en/product/loneliest-whale?frontend=kuiArticles:https://www.forbes.com/sites/scotttravers/2025/02/01/the-52-hertz-whale-is-the-loneliest-animal-in-the-world-heres-what-we-know/https://www.iflscience.com/fact-check-has-the-world-s-loneliest-whale-finally-found-a-friend-65797https://www.theguardian.com/environment/2021/jul/13https://www.scientificamerican.com/podcast/episode/inside-the-nail-biting-quest-to-find-the-loneliest-whale/Thanks for listening!Greek music "Greek Bouzouki Sentimental 13" by Omegamusic / Marios Georgiades / Nicosia, CyprusWhale songs courtesy of PMEL Pacific Marine Environmental Laboratory All other music and sound effects by Soundstripe----------------------------Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pep Talks website: ⁠⁠⁠https://www.peptalksforartists.com/⁠⁠⁠Amy, your beloved host, on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠@talluts⁠⁠⁠⁠⁠⁠⁠⁠⁠Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Donations always appreciated!

The Louvre, the world's most-visited museum and a global symbol of art, beauty and endurance, has withstood war, terror and pandemic — but on Monday, it was brought to a halt by its own striking staff, who say the institution is crumbling under the weight of mass tourism.Thousands of stranded and confused visitors, tickets in hand, were corralled into unmoving lines by I.M. Pei's glass pyramid."It's the Mona Lisa moan out here," said Kevin Ward, 62, from Milwaukee, the United States. "Thousands of people waiting, no communication, no explanation. I guess even she needs a day off."The Louvre has become a symbol of tourism pushed to its limits. As hot spots from Venice to the Acropolis race to curb crowds, the world's most iconic museum, visited by millions, is hitting a breaking point of its own.Just a day earlier, coordinated anti-tourism protests swept across southern Europe. Thousands rallied in Mallorca, Venice, Lisbon and beyond, denouncing an economic model they say displaces locals and erodes city life.The Louvre's spontaneous strike erupted during a routine internal meeting, as gallery attendants, ticket agents and security personnel refused to take up their posts in protest over unmanageable crowds, chronic understaffing and what one union called "untenable" working conditions.It's rare for the Louvre to close its doors. It has happened during war, during the pandemic, and in a handful of strikes. But seldom has it happened so suddenly, without warning, and in full view of the crowds.What's more, the disruption comes just months after President Emmanuel Macron unveiled a sweeping decade-long plan to rescue the Louvre from precisely the problems now boiling over — water leaks, dangerous temperature swings, outdated infrastructure, and foot traffic far beyond what the museum can handle.But for workers on the ground, that promised future feels distant."We can't wait six years for help," said Sarah Sefian, a front-of-house gallery attendant and visitor services agent. "Our teams are under pressure now. It's not just about the art — it's about the people protecting it."At the center of it all is the Mona Lisa — a 16th-century portrait that draws modern-day crowds more akin to a celebrity meet-and-greet than an art experience.Roughly 20,000 people a day squeeze into the Salle des Etats, the museum's largest room, just to snap a selfie with Leonardo da Vinci's enigmatic woman behind protective glass. The scene is often noisy, jostling, and so dense that many barely glance at the masterpieces flanking her — works by Titian and Veronese that go largely ignored.Macron's renovation blueprint, dubbed the "Louvre New Renaissance", promises a remedy. The Mona Lisa will finally get her own dedicated room, accessible through a timed-entry ticket. A new entrance near the Seine River is also planned by 2031 to relieve pressure from the overwhelmed pyramid hub.But Louvre workers said the 700 million to 800 million euros ($730 million to $834 million) renovation plan masks a deeper crisis. While Macron is investing in new entrances and exhibition space, the Louvre's annual operating subsidies from the French state have shrunk by more than 20 percent over the past decade — even as visitor numbers soared.The Louvre welcomed 8.7 million visitors last year — more than double what its infrastructure was designed to accommodate. Even with a daily cap of 30,000, staff say the experience has become a daily test of endurance, with too few rest areas, limited bathrooms, and summer heat magnified by the pyramid's greenhouse effect.

Hello again, dear Loopers! Welcome to another exciting episode of Spanish Loops! We are Fran and Jorge, and as always, we join forces together. Today we have something truly special lined up for you.Get ready to embark on a virtual journey through one of the most iconic and majestic museums in the world. Yes, we are talking about the Museo del Prado, located right in the heart of Madrid, Spain.In this episode, we will guide you through the highlights of this extraordinary cultural treasure. With centuries of art and history echoing through its halls, the Prado holds masterpieces that have inspired generations. We'll be spotlighting the works that, in our view, are absolutely unmissable.Artists like Titian, Rubens, Hieronymus Bosch, El Greco, Diego Velázquez, and Francisco de Goya… These are not just names, they are the pillars of artistic legacy, and their works in the Prado are simply breathtaking.Whether you're an art enthusiast, a curious traveler, or someone who is planning a future visit to Madrid, this episode is your perfect introduction to the timeless beauty and cultural richness the Prado has to offer.So pour yourself a glass of wine, (Rioja?), sit back, and let us take you on a fascinating loop through the masters of Spanish and European art.¡Vámonos, Loopers! The tour begins now…

Hello again, dear Loopers! Welcome to another exciting episode of Spanish Loops! We are Fran and Jorge, and as always, we join forces together. Today we have something truly special lined up for you.Get ready to embark on a virtual journey through one of the most iconic and majestic museums in the world. Yes, we are talking about the Museo del Prado, located right in the heart of Madrid, Spain.In this episode, we will guide you through the highlights of this extraordinary cultural treasure. With centuries of art and history echoing through its halls, the Prado holds masterpieces that have inspired generations. We'll be spotlighting the works that, in our view, are absolutely unmissable.Artists like Titian, Rubens, Hieronymus Bosch, El Greco, Diego Velázquez, and Francisco de Goya… These are not just names, they are the pillars of artistic legacy, and their works in the Prado are simply breathtaking.Whether you're an art enthusiast, a curious traveler, or someone who is planning a future visit to Madrid, this episode is your perfect introduction to the timeless beauty and cultural richness the Prado has to offer.So pour yourself a glass of wine, (Rioja?), sit back, and let us take you on a fascinating loop through the masters of Spanish and European art.¡Vámonos, Loopers! The tour begins now…

Ascolta l'arte e mettila da partedi Eveline Baseggio -A bilingual podcast about art by Collina Italiana, conceived and written by Eveline Baseggio, with the aim of bringing art closer to everyday life!-Italian audio and transcript here:https://collinaitaliana.com/ascolta-larte-e-mettila-da-parte/

I am so excited to say that my guest, the esteemed art historian, Andrew Hottle, will be discussing SYLVIA SLEIGH! Currently the Professor of Art History at Rowan University in Glassboro, New Jersey, Hottle has dedicated his research and writing to focussing on women artists, with specialization in feminist art of the 1970s. He is the author of a definitive monograph on the American realist painter Shirley Gorelick, and his detailed book about The Sister Chapel reignited interest in a historic collaboration by thirteen women artists. But he is also a world expert on one of those artists featured in this chapel: Sylvia Sleigh, who was born in Wales and died in 2010, having been based in New York City for most of her life, and known for her unique realist painting style immortalising those in her community and the culturally significant. Identifiably recognisable by their meticulously rendered details, body hair and tan lines, Sleigh's paintings were always created from her acutely feminist viewpoint. Painting seductively effeminate male nudes in poses that evoke Titian's Venus of Urbino, or Ingres's Turkish Bath, the Welsh-born artist – famed for her contribution to the Women's Liberation Movement, as a prominent member of AIR Gallery – said of her work: “I liked to portray both man and woman as intelligent and thoughtful people with dignity and humanism that emphasised joy.” Although in my opinion far too overlooked for far too long, Sleigh is having somewhat of a renaissance. Earlier this year, Ortuzar Projects in NYC staged a solo exhibition of her work to acclaim – her first in 15 years, and this spring, she is showing alongside her contemporaries Alice Neel and Marcia Marcus, at Levy Gorvy Danyan in New York, that runs until 21 June: https://www.levygorvydayan.com/exhibitions/the-human-situation-marcia-marcus-alice-neel-sylvia-sleigh And it is very much thanks to Hottle, who is currently in the process of compiling her catalogue raisonne, as well as writing a book about the founder artist-members of SOHO 20, a historically significant feminist cooperative gallery, of which Sleigh was one, established in 1973, that she is finally coming back into the spotlight. -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

It's deep dive day here at Fated Mates and we're reading an absolute banger of a historical -- Julie Anne Long's fifth Pennyroyal Green book, What I Did for a Duke. We talk about great romance kisses, about age gaps and how they operate in books, about house parties and art and sacrifice and how sexy it is when someone actually sees you for who you are. If you haven't read this one yet, do yourself a favor and do it right now. It's so great.If you want more Fated Mates in your life, please join our Patreon, which comes with an extremely busy and fun Discord community! Join other magnificent firebirds to hang out, talk romance, and be cool together in a private group full of excellent people. Learn more at patreon.com.The BooksWhat I Did for a Duke by Julie Anne Long The Pennyroyal Green SeriesShow NotesThe main building you think of when you think of the New York Public Library with the lions is officially called the Stephen A. Schwarzman Building. From what I can tell, it didn't actually have anything to do with Andrew Carnegie, but he did donate $5 million to ensure that the New York Public Library had branch libraries in communities around the city. He also donated a lot of money to other things, that's a fun thing billionaires used to do. Read more about doing the forbidden kind of “romance stuff” in the library. Jen talked to the New York Public Library's Best New Romance List Committee Co-Chairs Kate Fais and Grace Loiacon back in February.In 2022, we recorded our “Break in case of emergency” episode, and it was in fact two sisters, Cait and Kara who requested the episode. PS: We are in emergency. Feel free to break those out now.Julie Anne Long's The Beast Takes a Bride was on our Best of 2024 episode. What I Did for a Duke is the 5th book in her Pennyroyal Green series. “It must have been a lie,” is what Jen's grandma Betty used to say if you lost your train of thought and couldn't remember what you were saying. This is a good speech from Crash Davis, the pitcher played by Kevin Costner in the 1988 movie Bull Durham (also, Nuke says “what's all that molecule stuff?” which is pretty funny considering the title of this episode).The Isabella Stewart Gardner Museum in Boston had a Titian exhibition back in 2022 called Women, Myth and Power, and it seems like a thing Genevive would have liked it a lot.

Somaya Critchlow talks to Ben Luke about her influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work. Critchlow, born in London in 1993, makes paintings and drawings of Black women, often nude, that are rooted in the present and yet draw on a wealth of imagery from the recent and distant past. The women are fictional but can be informed by anything from self-portraits and other life studies to images from pop culture and depictions of women in the history of art. They engage frankly with what it means to represent the female body and with power relations: between the artist and her subject, between the subject and the viewer, and ultimately between Critchlow and us. Depending on your perspective, her art offers different degrees of delight and discomfort. But her balance of fine drawing, a time-honoured approach to paint and colour, and arresting imagery means that her work is endlessly intriguing. She discusses the breakthrough moment where she realised that she was her own first model, being “comfortable with feeling uncomfortable”, the influence on her of Angela Carter's response to the Marquis de Sade, her engagement with a wealth of visual artists, from Käthe Kollwitz to Francesca Woodman, Leonor Fini, Titian and Francesco de Goya, the power of David Lynch's films and the consistent importance to her of Japanese manga. She gives insight into her life in the studio and responds to our usual questions, including the ultimate: what is art for?Somaya Critchlow: The Chamber, Dulwich Picture Gallery, London, until 20 July. Group shows: A Room Hung with Thoughts British Painting Now, Green Family Art Foundation, Dallas, US, until 11 May; Woman in a Rowboat, Olivia Foundation, Mexico City, until 28 September.This podcast is sponsored by Bloomberg Connects, the arts and culture app. The free app offers access to a vast range of international cultural organisations through a single download, with new guides being added regularly. They include the Dulwich Picture Gallery, where Somaya Critchlow is showing her work between February and July of 2025. If you download Bloomberg Connects you'll find that the guide to the gallery has a section on the exhibition, with pictures of Somaya's work in situ in the historic gallery spaces. There is also extensive content on the gallery's other exhibition, Tirzah Garwood: Beyond Ravilious, the first major exhibition of the British artist. You can explore the works while listening to the actor Tamsin Greig reading excerpts from Garwood's autobiography. Elsewhere, the guide features an animated film telling the story of the gallery and a guided tour of the many masterpieces in its collection. Hosted on Acast. See acast.com/privacy for more information.

A new week means new questions! Hope you have fun with these!Paul Allen co-founded what company, which was named by combining the words 'software' and 'microcomputer'?What was Disney's first completely live-action film?Who succeeded Fidel Castro as President of Cuba in 2008?Wisconsin is american's dairyland, but is actually second in milk production to which state?Frances Hodgson Burnett is best known for writing 3 books - Little Lord Fauntleroy, A Little Princess, and what?What 2019 jukebox musical explores what would happen to one of the titular characters of a Shakespeare tragedy if she had not died at the end of the show?The mythological character Ariadne is featured along with which Roman god in the title of a painting by Titian?What is the term for a male bee whose role is to mate with a maiden queen in nuptial flight?Pathology is the study of what?MusicHot Swing, Fast Talkin, Bass Walker, Dances and Dames, Ambush by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/Don't forget to follow us on social media:Patreon – patreon.com/quizbang – Please consider supporting us on Patreon. Check out our fun extras for patrons and help us keep this podcast going. We appreciate any level of support!Website – quizbangpod.com Check out our website, it will have all the links for social media that you need and while you're there, why not go to the contact us page and submit a question!Facebook – @quizbangpodcast – we post episode links and silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Instagram – Quiz Quiz Bang Bang (quizquizbangbang), we post silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Twitter – @quizbangpod We want to start a fun community for our fellow trivia lovers. If you hear/think of a fun or challenging trivia question, post it to our twitter feed and we will repost it so everyone can take a stab it. Come for the trivia – stay for the trivia.Ko-Fi – ko-fi.com/quizbangpod – Keep that sweet caffeine running through our body with a Ko-Fi, power us through a late night of fact checking and editing!

Let's visit the Louvre with author Elaine Sciolino. Today, we chat about her upcoming book Adventures in the Louvre: How to Fall in Love with the World's Greatest Museum. The book pulls back the curtain on a building many think they know, but which still contains endless secrets and untold stories. And if you think you recognise Elaine's name and voice, perhaps you heard her on the pod before! Elaine, the former Paris bureau chief for The New York Times, has featured The Earful Tower in the past discussing her books about the Seine River and the Rue des Martyrs. In fact, she was the second-ever guest on the show, back in 2017. Elaine used her extensive experience as a reporter to influence how she wrote this book. She decided the best approach was to explain the Louvre museum “through the prism of someone who's not an art historian and who's not a tour guide. I decided to just report the Louvre and talk to everybody that I possibly could.” And, my goodness, the surprises Elaine uncovered will knock your socks off: spending the day with the museum's permanent on-site fire fighters, a secret World War Two bunker and long-forgotten graffiti inscribed by the builders of the Philippe Auguste wall. For Louvre novices who are in danger of having an exhausting and frustrating experience trying to see and do everything, Elaine offers this advice “Find your Louvre identity, find what kind of a visitor you are… And once you decide that it makes it a lot easier, because you forgive yourself for not being perfect…You go each time with a different identity, like you go each time and discover a different work of art.” Elaine confesses that she wasn't always the biggest fan of the museum, “the Louvre is a challenge, it's too big…it's too crowded, it's an impossible museum. You have to find your way in. So that's what I tried to do.” Having visited the building hundreds of times in the course of writing the book, I wondered if Elaine was all Louvre-d out or did she intend to go back? “Oh no, I have to go back. I have to keep going back.” Adventures in the Louvre: How to Fall in Love with the World's Greatest Museum is released on 1 April 2025. You can pre-order it here. A fun extra the end of the episode, Bertrand d'Aleman from My Private Paris tells us about a current exhibition at the museum: The Louvre Couture. This is an exploration of how the vast breadth of decorative art contained within the walls of the museum has informed the world of high fashion. The Louvre Couture exhibition runs from 24 January - 21 July. Book your tickets here. Artwork mentioned in this episode: Mona Lisa (also known as La Joconde) by Leonardo da Vinci; Man with a glove by Titian, Portrait of a Man (also known as La Condottiere) by Antonello da Messina; The death of Marat by Jacques-Louis David. Thanks to Hannah Coyle for additional reporting. Enjoying what we're doing here at The Earful Tower and keen to see more? Become a Patreon member here to support it and to discover our exciting extras. This season of The Earful Tower is brought to you by My Private Paris, an award-winning travel company creating deluxe itineraries for Paris and beyond. See what they offer here and be sure to let them know that you came from The Earful Tower.          

Step into the enchanting streets of Bergamo, Italy, with Travel Italia! Your ultimate audio guide to one of Italy's most underrated treasures. From the medieval charm of Città Alta to the vibrant energy of Città Bassa, we explore the history, culture, food, and hidden spots that make this city unforgettable. Whether you're planning a trip or just dreaming of la dolce vita, join us for expert tips, and insider recommendations that will bring Bergamo to life. Pack your bags (or just your earbuds) and get ready to fall in love with Bergamo, one episode at a time!Notes: Bergamo Regional Tourist office: https://www.visitbergamo.net/public/it/My top places to visit: Città Alta – Start with the Upper City, accessible via a scenic funicular ride. Stroll through cobblestone streets and visit landmarks like Piazza Vecchia, a picturesque square framed by Renaissance buildings, or take a leisurely stroll down its main street to enjoy the architecture and visit some unique shops and cafes.Basilica di Santa Maria Maggiore – This stunning church is a masterpiece of Romanesque and Baroque architecture, featuring intricate frescoes and a breathtaking interior.Museo delle Storie di Bergamo  - a museum dedicated to the history of Bergamo which also has a 12th-century clock tower you can climb (or take a lift up to) to enjoy one of the best views of the city. From the clock tower, you get a bird's eye view of the city, stunning views of the foothills, and a view of the plain all the way to Milan. Rocca di Bergamo – For panoramic views of the city and surrounding countryside, climb to the top of this historic 14th-century fortress.Accademia Carrara – Art lovers should head to this museum, home to works by Botticelli, Raphael, and Titian.Venetian Walls – Walk along these historic fortifications for incredible views and a dose of history.Archeological museum Local foods to try: Casoncelli alla Bergamasca – A local pasta dish filled with breadcrumbs, cheese, meat, and herbs, served with a buttery sage sauce.Polenta e Osei – Polenta is a staple here, often served as a savory dish with meats or cheese. For a sweet treat, try Polenta e Osei, a dessert shaped like the classic dish but made with marzipan and chocolate.Taleggio Cheese – This creamy, aromatic cheese hails from the nearby Taleggio Valley. Perfect on bread or melted over polenta.Local Wines – Pair your meal with a glass of Valcalepio Rosso or Moscato di Scanzo, a sweet red wine unique to the region.Stracciatella Gelato: Invented in Bergamo, this creamy vanilla-based gelato with chocolate shavings is a must-try!

Trags is in for Lance tonight! We welcome Dan Hoard to discuss the Bengals and Bearcats in our first segment. He also breaks down the Skyline Chili Cross Town Shootout. He also previews the Bengals' and Titian's games on Sunday.

Trags is in for Lance tonight! We welcome Dan Hoard to discuss the Bengals and Bearcats in our first segment. He also breaks down the Skyline Chili Cross Town Shootout. He also previews the Bengals' and Titian's games on Sunday.

Celebrating my 300th episode by answering your questions! From why we call him Titian in English instead of Tiziano to the influence of Donatello on Masaccio to why I dedicated so many podcasts to Caravaggio to the “Venus of the Beautiful Buttocks” to St. Peter's feet, and much, much more – this episode answers the very questions that you ask me about the great art, artists, and history of the Italian Renaissance!

Send us a Text Message.While the idea of an entirely joyous rise of Renaissance culture might sound apt for a period known for mesmerizing art and literature, history tells a different story, one of war, of plague, and of death. This episode discusses just a small amount of the social issues that contributed to the rise of Renaissance culture in Italy, from the multiple plagues that continued after the Black Death, to the banking crisis in Florence at the dawn of the Hundred Years' War, and Milanese military aggression under Gian Galeazzo Visconti. In the 14th and 15th centuries, Italy was a center of trade and multi-branch banking that spanned the Mediterranean and beyond. This discussion looks at the relationship between trade routes and plague outbreaks in the larger picture of Florentine banking and mercantilism as necessary precursors for the rise of civic Humanism. Likewise, it explores the religious and visual implications of post Black Death Italy, and the significance of Florence's unexpected triumph over Milan. Images discussed:Titian, Saint Mark Enthroned, ca. 1510, Santa Maria della Salute, VeniceTriumph of Death, ca. 1440, Palazzo Abetellis, PalermoInstagram: italian_renaissance_podcast Get additional content by becoming a Patron: patreon.com/TheItalianRenaissancePodcast Support the Show.

Join us as we explore the world's oldest cave art discovery on Sulawesi, featuring a wild pig and human-like figures... The post Ancient Doodles & Art Heists: Sulawesi's Pigs and Titian's Treasure ep 123 appeared first on .

rWotD Episode 2632: Gabriel François Doyen Welcome to Random Wiki of the Day, your journey through Wikipedia’s vast and varied content, one random article at a time.The random article for Thursday, 18 July 2024 is Gabriel François Doyen.Gabriel François Doyen (French: [gabʁjɛl fʁɑ̃swa dwajɑ̃]; 1726 – 5 June 1806) was a French painter who was born in Paris.He became an artist against his father's wishes, becoming a pupil at the age of twelve of Charles-André van Loo. Making rapid progress, he obtained at twenty the Grand Prix de Rome, and in 1748 set out for Rome. He studied the works of Annibale Carracci, Pietro Berrettini da Cortona, Giulio Romano and Michelangelo, then visited Naples, Bologna and, crucially, Venice. While in the latter city Doyen was greatly influenced by the work of the famous colourists, such as Titian.In 1755 returned to Paris and, at first unappreciated and disparaged, he resolved by one grand effort to achieve a reputation, and in 1758 he exhibited his Death of Virginia. It was completely successful, and procured him admission to the Académie Royale de Peinture et de Sculpture. Doyen was also influenced by Peter Paul Rubens after a visit to Antwerp. This influence is, perhaps, best displayed in his Le Miracle des ardents, painted for the church of St Genevieve at St Roch (1767). This painting was exhibited in the salon of 1767, which was recorded by Saint-Aubin in "View of the salon of 1767'". Art historian Michael Levey described this painting as the 'high point' in the artist's career, suggesting the drama of the piece may be a precursor to that which characterises the French Romantic painting of the 19th century. He notes how the writhing figures of the foreground are similar to those found in The Raft of the Medusa by Théodore Géricault. In 1773 Doyen painted his The Last Communion of St Louis for the high altar of the chapel at the École Militaire; it is strongly reminiscent of The Last Communion of St Jerome by Domenichino and displays a sharp clarity of message, required by its position far above the high altar. Another notable work of this period in Doyen's life is the Triumph of Thetis for the chapel of the Invalides. In 1776 he was appointed professor at the academy.During the initial stages of the French Revolution he became active in the national museum project; however in 1791 he left France for Russia on the invitation of Catherine II of Russia. He settled in St Petersburg, where he was much honoured by the Imperial family and Russian art establishment. He died there on 5 June 1806.This recording reflects the Wikipedia text as of 00:53 UTC on Thursday, 18 July 2024.For the full current version of the article, see Gabriel François Doyen on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Brian.

Die vroeë kunswerk van die Venesiese meester Titian, The Rest on the Flight into Egypt, is teen ʼn rekordprys van sowat 405 miljoen Namibiese dollar op ʼn veiling in Londen verkoop. Die skildery is talle kere gesteel en is in 1995 in ʼn plastieksak by ʼn Londense bushalte gevind nadat dit uit Longleat House in Engeland verwyder is. Die afslaer Christie's se woordvoerder, Letizia Treves, sê Titian het die kunswerk in die eerste dekade van die 16de eeu gemaak:

The guys get UCC Champion Ken Bruner on the line to talk about his trail to UCC, his experience at the event, and the build that brought home the trophy. Holman shares his latest exploits on the road, and Lightning is excited to premier some new TSP music. The Truck Show Podcast is proudly presented by Nissan in association with Banks Power and AMSOIL.

BEN PASTOR chats to Paul about her new literary historical crime novel THE VENUS OF SALÒ, Martin Bora, Totalitarianism, Rome, writing in English, growing up in a divided world, Shaun the Sheep.    THE VENUS OF SALÒ October 1944, in the Republic of Salò, a German puppet state in the north of Italy and the last fascist stronghold in the country. After months of ferocious fighting on the Gothic Line, Colonel Martin Bora of the Wehrmacht is handed a new, red-hot case. Transferred to the town of Salò on the shore of Lake Garda, he must investigate the theft of a precious painting of Venus by Titian, stolen with uncanny ease from a local residence. While Bora's inquiry proceeds among many difficulties, discovering three dead bodies throws an even more sinister light on the scene. The victims are female, very beautiful, apparently dead by their own hand but in fact, elegantly murdered. Is it the work of a serial killer, or are the homicides somehow related to the stolen Venus? Why were intriguing clues left behind for Bora to find? And why is there an official attempt to make the investigator himself appear as the culprit? Caught in an unforeseeable web of events, hounded by the Gestapo (for years at his heels on the charge of anti-Nazi activities), hopelessly in love with an enigmatic, real-flesh “Venus,” Bora must resort to all his courage and ability – not only to solve the mystery and expose the perpetrator, but also, in a breathtaking crescendo, to try to save himself from the firing squad and secure an unlikely way out...Ben Pastor, born in Italy, lived for thirty years in the United States, working as a university professor in Vermont and has since returned to her native country. She is the author of the Martin Bora series and other novels, including The Water Thief and The Fire Waker (set in Roman times and published to high acclaim in the US by St. Martin's Press), and is considered one of the most talented writers in the field of historical fiction. In 2008 she won the prestigious Premio Zaragoza for best historical fiction. She writes in English.Recommendations Walden Henry David ThoreauMoby Dick Hermen MelvillePaul Burke writes for Monocle Magazine, Crime Time, Crime Fiction Lover and the European Literature Network. He is also a CWA Historical Dagger Judge 2023. An Encyclopedia of  Spy Fiction will be out in 2025.Music courtesy of  Guy Hale KILLING ME SOFTLY - MIKE ZITO featuring Kid Anderson. GUY HALE Produced by Junkyard DogCrime TimeCrime Time FM is the official podcast ofGwyl Crime Cymru Festival 2023CrimeFest 2023CWA Daggers 2023& Newcastle Noir 20232024 Slaughterfest, National Crime Reading Month, CWA Daggers

The DIATESSARON Part Two This compilation of the ORIGINAL circulation of the four gospels is from 160 AD, that is 170 years BEFORE the council of Nicea. The author, Titian, was Assyrian, and there is a nice added explanation of the "customs of Judea" as would be expected by somoene who was basically from OUTSIDE the community, aka Gentiles. Or as one might have called it in today's USA: "Aliens" or simply foreigners. Part two dives right into the borth of a boy child..."and his name shall be called Jesus." --- Send in a voice message: https://podcasters.spotify.com/pod/show/living-wellness-manifest/message

Welcome to the Instant Trivia podcast episode 1182, where we ask the best trivia on the Internet. Round 1. Category: Known By One Name 1: He's often called the "Father of Geometry". Euclid. 2: Before he could exact his revenge, he was taken prisoner by Cortes and died after an attack. Montezuma. 3: He recently announced that he plans to step down as Japan's emperor in April 2019. Akihito. 4: After her baptism and marriage, she went by the name Lady Rebecca Rolfe. Pocahontas. 5: The Venus in his "Venus of Urbino" painting has hair of the red-gold color for which his art was known. Titian. Round 2. Category: That Movie'S Genius 1: Doc Brown created the flux capacitor, which is what makes time travel possible, in this film. Back to the Future. 2: Dr. Ryan Stone is a medical engineer on her first shuttle mission in this 2013 film. Gravity. 3: An un-Gandhi-like Ben Kingsley takes a child chess prodigy under his wing in this 1993 film. Searching for Bobby Fischer. 4: Hugh Jackman is super-hacker Stanley Jobson in this 2001 film; give us the password. Swordfish. 5: Coal miner's son Homer Hickam (Jake Gyllenhaal) takes up rocketry in this film. October Sky. Round 3. Category: A Word In Your Ear 1: It's a 4-letter word for the soft part of the external ear. lobe. 2: Let's hear you nail this other word for the malleus. a hammer. 3: It precedes "membrane" to designate the eardrum. the tympanic. 4: The curved fold of the external ear is called this spiral shape--just single, not double. a helix. 5: I predict you will know this 7-letter word for the visible part of the outer ear. the auricle. Round 4. Category: World City Walk 1: It's the city (also a country) that's home to St. Peter's Basilica. Vatican City. 2: In the 17th century the Corsairs controlled this current capital of Morocco. Rabat. 3: The first Japanese city to host the Winter Olympics, it's also famous for its beer and its Snow Festival. Sapporo. 4: In 1942 Field Marshal Erich Von Manstein led a failed effort to assist surrounded German forces in this Soviet city. Stalingrad. 5: Found in the Dong Cheng district, this capital city's main railway station connects to Harbin and Qingdao. Beijing. Round 5. Category: 1951 1: In 1951 it celebrated its 175th anniversary and was sealed in a helium-filled case. the Declaration of Independence. 2: On February 26 a constitutional amendment became law, limiting the holder of this office to 2 terms. President of the United States. 3: In May, this utility co. became the 1st corporation in the world to have over 1,000,000 stockholders. ATandT. 4: 90 cadets at this academy were ousted in a cheating scandal. West Point. 5: On Oct. 24,1951, Truman declared our state of war with this country had finally ended. Germany. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

We are back in Venice for the latest edition of the biggest biennial in the world of art. The 60th Venice Biennale comprises an international exhibition featuring more than 300 artists, dozens of national pavilions in the Giardini—the gardens at the eastern end of the city—and the Arsenale—the historic shipyards of the Venetian Republic—and host of official collateral exhibitions and other shows and interventions across Venice. The Art Newspaper's contemporary art correspondent, Louisa Buck, editor-at-large Jane Morris and host Ben Luke review the international exhibition, Foreigners Everywhere/Stranieri Ovunque, curated by the Brazilian artistic director, Adriano Pedrosa. We talk to artists and curators behind five national pavilions—Jeffrey Gibson in the US pavilion, John Akomfrah in the British pavilion, Romuald Hazoumè in the Benin pavilion, Gustavo Caboco Wapichana, the curator of the Hãhãwpuá or Brazilian pavilion, and Valeria Montii Colque in the Chilean pavilion—about their presentations. And we like to end our Venice specials by responding to an example of the historic work that made la Serenissima one of the world's great centres for art. So for this episode's Work of the Week, Ben Luke gained exclusive access to one of the most significant paintings in Venetian history: the Assunta or Assumption of the Virgin made between 1516 and 1518 by Titian. Since the last Biennale in 2022, the Assunta has been unveiled after a four-year conservation project, funded by the charity Save Venice. We spoke to the man who restored this incomparable masterpiece, Giulio Bono, right beneath Titian's painting.The Venice Biennale, 20 April-24 November. Listen to the interview with Adriano Pedrosa in the episode of this podcast from 2 February.The website that Giulio Bono mentions, which will present the findings of the conservation of Titian's Assunta in detail, will go online later this year.Save Venice, savevenice.org.Subscription offer: subscribe to The Art Newspaper for as little as 50p per week for digital and £1 per week for print or the equivalent in your currency. Visit theartnewspaper.com to find out more. Hosted on Acast. See acast.com/privacy for more information.

It included masterpieces by Titian, Rapahel and more...

Holman grabs an interview with Raptor Chief Engineer Carl Widmann and slides behind the wheel of the 2024 Ford Ranger Raptor. The Truck Show Podcast is proudly presented by Nissan in association with Banks Power.

Sheldon Brown, Chief Engineer for the all-new 2024 Toyota Tacoma returns to the podcast to talk about all of the features of Toyota's newest truck. Hear the latest truck news and the truth about Producer Miles is revealed. The Truck Show Podcast is proudly presented by Nissan in association with Banks Power.

Chapter 1 What's Bright Earth Book by Philip BallThe Bright Earth: Art and the Invention of Color is a book written by Philip Ball. In this book, Ball explores the history and significance of color in art, science, and culture. He traces the use and creation of pigments throughout history, from ancient societies to modern times, and discusses their influence on artistic movements, trade, and technological advancements. The book delves into the chemistry, symbolism, and cultural contexts of various pigments, highlighting their role in shaping artistic expression and human perception of color. It offers a comprehensive exploration of the relationship between art, science, and color, presenting a fascinating journey through the history of pigments and their impact on our world.Chapter 2 Is Bright Earth Book A Good BookOpinions on books can vary, so it is subjective to say whether "Bright Earth" by Philip Ball is a good book or not. However, it has generally received positive feedback and critical acclaim. It explores the history, science, and cultural impact of color throughout the world. The book is well-researched, engaging, and informative, combining science, art, and history to offer a comprehensive view on the topic. If you are interested in colors, their origins, and their significance in various cultures, it is likely that you would find this book enjoyable and informative.Chapter 3 Bright Earth Book by Philip Ball Summary"Bright Earth: Art and the Invention of Color" is a book written by Philip Ball that explores the history, science, and cultural significance of colors in art. In this book, Ball takes readers on a journey through the ages, explaining how artists and scientists over time have developed and understood color.The book starts by examining the ancient world and the limited palette of colors available to artists at that time. It then moves on to discuss the development of pigments in the Renaissance, with a focus on the groundbreaking work of painters such as Titian and his use of vibrant reds and blues.Ball also delves into the scientific side of the story, exploring the chemistry and physics behind color perception and the development of artificial pigments. He explains how scientists and artists have worked together to create new shades and hues, such as the invention of mauve in the 19th century.Throughout the book, Ball weaves in anecdotes and historical narratives to bring the story of color to life. He explores how color has influenced different cultures and societies, reflecting on its symbolism and cultural significance in different periods of history.Furthermore, Ball discusses the social impact of color, highlighting how it has been used as a signifier of wealth, power, and identity. He examines the relationship between color and gender, race, and class, shedding light on how certain colors have been associated with specific social groups throughout history.Overall, "Bright Earth" is a comprehensive and engaging exploration of the history and science of color in art. It combines historical research, scientific knowledge, and cultural analysis to provide readers with a deeper understanding of the role color has played in human civilization. Chapter 4 Bright Earth Book AuthorPhilip Ball is a British science writer and author. His book "Bright Earth: Art and the Invention of Color" was first published in 2001. The book explores the history and science behind artists' pigments and their role in shaping art and culture. It examines various pigments and their impact on different artistic movements.Apart from...

From the Dagger Award–winning author of Norwegian by Night comes a vivid, thrilling, and moving World War II art-heist-adventure tale where enemies become heroes, allies become villains, and a child learns what it means to become an adult—for fans of All the Light We Cannot See.  August, 1943. Fourteen-year-old Massimo is all alone. Newly orphaned and fleeing from Rome after surviving the American bombing raid that killed his parents, Massimo is attacked by thugs and finds himself bloodied at the base of the Montecassino. It is there in the Benedictine abbey's shadow that a charismatic and cryptic man calling himself Pietro Houdini, the self-proclaimed “Master Artist and confidante of the Vatican,” rescues Massimo and brings him up the mountain to serve as his assistant in preserving the treasures that lay within the monastery walls. But can Massimo believe what Pietro is saying, particularly when Massimo has secrets too? Who is this extraordinary man? When it becomes evident that Montecassino will soon become the front line in the war, Pietro Houdini and Massimo execute a plan to smuggle three priceless Titian paintings to safety down the mountain. They are joined by a nurse concealing a nefarious past, a café owner turned murderer, a wounded but chipper German soldier, and a pair of lovers along with their injured mule, Ferrari. Together they will lie, cheat, steal, fight, kill, and sin their way through battlefields to survive, all while smuggling the Renaissance masterpieces and the bag full of ancient Greek gold they have rescued from the “safe keeping” of the Germans.  Heartfelt, powerfully engaging, and in the tradition of City of Thieves by David Benioff, Derek B. Miller's novel The Curse of Pietro Houdini (Simon and Schuster, 2024) is a work of storytelling bravado: a thrilling action-packed adventure heist, an imaginative chronicle of forgotten history, and a philosophical coming-of-age epic where a child navigates one of the most enigmatic and morally complex fronts of World War II and lives to tell the tale. AJ Woodhams hosts the "War Books" podcast. You can subscribe on Apple here and on Spotify here. War Books is on YouTube, Facebook and Instagram. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

From the Dagger Award–winning author of Norwegian by Night comes a vivid, thrilling, and moving World War II art-heist-adventure tale where enemies become heroes, allies become villains, and a child learns what it means to become an adult—for fans of All the Light We Cannot See.  August, 1943. Fourteen-year-old Massimo is all alone. Newly orphaned and fleeing from Rome after surviving the American bombing raid that killed his parents, Massimo is attacked by thugs and finds himself bloodied at the base of the Montecassino. It is there in the Benedictine abbey's shadow that a charismatic and cryptic man calling himself Pietro Houdini, the self-proclaimed “Master Artist and confidante of the Vatican,” rescues Massimo and brings him up the mountain to serve as his assistant in preserving the treasures that lay within the monastery walls. But can Massimo believe what Pietro is saying, particularly when Massimo has secrets too? Who is this extraordinary man? When it becomes evident that Montecassino will soon become the front line in the war, Pietro Houdini and Massimo execute a plan to smuggle three priceless Titian paintings to safety down the mountain. They are joined by a nurse concealing a nefarious past, a café owner turned murderer, a wounded but chipper German soldier, and a pair of lovers along with their injured mule, Ferrari. Together they will lie, cheat, steal, fight, kill, and sin their way through battlefields to survive, all while smuggling the Renaissance masterpieces and the bag full of ancient Greek gold they have rescued from the “safe keeping” of the Germans.  Heartfelt, powerfully engaging, and in the tradition of City of Thieves by David Benioff, Derek B. Miller's novel The Curse of Pietro Houdini (Simon and Schuster, 2024) is a work of storytelling bravado: a thrilling action-packed adventure heist, an imaginative chronicle of forgotten history, and a philosophical coming-of-age epic where a child navigates one of the most enigmatic and morally complex fronts of World War II and lives to tell the tale. AJ Woodhams hosts the "War Books" podcast. You can subscribe on Apple here and on Spotify here. War Books is on YouTube, Facebook and Instagram. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

When it comes to the idea of longevity, my guest on this episode of The Unfinished Print has just that: the hard work and sacrifice to make a career in making mokuhanga, bringing the art form to people worldwide.    Today I speak with mokuhanga printmaker, graphic designer, and writer, Tuula Moilanen. Currently living in Finland, Tuula has made mokuhanga for almost 40 years and has been an essential part of the worldwide mokuhanga community, teaching, instructing and overseeing the art form's growth.   Tuula speaks about her twenty years in Japan, her teachers, and how she views her mokuhanga. We discuss creating work, social media, and the philosophy of art.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Publishers are given if known. Tuula Moilanen  - website Tetsuya Noda -is a respected printmaker and artist who works with photography, mokuhanga, and serigraphy (silkscreen). Was head of the printmaking department at the National Fine Arts and Music University in Tōkyō until 2006. More info can be found here.  Diary: Nov. 7th ‘68  (#1) 31 15/16" × 31" (1963-1976) Akira Kurosaki 黒崎彰 (1937-2019) - was one of the most influential woodblock print artists of the modern era. His work, while seemingly abstract, moved people with its vibrant colour and powerful composition. He was a teacher and invented the “Disc Baren,” which is a great baren to begin your mokuhanga journey with. At the 2021 Mokuhanga Conference in Nara, Japan there was a tribute exhibit of his life works. Azusa Gallery has a nice selection of his work, here.   Meeting of Comets (1980) 5.7"x 3.9"   Kyoto Seika University - is a private university based in Kyōto, Japan. It is a university focused on art and scholarship. More info, here.    nagashizuki - is a style of paper making in Japan. This way of making paper creates a strong, translucent paper good for multiple uses. For a more detailed analysis of creating this type of washi check out Awagami's description, here.    shodo -is the name attributed to calligraphy in the Japanese style, which involves writing characters using a brush and ink. mokulito - a type of lithography which incorporated woodblock. Artist Danielle Creenaune uses mokulito in her work. She has a fine detailed explanation on its uses, here.     shina - is a type of Japanese plywood used in mokuhanga. Not all shina is made equally, buyer beware.   Utagawa Kuniyoshi (1798-1861) - is considered one of the last “masters” of the ukiyo-e genre of Japanese woodblock printmaking. His designs range from landscapes, samurai and Chinese military heroes, as well as using various formats for his designs such as diptychs and triptychs.   Taira Kiyomori from the series Meiko hyaku yuden 名高百勇傳 published by Izumiya Ichibei    Keizo Sato - is a mokuhanga printmaker who owns and operates a shop in Kyoto making reproductions of ukiyo-e prints. He has demonstrated at the International Mokuhanga Conference, in 2011. Has been associated with the Adachi Foundation of Woodblock Print Preservation.    takuhon - is a style of printmaking one in which the pigments are rubbed into the washi with a type of pad. Printmaking At Newcastle University on YouTube has a fine video about the process, here.    hyōgu - is a traditional Japanese process of mounting calligraphy and paper works such as paintings.   intaglio printing - is a printing method, also called etching, using metal plates such as zinc, and copper, creating “recessed” areas which are printed with ink on the surface of these "recesses.” More info, here. The MET has info, here.     European woodcuts - woodcuts began in Europe in 1400; the woodcut/woodblock tradition has long been in Western Europe. These prints gained prominence during the late Middle Ages (500-14/1500 AD) and the Renaissance (14th Century - 17th Century AD), spreading visual information from religious iconography to political propaganda. Some famous artists we know today are Albrecht Dürer (1471-1528) and Titian (? - 1576).    © Popular Wheat Productions opening and closing musical credit - Put It Down by Otis McDonald, John Patittuci, and Mike Chiavarro, from their single Put It Down released on TrackTribe (2023) logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                

For the 22nd episode of "Reading the Art World," host Megan Fox Kelly speaks with Richard Lacayo, author of “Last Light: How Six Great Artists Made Old Age a Time of Triumph,” published by Simon and Schuster.Richard Lacayo is one of the world's top art critics and he has been a long-time writer and editor at Time magazine. From 2003 to 2016 he was the magazine's art and architecture critic. Richard has also written on art and architecture for People, Foreign Policy, and Graydon Carter's new online publication, Air Mail. He's the co-author, with George Russell, of “Eyewitness: 150 Years of Photojournalism,” and in 2013 he delivered a lecture at the Smithsonian American Art Museum on the late careers of artists, the topic of this book. “Last Light” tells the stories of the late careers of six of history's greatest artists — Titian, Goya, Monet, Matisse, Hopper and Nevelson —  and shows how they continued to push themselves and the boundaries of their art-making right up until the end. As Richard's book reveals, the importance of much of this late-in-life work would not be fully understood or appreciated until decades later."Reading the Art World" is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new publications. Megan Fox Kelly is an art advisor and past President of the Association of Professional Art Advisors who works with collectors, estates and foundations. For more information, visit meganfoxkelly.com and subscribe to our new posts. Follow us on Instagram: @meganfoxkellyPurchase “Last Light: How Six Great Artists Made Old Age a Time of Triumph” at Simon & Schuster and at Barnes & Noble. Music composed by Bob Golden.

From capturing the erymanthian boar to battling a guy stuffed like pig, on today's episode we tell you the epic tale of the Mighty Hercules. We'll discuss his immortal father leaving him to meager humans, his adventures on the territories to prove himself a hero, and the quest to conquer Titian. Come talk about the episodes: ⁠Instagram.com/10BellPod ⁠ Discord: ⁠https://discord.gg/H45nvTMu⁠ Patreon: ⁠https://www.patreon.com/10BellPod⁠ Pro Wrestling Tees ⁠https://www.prowrestlingtees.com/related/10bellpod.html --- Support this podcast: https://podcasters.spotify.com/pod/show/10bellpod/support

Yellowfang goes through a break up and gets a promotion.  Book: Super Edition: Yellowfang's Secret Support us on Ko-fi! WCWITCast Ko-fi Follow us on Twitter! WCWITCast (@WCWITCast)  Follow us on Instagram! WCWITCast  What We Are Reading (Not Sponsored): Horrorstör by Grady Hendrix Cat Fact Sources: Purr-n-Fur UK | Working Felines | Shop cats from Poland Dante's Blog (Polish) Dante's Facebook Kot Dante Youtube ft Titian and Antykwariat Naukowy Antykwariat Naukowy Facebook Antykwariat Naukowy Music: The following music was used for this media project: Happy Boy Theme by Kevin MacLeod  Link: https://incompetech.filmmusic.io/song/3855-happy-boy-themeLicense: http://creativecommons.org/licenses/by/4.0/

Adrianna, Giuli and Sofi discuss the concept of “virginity” as a way of loving others according to their destiny: Christ. How does this account of virginity differ from others in the Church and the world? Where in our lives have we experienced the joy of virginal purity and integrity in our relationships? What helps us live the sacrifices demanded by this kind of love? // Our media recommendation is the song Beyond the Blue by Josh Garrels (music: www.tinyurl.com/k4m2jf2k lyrics: www.azlyrics.com/lyrics/joshgarrels/beyondtheblue.html). And our monthly challenge is to identify a relationship in which you are being invited to greater purity of love, and to join this sacrifice to that of the Lord at the Mass. // We'd love to hear from you! Write to us at pilgrimsoulpodcast@gmail.com or find us on Instagram at @pilgrimsoulpodcast. Our website is www.pilgrimsoulpodcast.com. // Other resources we mention: - Fr. Paolo Prosperi FSCB's article on virginity in Communio “Do Not Hold Me: Ascending the Ladder of Love”: www.tinyurl.com/4nvsms9r - Bishop Erik Varden's interview in The Pillar about his new book on chastity: www.pillarcatholic.com/p/to-be-chaste-is-to-be-whole-bishop - Fr. Luigi Giussani's trilogy of books “Is It Possible to Live This Way?” - Pope Francis' Apostolic Letter on St. Joseph: www.vatican.va/content/francesco/en/apost_letters/documents/papa-francesco-lettera-ap_20201208_patris-corde.html - Titian's painting “Noli me tangere” www.nationalgallery.org.uk/paintings/titian-noli-me-tangere // Our theme music is Nich Lampson's “Dolphin Kicks.” We are part of the Spoke Street media network: check it out at www.spokestreet.com.

Left unfinished at this death in 1576, Titian's “Pietà” was intended to serve as his funerary monument. Its extreme use of loose brushstroke and unconventional color combinations led one art historian to describe the painting as an example of “chromatic alchemy.”

Painted in the last year's of Titian's life, the “Crowning with Thorns” in Munich revisited a theme that he painted 30 years earlier in a painting today located in the Louvre in Paris. Examined side by side, there is perhaps no better way to demonstrate the dramatic evolution of Titian's style to very loose and suggestive brushwork in the final stage of his career.

Nietzsche concludes the book with the suggestion that cognition itself is “common”, insofar as communicability is more effective the more common the experience that is communicated. Language facilitates the “abbreviation” of the most common sentiments and experiences, which is part of the process of joining a people together as one. The person whose experiences, thoughts or feelings are individual & peculiar will necessarily find himself unable to communicate them to others, and will be thrust into solitude. Much of the final aphorisms concern this eternal struggle between the rule and the exception, one of the themes of the work. Nietzsche ultimately muses that even the precious, wicked thoughts he has offered us throughout the work are but a pale imitation of the thoughts during their spring: for all thoughts are events, fleeting experiences, a physiological process within a living being. All the philosopher can do is catalogue their aftermath, or display the frozen remnants that linger in their memory. This section also contains multiple remarks on pity, and the prose poem, “The Genius of the Heart”. An exegesis of this poem can be found in episode 39. Episode art: Bacchus and Ariadne by Titian (detail)

Painted around 1565, this exquisite painting exemplifies Titian's later style with its loose brushstroke, sophisticated use of color, and delicate tonal transitions. The meaning of the painting is somewhat controversial as it does not fall into any traditional iconographical schemes and has consequently resulted in various scholarly theories being proposed.

In 1573, Paolo Veronese was commissioned by the Dominicans at the church of Saints Giovanni and Paolo in Venice to paint a “Last Supper” to replace an earlier version by Titian that had been destroyed by fire. The result was a massive image full of numerous figures engaged in a hedonistic celebration. Not surprisingly, a few months after completing the painting, the artist was called before the Holy Tribunal of Venice to answer to accusations of indecorous religious painting. Veronese was able to satisfy his inquisitors and save his painting by changing its subject to the “Feast in the House Levi.”

We meet legendary artist Julian Schnabel to explore more than 40 years of painting. Since his first solo exhibition in 1976, Schnabel has been on a quest to express the inexpressible. Best known for his multidisciplinary practice that extends beyond painting to include sculpture and film. His use of preexisting materials not traditionally used in art making, varied painting surfaces and modes of construction were pivotal in the reemergence of painting in the United States. Resisting the turn to traditional conventions of painting and sculpture that characterized the 1980s, he began his series of Plate Paintings, representational works with sculptural surfaces produced by layering shards of found pottery with thick applications of pigment. Throughout his career, he has sustained his use of found materials and chance-based processes, transforming the conventions of painting and opening the door for a new generation of young artists.The works on display in Schnabel's upcoming show were made in concert with the preparation of his seventh feature film, In the Hand of Dante, an adaptation of Nick Tosches's novel of the same name. For Schnabel, filmmaking and painting exist in a continuum in which subject matter crosses between mediums, assuming myriad forms. This relationship resonates throughout the exhibition, where indecipherable narratives emerge from a process of imagery central both to Schnabel's film and to the paintings on view.Celebrated for his vast and experimental practice that extends into the realms of sculpture and filmmaking, the artist has always been a painter first and foremost. Since 1978, when he created the first plate painting, The Patients and the Doctors—a work which abandoned traditional canvas in favor of a surface composed of broken plates—his use of unconventional, found materials has led to the invention of entirely new modes of painting. Dispensing with traditional distinctions between abstraction and figuration, Schnabel's plate paintings, and his works on velvet, reinvigorated interest in painting as a medium for contemporary art. Moreover, in the early years of his practice, Schnabel decided to make paintings that incorporated the history and materiality of the medium itself, embracing a singular approach to both form and subject.With these new velvet paintings, Schnabel considers the ways that the material appears as subject matter throughout the history of art—particularly in the works of Titian, Goya, and other Old Masters—and its symbolic weight in the history of humanity itself. But rather than creating illusionistic depictions of velvet, the artist uses the material for the surfaces of his works, inventing a new, contemporary kind of history painting in the process.Among Schnabel's recent velvet works in the exhibition is the ten-panel Buñuel Awake (for Jean-Claude Carrière) or Bouquet of Mistakes (2022), a large-scale composition that evokes the grandeur of retablos, architecturally scaled paintings that loom behind the altars of Renaissance and Baroque churches across southern Europe. Also included in this body of new works is Gesù Deriso. Jesus Mocked (2023), which refers directly to an enigmatic Renaissance fresco by the Dominican monk Fra Angelico in the famous monastery of San Marco in Florence.Julian's new exhibition 'Bouquet of Mistakes' is now open and runs until October 28th 2023.Visit: pacegallery.com/exhibitions/julian-schnabel-new-york/Follow @JulianSchnabel and visit his official website: www.julianschnabel.comSpecial thanks to @PaceGallery. Hosted on Acast. See acast.com/privacy for more information.

Paolo Veronese is the third member of the great Venetian late Renaissance trio that also includes Titian and Tintoretto. The church of San Sebastiano in Venice was decorated over 15 years with paintings exclusively by Veronese and is a veritable shrine to the genius of this great painter.

We're baaacckk! Mandolyn Wilson Rosen and I have returned for Part 2 to finish our report on Giorgio Vasari's "Lives of the Artists," a combo-bio of Florentine High Renaissance artists from the 1580's. Pull up a carved high-backed chair, grab yourself a goblet of watered-down wine and join us for the continuation of our journey back to this fabled time in Italian art. In Part 2, we cover Sandro Botticelli, Leonardo da Vinci, Raphael, Jacopo da Pontormo, Michelangelo, and Titian (with some discussion of Albrecht Durer as well). In the Boticelli section, Mandy references this article by Alexxa Gotthardt on Artsy: https://www.artsy.net/article/artsy-editorial-botticellis-birth-venus-challenged-depictions-nude-art Please visit our sponsor, The New York Studio School, to enroll for their wonderful Marathon courses (by Sept 8) or for over a dozen different 11 week Evening & Weekend Courses (by Sept 18) at NYSS.org Find your own copy of "Lives of the Artists" by Giorgio Vasari at your public library or at most online bookstores. The 1991 English Translation by Julia and Peter Bondanella includes the lone woman artist in Vasari: Sculptor Madonna Properzia de Rossi. Earlier translations often exclude her, so keep an eye out if buying used! Mandolyn Wilson Rosen is online here: website: https://mandolynwilsonrosen.com/home.html and IG: https://www.instagram.com/mandolyn_rosen/ Amy Talluto is online here: website: https://www.amytalluto.com/ and IG: https://www.instagram.com/talluts/ Thanks for listening! ---------------------------- 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 ⁠BuyMeACoffee⁠ Donations appreciated! --- Send in a voice message: https://podcasters.spotify.com/pod/show/peptalksforartistspod/message Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support

Summary Ioanna Iordanou (Twitter; LinkedIn) joins Andrew (Twitter; LinkedIn) to discuss Venice's Secret Service. Her research on “centralized intelligence” during the Italian Renaissance has secured her two entries in Guiness World Records! What You'll Learn Intelligence The origins of centralized intelligence  “The Council of Ten” - Venice's spy chiefs “The Inquisitors of the State” - Venice's counterintelligence body Venetian power in the Eastern Mediterranean  Reflections The rise and fall of empires The relationship between geography and power And much, much more … *EXTENDED SHOW NOTES & FULL TRANSCRIPT HERE* Quotes of the Week “Considering some of the most significant challenges we face right now, such as disease, we just got over a global pandemic or migration or trade or climate change or cybersecurity, all these issues do not stop at the borders like any early modern spies, they cross borders. So even reflecting on how people dealt with these things in the past might help us make better political, social, economic decisions.” – Ioanna Iordanou. Resources  SURFACE SKIM *Headline Resource  Venice's Secret Service: Organizing Intelligence in the Renaissance, Ioanna Iordanou (Oxford University Press, 2014)  *SpyCasts* Espionage and the Two Queens with Kent Tiernan (2023)  The Counterintelligence Chief with FBI Assistant Director Alan Kohler (2023)  The Lion and the Fox – Civil War Spy vs. Spy with Alexander Rose (2023) Keeping Secrets/Disclosing Secrets with Spy Chief turned DG of Australia's National Archives David Fricker (2022) *Beginner Resources* A Brief Overview of Renaissance History, Art in Context (2023) [Short article] Profile of a City: Venice, Renaissance Italy (2012) [Short article]  Brief History of the Renaissance in 5 Minutes, 5 Minutes (2022) [YouTube video] *EXTENDED SHOW NOTES & FULL TRANSCRIPT HERE* DEEPER DIVE Books Inventing the World: Venice and the Transformation of Western Civilization, M. F. Small (Pegasus Books, 2020) City of Fortune: How Venice Ruled the Seas, R. Crowley (Random House, 2013) A World Lit Only by Fire: The Medieval Mind and the Renaissance, W. Manchester (Little, Brown and Company, 1993)  Primary Sources  The Life and Letters of Sir Henry Wotton, Internet Archive (1907)  The de'Barbari Map (View of Venice), Cartography Venice Project Center (1500)  Letter of Aeneas Silvius Piccolomini to Lord Cardinal Firmanus, Carleton College (1453)  The Shorter Annals of Venice, Carleton College (ca. 13th century)  Primary Collections  Venetian Diplomatic Agents in England, British History Online (1202-1509) *Wildcard Resource* Browse the art of Titian, an artist whose work was used as a form of payment for spies and intelligence gatherers in Venice. Not a bad paycheck!  *EXTENDED SHOW NOTES & FULL TRANSCRIPT HERE*

This painting is the last of six paintings that make up Titian's extraordinary “Poesie” series for King Philip II of Spain. Of all six, it is in the worst state of conservation and went through major compositional changes while it was being painted. Nevertheless, the “Perseus and Andromeda” is an important work of beauty, innovation, and visual interpretation of a classical literary source. 

One of the greatest masterpieces of Italian Renaissance painting, Titian's painting depicts the abduction of the nymph Europa by Jupiter, who has disguised himself as a bull. Titian employs all of his painterly skill to create a dazzling array of textures, colors, and images that coalesce into a hypnotically beautiful work of art. 

Part of Titian's magnificent “Poesie” series which he painted for King Philp II of Spain in the 1550s, the “Diana and Callisto" represents the exposure of the pregnancy of the nymph Callisto who had been loved by Jupiter. 

The third of six paintings constituting Titian's famous “Poesie” series for King Philip II of Spain, “Diana and Acteon” represents a mythological account of divine punishment. A hapless hunter named Acteon stumbles upon Diana, goddess of chastity and of the hunt, and is punished for violating her decency by being transformed into a stag and killed by his own hounds.