Podcasts about Uffizi

¿Cuál es el origen del arte? ¿Quiénes son sus guardianes? Javier Sierra plantea estas preguntas en "El plan maestro". La novela propone un viaje inmersivo que comienza en el arte rupestre y pasa por las salas del Prado, el Museo del Louvre y la Galería de los Uffizi, entre otros escenarios del arte en el mundo.Escuchar audio

Annamaria Bava"Da Botticelli a Mucha"Sale Chiablese, Musei Reali di TorinoNelle Sale Chiablese dei Musei Reali di Torino, la mostra DA BOTTICELLI A MUCHA. Bellezza, Natura, Seduzione, un viaggio nella seduzione e nella bellezza espresse attraverso il mito, la natura e l'universo femminile, da sempre principali soggetti della creazione artistica.Con oltre 100 opere tra dipinti, disegni, sculture antiche e oggetti d'arte provenienti dai Musei Reali di Torino, dalle Gallerie degli Uffizi e da molte altre prestigiose istituzioni, la mostra spazia da magnifiche statue e bassorilievi archeologici di età romana, passando da Botticelli e Lorenzo di Credi – di cui vengono messi a confronto due incredibili capolavori – proseguendo con opere rinascimentali; un excursus per temi che toccano il mito, il fascino dell'antico, la natura e l'universo femminile, fino ad arrivare all'inizio del Novecento con la seduzione delle opere di Alphonse Mucha, maestro dell'Art Nouveau.Tra i capolavori in mostra, la Venere di Botticelli della Galleria Sabauda e la Dama con l'unicorno di Luca Longhi da Castel Sant'Angelo.La mostra contiene anche preziosi focus su figure femminili straordinarie quali la Contessa di Castiglione, figura emblematica di fine Ottocento, nobildonna di rara bellezza e seducente agente segreto, o ancora principesse e regine di Casa Savoia.Vengono anche svelate, per la prima volta, le indagini diagnostiche realizzate sulla Venere di Botticelli, da cui si potranno scoprire i pensieri e i ripensamenti dell'artista.Contestualmente, ospite d'onore della mostra, lo splendido Volto di fanciulla, disegno autografo di Leonardo da Vinci realizzato tra il 1478 e il 1485 circa, proveniente dalla Biblioteca Reale ed esposto nel nuovo Spazio Leonardo al primo piano della Galleria Sabauda.Prodotta dai Musei Reali di Torino e da Arthemisia, la mostra è curata da Annamaria Bava.Anna Maria Bava, ha conseguito il dottorato di ricerca in Storia e critica d'Arte e il post-dottorato di ricerca in Storia dell'arte moderna presso l'Università di Torino. Nel 1999 è diventata funzionario della Soprintendenza per i Beni Storici Artistici ed Etnoantropologici del Piemonte. Dal 2011 è direttrice della Galleria Sabauda e ha curato il riordinamento dei nuovi settori a partire dal 2017. Ha pubblicato numerosi saggi, in particolare sul caravaggismo, sull'arte piemontese e sul collezionismo sabaudo tra il Cinquecento e il Settecento e ha curato diverse mostre in Italia e all'estero fra cui, tra le ultime, Le meraviglie del mondo: le collezioni di Carlo Emanuele I di Savoia; Van Dyck pittore di corte; Rubens. Capolavori d'arte dei Musei Italiani; Riccardo Gualino imprenditore e collezionista; Sulle tracce di Raffaello nelle collezioni sabaude; Le Signore dell'Arte. Storie di donne tra ‘500 e ‘600; Rembrandt incontra Rembrandt. Dialoghi in Galleria.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

W drugim odcinku tego sezonu rozmawiamy o sztuce, przez duże i małe „s”, a także o roli przedmiotów w naszym otoczeniu. Zaglądamy do galerii i muzeów, debarując o ulubionych artystach i instytucjach kultury. Zastanawiamy się jak dobierać sztukę do swojego wnętrza i dlaczego mamy tak mało  rzeźb w przestrzeni. Jest intensywnie, zabawnie a czasem i kąśliwie, ale naszym głównym celem jest zachęcenie Was - słuchaczy do obcowania ze sztuką na co dzień.  Moją gościnią jest Maja Michalak – historyczka sztuki, założyciela  „Poza Ramami”,  autorka podcastu „Sztuka Poza Ramami”, która od 8 lat oswaja ludzi z muzeami, galeriami, skutecznie zaraziła miłością do sztuki ponad 50 tysięcy osób.Menu wiedzy:  książki:  Grażyna Bastek – Rozmowy obrazów E.H. Gombrich – O sztuce David Hockney – Historia obrazów Linda Nochlin – Dlaczego nie było Wielkich Artystek? Piotr Oczko - Suknia i sztalugi Katy Hessel – Historia sztuki bez mężczyzn Sarah Thornton – 7 dni w świecie sztuki Podcasty:  Otulina o sztuce Art Detective (Katie Hessel) Filmy:  Made You Look (Netflix, 2020) – o fałszerstwach sztuki Abstrakt: Sztuka designu (Netflix) – o projektowaniu i kreatywności Koneser (2013) – thriller o rynku sztuki Blurred Lines: Inside the Art World (2017) – analiza współczesnego rynku sztuki Ile za sztukę? (2023) - dokument o polskim rynku sztuki  Za drzwiami galerii Uffizi (2021) - dokument o kulisach działania jednego z najważniejszych muzeów na świecie

Fluent Fiction - Italian: Unveiling Hidden Stories: A Renaissance Reverie Find the full episode transcript, vocabulary words, and more:fluentfiction.com/it/episode/2025-03-08-23-34-01-it Story Transcript:It: Giulia camminava con passi decisi lungo il corridoio principale degli Uffizi.En: Giulia walked with determined steps along the main corridor of the Uffizi.It: La Galleria era viva, un colosso di arte e storia.En: The Gallery was alive, a colossus of art and history.It: Era l'8 marzo, la Giornata Internazionale della Donna, e il sole di primavera filtrava delicatamente attraverso le grandi finestre ad arco, riflettendosi sulle opere dei maestri del Rinascimento.En: It was March 8th, International Women's Day, and the spring sun gently filtered through the large arched windows, reflecting on the works of the Renaissance masters.It: Al centro della galleria, si stava per aprire una nuova mostra.En: In the center of the gallery, a new exhibition was about to open.It: Ciò nonostante, Giulia, una storica dell'arte appassionata, sentiva il peso dell'incertezza.En: Nevertheless, Giulia, a passionate art historian, felt the weight of uncertainty.It: Aveva lavorato mesi sul progetto, ma Marco, il curatore principale, aveva giudicato il suo lavoro irrilevante.En: She had worked on the project for months, but Marco, the principal curator, had deemed her work irrelevant.It: Giulia desiderava ardentemente che il suo mestiere venisse apprezzato.En: Giulia desperately wanted her craft to be appreciated.It: Intorno a lei, la folla chiacchierava e sorrideva, ignara della sua lotta interiore.En: Around her, the crowd chatted and smiled, unaware of her inner struggle.It: "Non devo arrendermi," pensò Giulia.En: "I must not give up," thought Giulia.It: Decisa a far valere le sue idee, si diresse verso Elena, la direttrice della galleria.En: Determined to assert her ideas, she headed towards Elena, the gallery director.It: Elena ascoltava con attenzione, il viso illuminato da una curiosità sincera mentre Giulia spiegava la visione della sua mostra.En: Elena listened intently, her face lit up with genuine curiosity as Giulia explained the vision of her exhibition.It: Gli occhi di Elena brillavano.En: Elena's eyes sparkled.It: "Questo è esattamente ciò di cui abbiamo bisogno," disse Elena con un sorriso incoraggiante.En: "This is exactly what we need," said Elena with an encouraging smile.It: "Hai il mio supporto."En: "You have my support."It: L'orologio segnava l'inizio dell'inaugurazione.En: The clock marked the beginning of the inauguration.It: La sala era gremita, un fruscio di eccitazione percorreva l'aria.En: The room was crowded, a buzz of excitement filled the air.It: Giulia, un po' nervosa ma determinata, prese il centro del palco.En: Giulia, a bit nervous but determined, took center stage.It: Le parole all'inizio sembravano dure come la pietra, ma presto si sciolsero, fluendo come un torrente di passione.En: The words at first seemed as hard as stone, but soon they melted, flowing like a torrent of passion.It: Raccontò di come le donne avessero influenzato e plasmato il Rinascimento, di come le loro storie fossero spesso dimenticate.En: She spoke of how women had influenced and shaped the Renaissance, of how their stories were often forgotten.It: Il silenzio nella sala era tangibile, rotto solo dal suono delle pennellate antiche nelle tele intorno a loro.En: The silence in the room was palpable, broken only by the sound of ancient brushstrokes on the canvases around them.It: Marco, sorpreso dalla reazione della platea, la osservava attentamente.En: Marco, surprised by the audience's reaction, watched her closely.It: Alla fine del discorso di Giulia, l'applauso che seguì fu fragoroso e spontaneo.En: At the end of Giulia's speech, the applause that followed was thunderous and spontaneous.It: La sua voce aveva raggiunto il cuore del pubblico.En: Her voice had reached the hearts of the audience.It: Elena si avvicinò a Giulia e, con un abbraccio affettuoso, la elogiò pubblicamente.En: Elena approached Giulia and, with an affectionate hug, praised her publicly.It: "Giulia ci ha mostrato una nuova prospettiva.En: "Giulia has shown us a new perspective.It: Ha svelato storie nascoste," disse Elena.En: She has unveiled hidden stories," said Elena.It: L'entusiasmo nella folla era evidente, e molti si avvicinarono per congratularsi.En: The enthusiasm in the crowd was evident, and many approached to offer their congratulations.It: In quel momento, Giulia sentì il peso sollevarsi.En: In that moment, Giulia felt the weight lift off her shoulders.It: Aveva trovato la forza nella sua passione e nella sua voce.En: She had found strength in her passion and her voice.It: Camminò lungo la sala con un nuovo senso di sicurezza.En: She walked through the room with a new sense of confidence.It: La primavera offriva nuove possibilità, proprio come le opere che la circondavano promettevano eternità.En: Spring offered new possibilities, just as the works surrounding her promised eternity. Vocabulary Words:determined: determinaticorridor: il corridoiocolossus: il colossoarched: ad arcowindows: le finestreart historian: la storica dell'arteuncertainty: l'incertezzacurator: il curatoreirrelevant: irrilevantecraft: il mestiereinner struggle: la lotta interioredetermined: decisagenuine: sinceracuriosity: la curiositàsparkled: brillavanoencouraging: incoraggiantebuzz: il fruscioinauguration: l'inaugurazionecrowded: gremitanervous: nervosatorrent: il torrenteshaped: plasmatopalpable: tangibilebrushstrokes: le pennellatestage: il palcoaffectionate: affettuosounveiled: svelatohidden stories: le storie nascosteconfidence: la sicurezzaeternity: l'eternità

Right at the Fork is supported by:  Zupan's Markets: www.Zupans.com  RingSide Steakhouse:  www.RingSideSteakhouse.com  Portland Food Adventures: www.PortlandFoodAdventures.com   Taking a trip to Tuscany?  You'll want to listen to this episode with Elisa Acciai, who's been a tour guide in Florence for years.  We talk about her journey from being a Concierge at a 5-Star hotel in Florence to becoming a guide in one of the world's most popular destinations, including the requirements to be licensed to do so in Italy.  The balance of family/work life as well. She'll share a few of her recommended restaurants and experiences in Florence and in the Tuscan countryside in this podcast.  Best practices for tipping various services in Italy, a must for all people touring the country. You can visit Elisa with her dearest American "sister," Astrid Ensign in September 2025 as host Chris Angelus takes a group to Tuscany to take in the Uffizi and the best historical sites in Florence with Elisa, as well as celebrating the Andrea Falaschi's family's 100th year as the village butcher in San Miniato.  It will be quite an insider's trip featuring the people near and dear to PFA's Astrid, who lived for years in Tuscany, but now makes Portland her home.     Recommended Italy-focused companion podcasts here:    Astrid Ensign, Portland Food Adventures' Italian Host   Podcast with Andrea Falaschi of Macelleria Falaschi   Contact Elisa: Instagram: @elaizatour Facebook: Acciai Elisa Florence Guide Email: elaizaacciai@gmail.com French Blog: www.jadoreflorence.blogspot.com  

Dani Heywood-Lonsdale discusses with Ivan six things which should be better known. Dani Heywood-Lonsdale is a writer with family roots in Hawaii and the Philippines. She holds a Doctorate in Education and teaches English Literature in Oxfordshire, having previously taught in Florence and London over the past decade. Before pursuing a career in academia, she worked for a nonprofit in New York City and studied social policy and development at LSE. The Portrait Artist is her first novel, and is available at https://www.bloomsbury.com/uk/portrait-artist-9781526669988/. Adoration of the Magi by Leonardo da Vinci in the Uffizi museum, Florence An unfinished masterpiece. Da Vinci was commissioned by the monks of San Donato in Scopeto in 1481, but he left for Milan the following year leaving it unfinished. Ristorante Academia. In Piazza San Marco: quiet, unassuming, unpretentious, DELICIOUS authentic food. The kindest, friendliest staff; every friend I have sent raves about it. The dark, sad and beautiful origins of the original Peter Pan text by JM Barrie James Barrie lived in his brother David's shadow until he was 6. In 1867, David died in a skating accident, age 14; Barrie forever tried to cheer his devastated mother—who eventually found comfort in the idea that David would remain a boy forever. Wired to Create by Scott Barry Kaufman ‘Offers a glimpse inside the “messy minds” of highly creative people. Molokai hot bread. A secret delicacy on the tiny island of Molokai, Hawaii: A rival between cinnamon-sugar hot bread and strawberry-cream cheese hot bread. Archimede ceramic shop in Ortygia, Sicily In a deceptive location (right by the cathedral and seemingly touristy), this shop has the most exquisite works of art. This podcast is powered by ZenCast.fm

È stato riaperto al pubblico dopo otto anni il Corridoio Vasariano di Firenze, il tunnel aereo realizzato cinque secoli fa sopra il cuore del centro cittadino dall'architetto Giorgio Vasari per volere di Cosimo I de' Medici.Nel 2016 questa meraviglia architettonica annessa alla Galleria degli Uffizi e ammirata in tutto il mondo era stata chiusa per consentire l'adeguamento alle norme di sicurezza e per essere sottoposta a un accurato restauro. Dopo i lavori il Corridoio Vasariano è stato riportato al suo stato originale, ovvero alla sua nudità rinascimentale, una dimensione che consente al visitatore di apprezzare appieno la monumentalità della sua struttura architettonica. Alcuni secoli dopo la sua realizzazione il camminamento sopraelevato sull'Arno era stato infatti convertito in una sorta di appendice museale della Galleria degli Uffizi con decine di opere d'arte esposte sulle sue pareti. Ci hanno accompagnato nella visita di questo capolavoro rinascimentale Simona Pasquinucci, responsabile della divisione curatoriale degli Uffizi e l'architetto Francesca Funis, autrice di un recente studio storico approfondito sul capolavoro di Giorgio Vasari.

Inner Fire 2010 Arcylic on Paper by Shiloh SophiaToday's podcast is an exploration of becoming conscious about the illusions.* Exploring George Orwell's famous 4 fingers* Gaslighting ourselves and not trusting ourselvesAccusation of the other ‘side' * Exhausting rabbit-holing to find Truth* Do not drink the divide and conquer koolade* Hearts and braings changing right now* A Centers of Knowing Coherence practice for discernmentThis podcast is complimentary - yet if you choose to contribute, be welcome. In Orwell's novel-made movie, 1984, there is a famous and devastating scene. Winston is being tortured by O'Brien, who holds up four fingers and demands that there are five. He wants Winston to distrust himself and go with the party's version of the truth, not just agree to it, but actually see it as so. "O'Brien says, Look at my hand, Winston. Right now, you see, indeed, four fingers held up to you. But as you can see, O'Brien uncovers his thumb, showing all five fingers. I have, in fact, five fingers. That is the essence of the party. Winston, you think you know the truth by seeing things with your senses. But as you can see, your senses can disappoint you. The party knows everything is everything. The party knows that there are five fingers here even if you only see four of them. The party knows the truth that you cannot see from the place you are standing at because you are weak alone. The party is strong and omniscient and therefore if the party says that two and two equals three or five it will always be right. You by yourself cannot know the truth." As each one of us experiences our own reckoning in relationship to our lives and in relationship to how we experience the nation, especially those of us in the United States, I want to invite us to continue to question what we see and think. It's curious for me how personal so much of this feels in relationship to experiences I've had in my life where I haven't been able to trust people and then end up not trusting myself.Some of them are the people I have loved the most. And in the end, it was my own hand showing the fingers to myself through just trusting my own experience over a longer period of time. Now, with the increase of AI easily showing us things that are not true, It can be very hard to believe our eyes.We are going to need other tools for discernment than we've needed before, really. I'm going to share a heart-brain coherence process with you very briefly to support with discernment. The images that AI are showing us makes me think about those Renaissance paintings where the patron would have the artist paint themselves into the scene, painting the patron inm and that those with the biggest purse strings and influence are defining the images of our times. When I offer art history tours, it is a very different tour indeed. I used to go on this tour with Jonathan and myself and our community to the Uffizi in Florence, and Elisabetta, our tour guide, would hand me the mic to give the alt history of what we're actually seeing. One of the changes that we need to make is how we're relating to the material. Because one of the challenges with truth right now is the exhaustion caused by rabbit-holing in order to discern the source so that we can figure out if something is true or not. And there goes another 15 minutes, and there goes another 15 minutes, and there goes our mood, and the algorithms, they got us. At the end, we still don't know if what we see is true, and perhaps we give in to overwhelm. One thing might upset me and another person something totally else, and we each act like the other person's concern is the distraction from what's really happening. And our critical thinking has been used in a sometimes productive and often nonproductive way, but the end result may be weary, irritated, and feeling unsafe, and deciding not to post after all. Can't we just find the truth with a capital T?It's hard to find right now. This process that we are experiencing is fundamentally changing our brains. We are also being changed in our hearts as more fear and distrust of the others around us in our lives and in the larger collective spaces increases exponentially.Divide and Conquer is here to stay for a while, so we need to not go for it. Do not go. Drink that Kool-Aid of divide and conquer. Discernment, choice, but not divide and not conquer. Because then they've got us right where they want us, fighting with each other instead of with them.Yet there is also more compassion that's happening. So the hearts are also opening because we're considering the impacts on other people's lives. People who never defended Mexicans, trans, and women are suddenly becoming more visible. We could go into all the different ways that this time is changing us and our voices.If you look back in my posts on my Tea with the Muse Substack you'll find that I've been talking about these topics for a long time. These are not new that I am suddently speaking about it. I'm just speaking about it more specifically in regarding what's happening here. But I've been talking about consciousness raising and discernment for my entire 30-year journey as a creative and someone who guides community. What I find really curious is that each side, quote, if you think of it that way, really thinks the other side is holding up the false number of fingers. Really, really, really think about this. We have rarely accused each other of the same illusionary experience and metaphor, even if the content that those hands are pointing to is different. Whose hand is it? We can begin to distrust the thoughts and feelings that we're having. In times like these, we question them and then are sometimes gaslit by others for our feelings and thoughts.We can just stop treating other people who don't agree with us as if they're just stupid. That would be helpful. Disagree, but leave the shame part out of it. The marketing propaganda from, quote, both parties is sickening. Sickening. Even as I'm making this message, I'm getting texts on my phone number from both parties about what's happening. Really.Without the heart-brain coherence pattern operating soundly within us, we become dysregulated in our nervous system. This is a real thing, y'all, not some new age idea. Our brain and our heart are communicating all the time. When we become conscious of it, we can collaborate with the process of coherence,which is always the right place to make a decision from. For those who know me, I think they can attest to a degree of severity that I carry forward. Yes, I am a wild, free woman who dances and houses with the moon and paints outrageous paintings.But I have a severity because I am deeply disturbed about the state of the world, and I have been since I was a young child, like so many of you. This disturbance about how I felt about the systems of the world was originally part of the inspiration to be of service when I was a teenager and became a rebel. I wanted to know how I could help. Now my inspiration is I'm just in love with the practices, culture, and community we have co-created called Musea. Musea, by the way, means museum in the plural or many muses. It acknowledges that we have people all over the world who are connected through creativity. Now I work from joy instead of disturbance while keeping my eye on the disturbance. The initial disturbance of how things are showed me how to become stronger towards what I care about. To be courageous at the root of courageous core, the heart.I want to invite you to spend time nurturing yourself and your heart and your brain every single day. When you are confused with something and something that needs discernment or you feel challenged, try this connection with your centers of knowing. This is about creating heart coherence.Creating Coherence in Centers of KnowingConsider physically touching each place that I'm about to mention lightly with your hands as you visualize the connection between each place. I like to see a golden ribbon of light between each area, each center of knowing. 1. Begin with connecting with yourself, capital S self, about whatever it is you're navigating.2. Ask your heart how it feels and what it perceives. The heart has the strongest electromagnetic field of the body. And the heart perceives in the field around you. 3. Travel next in your imagination to your brain and ask how it feels and what it perceives. Listen. 4. And then go back through your heart, landing in your gut,and ask how it feels and what it perceives. Listen. 5. And then when you're ready, travel to your groin region, front and back and all around the pelvic area, and ask, what do you feel and perceive? 6. And then I like to travel back up to the heart after listening. Check in on the topic. Was there agreement between those centers of knowing or disagreement? Was there coherence? And what is the decision now? In Intentional Creativity we might now take to the dance floor of the drawing board or the canvas, which is what I'm about to do on this Valentine's Day. If you check those centers of knowing and there are conflicting experiences, there is work of discovery to be done. Especially if it's just one area, then you can focus there, meditate, and see why there's disharmony. But in general, I try not to act until I get agreement from all centers. That way, I can have a clear voice, a true heart, and a pure mind experience in my decision-making and my discernment.If you would practice this even before you go online and even before you read articles and follow rabbit holes and watch YouTubes and anything else, you would be approaching this material from a very different place than what you'reencountering in the social media and news world and on your phone. I also recommend that you, before you engage, sort of open the file of engagement. And then close it when you are done looking. Don't just leave the portal open or the tab open.Close it energetically so these files are not running in the background all the time. I've made some of the hardest choices of my life through checking these areas for confirmation or lack thereof. It gives me courage. Regardless of all the challenging things, we are evolving and growing. And I believe we are becoming more conscious and more compassionate.I am seeing this time as an evolution. And we have a long way to go. That's why we need practices. I invite you to pay attention to whose hand is holding up the fingers and telling you how many there are. Can we do that? Some say that George Orwell was an optimist.Sometimes the one holding up the elusive hand is in our own minds. Isn't there so much richness here to explore in this wild becoming? I choose to see it as a wild becoming to wholeness. This is my choice, my conscious choice. Enter flow state and soak in as much beauty as possible as often as possible.And I'm sending big love as a wave out into the lives of those tuning in. And I too am tuning in to you with much loveShiloh SophiaPhoto by Jonathan McCloud Get full access to Tea with the Muse at teawiththemuse.substack.com/subscribe

Explore Florence's incredible museums with insider tips from Johnny Mac! Learn the best times to visit Michelangelo's David, navigate the vast Uffizi Gallery like a pro, and discover lesser-known museums that tourists often miss. Includes time-saving strategies and secret spots for the best views.For our recommended Florence tours, visit Our GuideTo enjoy this episode commercial-free, visit caloroga.com/plus

Autore e attore, ma anche artista: anzi “artrista”, come si definisce lui. Alessandro Bergonzoni, nato a Bologna nel 1958, laureato in legge, ha al suo attivo 15 spettacoli teatrali e sei libri. Ma dal 2005 ha iniziato anche un percorso artistico, esponendo i suoi lavori in gallerie e musei: nel 2011 mostra personale alla Cittadellarte – Fondazione Pistoletto di Biella dal titolo “Grembi: soglie dell'inconcepibile” e nello stesso anno, “BonOmnia 2006 rivisitata”, collettiva a cura di Philippe Daverio presso Palazzo Fava a Bologna. Nel 2012 partecipa alla collettiva “Data on imperfection”, a cura di Martina Cavallarin, alla Factory Art a Berlino; nel 2015 espone alla Pinacoteca Nazionale di Bologna, due anni dopo è presente alla Biennale e alle Gallerie dell'Accademia di Venezia, e nel 2018 nella Sala delle Maestà degli Uffizi all'interno delle manifestazioni dell'Estate Fiorentina. La sua attività di artista resta tuttora poco conosciuta. E per scoprire Bergonzoni artista lo abbiamo incontrato a Milano, dove alla Fondazione Mudima di arte contemporanea i lavori di Bergonzoni sono stati accostati all'opera di Bill Viola. L'occasione per una conversazione appassionata sui rapporti tra scrittura e immagine, sul ruolo dell'arte e dell'artista in una società che sembra aver perso alcuni fondamentali valori. In Laser incontro con l'artrista Bergonzoni.

Un'opera d'arte è talento e ispirazione, genio e passione ma è fatta di materia e materiali, quindi è anche chimica, fisica e biologia. Un'opera d'arte è anche scienza. In questa puntata speciale, intervisto Jana Striova, ricercatrice senior all'Istituto Nazionale di Ottica del CNR (CNR-INO) di Firenze. Se vuoi, puoi dare un'occhiata al sito del Gruppo Beni Culturali dell'Istituto Nazionale di Ottica del CNR, oppure contattare Jana Striova tramite email. Ringraziamenti: partner di progetto ed enti finanziatori Opificio delle Pietre Dure, El.En., Museo Galileo, Fondazione Alinari per la Fotografia, Gallerie degli Uffizi, Fondazione Casa Buonarroti, Calliope Arts, Fondazione Peggy Guggenheim di Venezia, Regione Toscana Giovanisì (progetto DIAGNOSE). Per approfondire i temi della puntata Pittura di Artemisia Gentileschi. Disegno di Leonardo. Dagherrotipi. Gelatine. Learn more about your ad choices. Visit megaphone.fm/adchoices

ROMA (ITALPRESS) - Il 2024 del turismo “è andato molto bene, si consolida una tendenza molto interessante: prima la maggior parte dei turisti in Italia erano italiani, ora sono diventati gli stranieri”. Lo ha detto Alessandra Priante, presidente di Enit, intervistata da Claudio Brachino per il magazine televisivo Italpress Economy, pochi giorni dopo la chiusura del G7 del Turismo a Firenze. “Non c'era mai stato un G7 sul settore, abbiamo fatto la storia”. Quello di Firenze “è stato un evento straordinario non solo per tutta l'accoglienza che il ministero ha anche organizzato a Firenze (la location è stata Palazzo Vecchio, ci sono state le visite agli Uffizi, c'è stato un meraviglioso side event su un treno storico diretto a Monteriggioni con lo chef Heinz Beck)”, ma anche perché “ha introdotto l'intelligenza artificiale in maniera seria, a livello di coesione in politica internazionale”, ha ricordato Priante. Il turismo “è un settore economico e, come per tutti i settori economici, le decisioni vanno prese sulla base di buoni dati - ha aggiunto -. L'intelligenza artificiale ci consente, in una situazione in cui c'è molta disarmonia dei dati, di fare una sintesi, di leggere un trend o di entrare nel meccanismo predittivo che è fondamentale per il turismo”.mrv/sat/gsl

ROMA (ITALPRESS) - Il 2024 del turismo “è andato molto bene, si consolida una tendenza molto interessante: prima la maggior parte dei turisti in Italia erano italiani, ora sono diventati gli stranieri”. Lo ha detto Alessandra Priante, presidente di Enit, intervistata da Claudio Brachino per il magazine televisivo Italpress Economy, pochi giorni dopo la chiusura del G7 del Turismo a Firenze. “Non c'era mai stato un G7 sul settore, abbiamo fatto la storia”. Quello di Firenze “è stato un evento straordinario non solo per tutta l'accoglienza che il ministero ha anche organizzato a Firenze (la location è stata Palazzo Vecchio, ci sono state le visite agli Uffizi, c'è stato un meraviglioso side event su un treno storico diretto a Monteriggioni con lo chef Heinz Beck)”, ma anche perché “ha introdotto l'intelligenza artificiale in maniera seria, a livello di coesione in politica internazionale”, ha ricordato Priante. Il turismo “è un settore economico e, come per tutti i settori economici, le decisioni vanno prese sulla base di buoni dati - ha aggiunto -. L'intelligenza artificiale ci consente, in una situazione in cui c'è molta disarmonia dei dati, di fare una sintesi, di leggere un trend o di entrare nel meccanismo predittivo che è fondamentale per il turismo”.mrv/sat/gsl

Let's travel to Florence— I'll provide a little bit of historical background to the birthplace of the Renaissance and then we'll dive into the treasures of this Tuscan capital. In this episode, I'll talk about my summer experience in Italy starting with visiting Pisa and then going to Firenze aka Florence. Florence is an art history/architectural nerd's dream. From the beautiful Piazzas (Piazza del Duomo, Piazza del Santa Croce), mega cathedrals with unimaginable scale and so much art. From the Uffizi to the Piazza della Signoria, Florence is truly an open air museum. Shop along the gold and jewelry shops of the medieval Ponte Vecchio bridge overlooking the Arno. Just be on the look out for pickpockets. Treat yourself to quality Florentine leather goods at the Scuolo del Cuoio or Galleria Michaelangelo. And most imporantly, eat gelato. My favorite spots in Florence: La Galleria Michelangelo Scuolo Del Cuoio La Strega Nocciola Gelateria Della Passera Trattoria Casa Toscana WHERE TO FIND ME: Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@busygallivantingpodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Youtube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/@BusyGallivantingPodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email: busygallivantingpodcast@gmail.com Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠busygallivantingpodcast.com⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/busygallivanting/support

Fluent Fiction - Italian: Moments of Humanity: An Unexpected Bond in the Uffizi Find the full episode transcript, vocabulary words, and more:fluentfiction.org/moments-of-humanity-an-unexpected-bond-in-the-uffizi Story Transcript: Vocabulary Words:the gallery: la galleriamagical: magicothe autumn: l'autunnoto illuminate: illuminareenveloping: avvolgentethe corridor: il corridoiothe inspiration: l'ispirazionethe exhibition: la mostrathe historian: lo storicoto recount: raccontareto dream: sognareto recognize: riconoscereto strike: colpirefascinated: affascinatofragile: fragilethe secret: il segretoto hide: nasconderethe weakness: la debolezzathe dizziness: il giramento di testato fade: sfumareto thud: il tonfoto kneel: inginocchiarsito calm: calmareto reassure: rassicurarethe masterpiece: il capolavorothe bond: il legameto recover: riprendersithe gratitude: la gratitudinethe tension: la tensioneto dissolve: sciogliersi

Undoubtedly one of the world's greatest art collections, the Uffizi Gallery is one of the most visited sites in Florence. Visitors from around the world flock to the gallery to admire masterpieces by Botticelli, Giotto, Michelangelo and Caravaggio among the thousands of pieces in this incredible collection.  Founder of LivTours, Angelo Carotenuto joing us to share his insights on how to visit the gallery and make the most of your time there.Read the full episode show notes here > untolditaly.com/239Support the showJoin our mailing list and get our FREE Italy trip planning checklist - subscribe here | Join us on tour: Trip schedule | Discover our Trip Planning Services | Visit our online store | Follow: Instagram • Facebook • YouTube • Italy Travel Planning CommunityThe Untold Italy travel podcast is an independent production. Podcast Editing, Audio Production and Website Development by Mark Hatter. Production Assistance and Content Writing by the other Katie Clarke - yes there are two of us!

Fluent Fiction - Italian: Adventure and Art: A Journey Through the Uffizi Gallery Find the full episode transcript, vocabulary words, and more:fluentfiction.org/adventure-and-art-a-journey-through-the-uffizi-gallery Story Transcript:It: L'aria calda dell'estate fiorentina si mescolava con l'eccitazione nell'aria.En: The warm air of the Florentine summer mixed with the excitement in the atmosphere.It: Alessandro camminava con passo deciso verso l'ingresso della Galleria degli Uffizi, con sua sorella Bianca e la sua amica Claudia al fianco.En: Alessandro walked with a determined step towards the entrance of the Uffizi Gallery, with his sister Bianca and her friend Claudia by his side.It: La galleria era uno spettacolo impressionante, un vero tesoro di arte rinascimentale.En: The gallery was an impressive spectacle, a true treasure of Renaissance art.It: Le pareti erano coperte di dipinti, e statue di marmo decoravano le sale.En: The walls were covered with paintings, and marble statues decorated the halls.It: "Non vedo l'ora di vedere i quadri," disse Bianca, con gli occhi spalancati per l'entusiasmo.En: "I can't wait to see the paintings," said Bianca, her eyes wide with enthusiasm.It: "Ci aspettano tante sorprese," rispose Alessandro, cercando di nascondere la sua ansia.En: "There are many surprises in store for us," replied Alessandro, trying to hide his anxiety.It: Voleva impressionare Bianca con tutte le sue conoscenze d'arte e aiutare Claudia a sentirsi più sicura per la sua tesi.En: He wanted to impress Bianca with all his art knowledge and help Claudia feel more confident about her thesis.It: Entrarono nella prima sala e furono accolti dal soffice bagliore del sole che filtrava attraverso le grandi finestre ad arco.En: They entered the first room and were greeted by the soft glow of the sun filtering through the large arched windows.It: Ogni dipinto sembrava raccontare una storia.En: Every painting seemed to tell a story.It: Claudia parlò, rompendo il silenzio.En: Claudia spoke, breaking the silence.It: "Alessandro, potresti raccontarci qualcosa su questo dipinto di Giotto?"En: "Alessandro, could you tell us something about this painting by Giotto?"It: "Certo," rispose Alessandro, tentando di mascherare il suo nervosismo.En: "Of course," Alessandro replied, attempting to mask his nervousness.It: "Questo è uno dei primi esempi di prospettiva nell'arte rinascimentale."En: "This is one of the first examples of perspective in Renaissance art."It: Intanto, Bianca si muoveva curiosa tra le opere.En: Meanwhile, Bianca moved curiously among the artworks.It: Le sue domande sembravano non finire mai.En: Her questions seemed never-ending.It: Si fermò davanti a un dipinto di Leonardo da Vinci e chiese, "E questo?En: She stopped in front of a painting by Leonardo da Vinci and asked, "And this one?It: Cosa rappresenta?"En: What does it represent?"It: Claudia, ancora nervosa per la sua tesi, decise di mettersi alla prova.En: Claudia, still nervous about her thesis, decided to put herself to the test.It: "Bianca, questo è un ritratto famoso.En: "Bianca, this is a famous portrait.It: Si dice che gli occhi seguano chi lo guarda."En: It is said that the eyes follow whoever looks at it."It: "Wow, è incredibile!"En: "Wow, that's incredible!"It: esclamò Bianca.En: exclaimed Bianca.It: La paura di Claudia iniziava a sciogliersi come neve al sole.En: Claudia's fear began to melt away like snow in the sun.It: Le sfide poste dalle domande di Bianca si trasformavano in opportunità per dimostrare a se stessa la sua preparazione.En: The challenges posed by Bianca's questions turned into opportunities to demonstrate her preparation.It: Avanzarono fino a raggiungere una delle sale più famose, quella con "La Nascita di Venere" di Botticelli.En: They moved on until they reached one of the most famous rooms, the one with Botticelli's "The Birth of Venus."It: Bianca fissava il quadro affascinata.En: Bianca stared at the painting, fascinated.It: "Claudia, cosa significa quella conchiglia gigante?"En: "Claudia, what does that giant shell mean?"It: Claudia prese un respiro profondo.En: Claudia took a deep breath.It: "La conchiglia rappresenta la purezza di Venere.En: "The shell represents Venus's purity.It: È un simbolo di nascita e di bellezza ideale.En: It is a symbol of birth and ideal beauty.It: Botticelli voleva rappresentare la perfezione dell'amore."En: Botticelli wanted to depict the perfection of love."It: Bianca sembrava rapita dalla spiegazione.En: Bianca seemed enthralled by the explanation.It: "Hai spiegato tutto così bene!"En: "You explained everything so well!"It: Alessandro sorrise, sentendosi finalmente rilassato e orgoglioso di entrambe.En: Alessandro smiled, finally feeling relaxed and proud of both of them.It: La tensione era scomparsa.En: The tension had vanished.It: Aveva capito che non doveva sapere tutto per essere un buon guida.En: He realized he didn't need to know everything to be a good guide.It: Claudia, dal canto suo, sentiva di aver superato una piccola montagna.En: As for Claudia, she felt she had overcome a small mountain.It: Le domande di Bianca le avevano permesso di verificare le sue conoscenze e ora si sentiva pronta per la sua tesi.En: Bianca's questions had allowed her to verify her knowledge, and she now felt ready for her thesis.It: Uscirono dalla galleria sotto il caldo sole estivo, sentendosi più vicini e sicuri.En: They left the gallery under the hot summer sun, feeling closer and more confident.It: "Grazie per questa giornata," disse Bianca, tenendo per mano suo fratello.En: "Thank you for this day," said Bianca, holding her brother's hand.It: "Ho imparato tanto."En: "I learned so much."It: "E io ho capito che siamo un bel trio," disse Claudia con un sorriso.En: "And I realized that we make a great trio," said Claudia with a smile.It: La visita agli Uffizi era stata più di una semplice passeggiata tra le opere d'arte.En: The visit to the Uffizi had been more than just a walk among artworks.It: Era stata un'avventura di scoperta e crescita per tutti e tre.En: It had been an adventure of discovery and growth for all three of them. Vocabulary Words:the air: l'ariathe summer: l'estatethe step: il passothe entrance: l'ingressothe gallery: la galleriathe treasure: il tesorothe Renaissance: il Rinascimentothe painting: il dipintothe statue: la statuathe hall: la salathe anxiety: l'ansiathe thesis: la tesithe glow: il bagliorethe story: la storiathe nervousness: il nervosismothe perspective: la prospettivathe portrait: il ritrattothe question: la domandathe birth: la nascitathe beauty: la bellezzathe perfection: la perfezionethe love: l'amorethe guide: il guidathe knowledge: la conoscenzathe challenge: la sfidathe opportunity: l'opportunitàthe explanation: la spiegazionethe confidence: la sicurezzathe discovery: la scopertathe growth: la crescita

A world of machine art would be an eerie one. Art connects us to one another. We cannot, and we should not, replace that connection with an uncanny simulacrum of it. Read by Helen Lloyd. Image: The Tribuna of the Uffizi by John Zoffany. Credit: PAINTING / Alamy Stock Photo 

On Thursday 4 July, the UK will hold a general election, with the Labour party currently far ahead in the opinion polls. Dale Berning Sawa, a contributor to The Art Newspaper who is also commissioning editor at the online news site The Conversation, joins Ben Luke to reflect on the effects on culture of 14 years of Conservative or Conservative-led governments, and what they and the other parties are promising regarding culture in their manifestos. In Florence, Italy, the former director of the Uffizi galleries, the German Eike Schmidt, has lost the race to be mayor of the city. We speak to our correspondent in Italy, James Imam, to find out what happened. And this episode's Work of the Week is All Power to All People by Hank Willis Thomas. This huge public sculpture depicting an Afro pick with a Black Power salute is at the Glastonbury festival, in a new initiative organised by the non-profit Level Ground, and we talk to Thomas about it.Hank Willis Thomas: All Power to All People, West Holts Stage, Glastonbury Festival, until 30 June. Hosted on Acast. See acast.com/privacy for more information.

Nella prima parte della trasmissione discuteremo di attualità. Inizieremo con la notizia dell'ondata di informazioni false sull'immigrazione volte a influenzare le elezioni europee. Continueremo a parlare di fake news questa volta con riferimento ad una campagna russa progettata per sovraccaricare i fact-checkers. Quindi, analizzeremo i dati di uno studio sulla probabile individuazione delle sfere di Dyson, che confermerebbero l'esistenza di civiltà aliene. Infine, commenteremo una notizia che non piacerà agli appassionati della ristorazione competitiva: l'amato campione della gara di hot dog Nathan's Famous del 4 luglio quest'anno non gareggerà.   Inizieremo con una notizia che riguarda la meravigliosa città di Firenze, dove la presenza di due gru suscita da tempo accese discussioni. Queste strutture imponenti, impiegate per l'ammodernamento delle Gallerie degli Uffizi, uno dei musei più prestigiosi e visitati d'Italia, hanno dominato lo skyline della città per quasi vent'anni. Concluderemo con il tennis: gli ultimi sviluppi del torneo di tennis del Roland Garros hanno rimescolato le carte della classifica mondiale ATP, incoronando il giovane prodigio Jannik Sinner il numero uno al mondo. Per la prima volta nella storia, un italiano ha conquistato la vetta del tennis mondiale. - L'estrema destra ha diffuso informazioni false sull'immigrazione per influenzare le elezioni dell'UE - Svelata una campagna russa di fake news progettata per sovraccaricare i fact-checker - Gli astronomi cercano prove di sfere di Dyson per rilevare la vita aliena - Un famoso mangiatore di hot dog è stato squalificato per essere passato a un'alimentazione a base vegetale - Gru e controversie nel cuore di Firenze - Jannik Sinner scrive la storia del tennis italiano

Welcome back to the season finale of The Irish Podcast! In Part 2 of our insider's guide to Florence, we delve into the vibrant wine culture, the best spots for nightlife, and fun cultural activities and day trips. Whether you're looking for a relaxed evening with a glass of wine, an energetic night out, or some cultural exploration, we've got you covered. **Wine:** - Enjoy top wine spots like Zanobini's, Osteria Nuvoli, and Enoteca Alessi. **Nightlife:** - Experience fun atmospheres at Boris' and Il Trip per Tres. - Find the best pint of Guinness at Finnegan's. - Discover late-night pubs like Fiddlers and Caffe Notte. - Explore the best drink selections at Dondino and The Old Stove. - Perfect for students: Lions Fountain and Red Garter. - Budget-friendly bars: Druggaria, Napoli Bar, and Sisters. - Best smoking areas and outdoor spaces: Il Trip per Tres, Rosie's, Rondinella, and Fico Bistrot. - Avoid for service: Pop Cafe. - Happy hour spots: Hidden Pub. - Cocktail havens: Mysterium and Sabor Cubano. - Best views: The Loggia. - Craft beer delight: Joshua Tree. - Top entertainment spots: Finnegan's, Ostello Bello, and Le Murate. - Accessibility: Fitzpatrick's. - Our favourite pubs: Finnegan's, Boris's, Caffe Notte, and Il Trip per Tres. **Culture & Day Trips:** - Activities at Cascine Park: gigs, golf, and horse racing. - Local swimming pools. - Must-see sights: David, Uffizi, Pitti Palace, and the Science Museum. - Recommended day trips and bus tours. - Unique experiences: Marcello's Golf Cart Tour, wine tasting at Antica Alessi, electric bike tours, hot air balloon rides, and The Tipsy Tours. - Fun pasta and cooking courses. - Caution against bus tours. - Reliable guides: The Florentine and Get Your Guide. Join us as we share our top picks and personal experiences to help you make the most of your time in Florence. From wine tasting to late-night adventures and cultural excursions, this episode has everything you need for an unforgettable Florentine adventure. Don't miss out! Tune in now and let's explore Florence together! FOLLOW US Website: www.theirishpodcast.com Instagram: @theirishpodcast TikTok: @theirishpodcast Youtube: /Altlivin  or search The Irish Podcast ABOUT SEASON TWO Meet Jane and Cormac, your companions on a captivating journey through the highs and lows of embracing an Irish life in Italy. Join us as we unravel the tales of our relocation, navigating life as digital nomads and bartenders, and immersing ourselves in the daily hustle of a new country. Prepare to venture into the heart of Tuscany with us, where we'll uncover the enchanting nuances and quirks that define Italy. From awe-inspiring landscapes to side-splitting misadventures, including our memorable 'Bed Bug' experience – a story that's not to be missed! Take a special detour with us to the Edinburgh Fringe, where we'll regale you with our escapades and encounters in one of the world's most dynamic cultural festivals. Whether you're a seasoned travel enthusiast or simply curious about the intricacies of relocating to a new land, our podcast offers you a front-row seat to a medley of stories, laughter, and the warm embrace of Irish hospitality. So, grab your headphones, settle in, and let us entertain you!

Una de las muchas riquezas con las que cuenta la Región de Murcia es el talento de sus gentes. Para muestra, el pintor Pedro Cano. Un artista que dió sus primeros pasos de manera precoz a los once años. Un inicio autodidacta que con el paso del tiempo le llevaría a sacar brillo a su arte de la mano de instituciones como la Escuela Superior de Bellas Artes de San Fernando o la Academia de España en Roma. Con obra en el Museo Vaticano o en la Galleria degli Uffizi en Florencia, Cano es considerado por muchos el artista plástico más importante de la Región de Murcia. Un pintor que cuenta en su haber con la Medalla de Oro al Mérito en las Bellas Artes, con el que repasamos su trayectoria y nos acercamos a la labor de la Fundación Pedro Cano.Escuchar audio

One of the world's great museums of Renaissance art: the Uffizi.  Meaning "the offices," the Uffizi were quite literally built as an office buidling for the growing administration of Cosimo I de' Medici, the first Grand Duke of Tuscany, the leader who brought authoritarian rule, if also stablity, to Florence. Bry Rayburn from the Pontifacts podcast, joins me once again to talk about Cosimo, her historic bae, the great museum, and the rest of his legacy. We also talk about our old friend Giorgio Vasari, author, artist and architect, a true Renaissance man. And of course, ribollita, that classic Tuscan white bean stew! 

Linda Tugnoli"Art Night""Il volto e l'anima. Indagine sul ritratto"Mercoledì 24 aprile 2024 alle 21.15 su Rai 5Art Night Il volto e l'anima. Indagine sul ritratto Il volto umano: la prima forma che si distingue, appena nati. La prima che si cerca di rappresentare. Un soggetto che ha attraversato tutta la storia dell‟arte occidentale. In tempi molto recenti, però, è stato però varcato un confine invisibile. Lo racconta “Art Night” in onda mercoledì 24 aprile alle 21.15 in prima visione su Rai 5 con Neri Marcorè, con un documentario di Linda Tugnoli prodotto da Mark in video. Uno studio recentissimo dell‟Australian National University ha messo in luce come, nei ritratti fotografici, i volti prodotti dall‟Intelligenza Artificiale siano ormai percepiti come più veri del vero. E‟ la soglia di una nuova era? Anche nell‟arte la rivoluzione è già iniziata. Il collettivo Obvious ha creato il primo ritratto creato con l‟Intelligenza Artificiale battuto all‟asta da Christie‟s a più di 400.000 dollari e il ritratto è stato generato da un algoritmo che per produrlo ha analizzato circa 15.000 ritratti di varie epoche storiche. «Siamo stati creati per guardarci l‟un l‟altro» scriveva Edgar Degas che, a Parigi, prendeva l‟omnibus ogni giorno per potersi immergere quotidianamente in una folla di volti. E nel ritratto, ogni epoca ha espresso l‟idea che l‟uomo aveva di sé stesso. Per questo, interrogarsi sull‟interesse dell‟arte occidentale per il ritratto, cioè per la sua attitudine introspettiva, prevede delle domande che, se da una parte spaziano dalla pittura alla scultura, alla fotografia, alle opere realizzate con l‟ausilio dell‟intelligenza artificiale, dall‟altra si collocano necessariamente al confine tra storia dell‟arte, scienza e filosofia. La speculazione sul profondo attraverso la raffigurazione del volto significa innanzitutto analisi delle emozioni. All‟origine del ritratto moderno, nel senso appunto di questa capacità introspettiva, possiamo collocare Leonardo Da Vinci, con i suoi studi di fisiognomica e la sua raccomandazione di rappresentare i moti dell‟animo attraverso i tratti del volto: dal suo Trattato della Pittura: «Farai le figure in tale atto, il quale sia sufficiente a dimostrare quello che la figura ha nell‟animo.» Ma la geniale intuizione di Leonardo, ripresa da Degas nella sua idea che osservarci l‟un l‟altro sia l‟essenza dell‟umano, non riecheggia forse anche nelle recenti ricerche delle neuroscienze, tra cui un‟importantissima scoperta tutta italiana: quella dei neuroni specchio? Giacomo Rizzolatti, neuroscienziato di cui già più volte è stato fatto il nome per il Nobel, ha scoperto che il cervello risponde alle emozioni che legge sul volto di un altro con delle configurazionineuronali che non si limitano a “leggere” quelle emozioni ma, incredibilmente, le mimano, le riproducono. Il racconto di “Art Night” procede per suggestioni e per nuclei tematici, ma si appoggia anche a una solida linea del tempo che conduce dai volti quasi assenti nell‟arte rupestre del Paleolitico alle maschere funerarie egizie per poi riflettere sull‟originalità e la forza della ritrattistica romana nel campo della scultura. Si indagherà lo sviluppo della fisiognomica a partire dagli studi anticipatori di Leonardo al trattato cinquecentesco del Della Porta fino a Le Brun e agli sconfinamenti nello studio della follia e dell‟antropologia criminale di Lombroso. Parallelamente, si seguirà la ricerca della verità nel ritratto a partire dal „400, dove un punto di partenza può essere individuato nei sorrisi eternizzati dell‟Ignoto marinaio di Antonello da Messina e la sua più celebre controparte femminile, la Gioconda. La storia del ritratto si imbatte poi alla bizzarra vicenda umana e artistica di Lorenzo Lotto, che prelude alle vette della ritrattistica di Rembrandt, Velasquez, Vermeer, fino alla tappa definitiva della psicanalisi, che con Freud nel 1900 svela l‟esistenza di profondità fino ad allora insondate a pittori come Modigliani, Klimt, Schiele e poi ai surrealisti. Con la fotografia, che soppianta il ritratto e ne riprende all‟inizio certe caratteristiche (per esempio l‟assenza di sorriso, almeno fino all‟apparecchio portatile della Eastman-Kodak alla fine dell‟800) si entra in una nuova era, fino agli approdi più recenti che aprono nuove dimensioni nel futuro, dall‟arte digitale al deep fake. Nel programma intervengono Amy Dawel, Associate Professor, The Australian National University; l‟artista Pierre Fautrel, Obvious Ai & Art, Parigi; Francois Debrabant, Direttore Museo Preistorico La Sabline a Lussac- Les-Chateaux e Oscar Fuentes, archeologo del Centre National De Préhistoire; Anna Oliverio Ferraris, scrittrice e psicologa. Christian Greco, direttore del Museo Egizio, e Stefania Mainieri, ricercatrice del Museo Egizio, Fabrizio Paolucci, responsabile Collezione Antichità Classiche delle Gallerie degli Uffizi; Vincenzo Garbo, presidente della Fondazione Mandralisca a Cefalù e Antonella Tumminello, restauratrice; Flavio Caroli e Enrico Dal Pozzolo, storici dell‟arte; Giacomo Rizzolatti, del Dipartimento Medicina e Chirurgia dell‟Università di Parma, Simona Turco, funzionario archivista dell‟Istituto Centrale per il Catalogo e la Documentazione e Michele Smargiassi, giornalista.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Guerra Hamas/Israele: l'Europa richiama NetanyahuNuovo blitz di Ultima Generazione: colpiti gli Uffizi

Guerra Hamas/Israele: l'Europa richiama NetanyahuNuovo blitz di Ultima Generazione: colpiti gli Uffizi

Francesca Dini, Davide Dotticuratori della mostra:"I Macchiaioli"Palazzo Martinengo, BresciaUna rivoluzione artistica, quella dei Macchiaioli, ovvero quel gruppo di giovani pittori che nella Firenze del secondo Ottocento diedero vita a una delle più originali e innovative avanguardie artistiche europee del XIX secolo. Fino al 9 giugno 2024, la storica residenza cinquecentesca nel cuore della città ospita un'imperdibile mostra, curata da Francesca Dini e Davide Dotti, organizzata dall'Associazione Amici di Palazzo Martinengo, col patrocinio della Provincia di Brescia, del Comune di Brescia e della Fondazione Provincia di Brescia Eventi, che presenta oltre 100 capolavori di Fattori, Lega, Signorini, Cabianca, Borrani, Abbati e altri, provenienti in gran parte da collezioni private – solitamente inaccessibili – e da importanti istituzioni museali come le Gallerie degli Uffizi di Firenze, il Museo della Scienza e Tecnologia “Leonardo da Vinci” di Milano, i Musei Civici di Udine, l'Istituto Matteucci di Viareggio e la Fondazione CR Firenze.Articolata in 10 sezioni (Al Caffè Michelangiolo; Sulla via della luce. Dalla Toscana alla Liguria; I Macchiaioli e il Risorgimento: un focus su Solferino e San Martino; Castiglioncello; Boldini in Toscana: il ciclo pittorico per Isabella Falconer; Nella campagna fiorentina di Piagentina; Ferdinando Martini, le arti in Toscana e la “politica” per il naturalismo; I naturalisti; Fattori incisore; I “vecchi fanciulli” Macchiaioli, verso il Novecento) la retrospettiva bresciana racconta l'entusiasmante avventura di questi pittori progressisti che – desiderosi di prendere le distanze dall'istituzione accademica nella quale si erano formati sotto l'influenza di importanti maestri del Romanticismo come Hayez e Bezzuoli – giunsero in breve tempo a scrivere una delle pagine più poetiche della storia dell'arte non solo italiana, ma europea. Ed è proprio per via dei valori universali che la sottendono che l'arte dei Macchiaioli risulta così moderna e attuale: alcuni dei capolavori esposti in mostra come le Cucitrici di camicie rosse di Borrani, la Raccolta del fieno in maremma di Fattori, I fidanzati di Lega e Pascoli a Castiglioncello di Signorini rimangono indelebilmente impressi nella memoria, affascinando per la qualità pittorica, lirica e luministica.La mostra di Palazzo Martinengo raccoglie le opere “chiave” di questo percorso allo scopo di raccontare i diversi momenti della ricerca dei Macchiaioli, i luoghi a loro famigliari – il Caffè Michelangiolo di Firenze, Castiglioncello, Piagentina, la Maremma e la Liguria -, il confronto con gli altri artisti e con le diverse scuole pittoriche europee; i loro smarrimenti, la capacità di mettersi collettivamente in discussione e di sterzare – se necessario – il timone per proseguire sulla strada del progresso e della modernità senza abbandonare mai la via maestra della luce e della macchia. Il termine “Macchiaioli” fu coniato nel 1862 da un recensore della Gazzetta del Popolo di Firenze, che così definì quei pittori che intorno al 1855 avevano dato origine a un rinnovamento in chiave antiaccademica della pittura italiana in senso realista. L'accezione ovviamente era dispregiativa e giocava su un particolare doppio senso: darsi alla macchia, infatti, significa agire furtivamente, illegalmente. Alla luce delle più recenti ricerche, la vicenda dei Macchiaioli assume una rilevanza critica sempre più significativa, perché essi instaurarono un dialogo aperto, propositivo e audace con le più importanti comunità artistiche dell'Europa del tempo. engo di esplorare una epoca vibrante e ricca di fermento creativo, come l'Ottocento, ripercorrendo la straordinaria avventura del più importante movimento artistico del XIX secolo, attraverso le figure dei suoi maggiori interpreti e i loro capolavori più apprezzati”.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Show Notes:1:00 overview of thesis topic3:00 2018 music video at the Louvre by Beyoncé and Jay Z 3:55 Advertising campaign by Louis Vuitton that featured Joan Mitchell paintings6:00 2020 Uffizi promotional campaign to promote Botticelli exhibition7:25 Uffizi's TikTok account posting with Dua Lipa 8:10 criticism of Uffizi campaigns9:20 Approaches by EU and UK11:20 Influencer marketing14:35 EU Directive30:10 Italian approach 33:00 liability under Italian case law and consumer code35:30 historical events that caused Gallo's choice on research and thesis37:00 Emily Gould38:20 Alan Robertshaw 43:15 risks and contractual issue with fees46:20 Gould47:45 Gallo on InstaGram disclosure Please share your comments and/or questions at stephanie@warfareofartandlaw.comTo hear more episodes, please visit Warfare of Art and Law podcast's website.Music by Toulme.To view rewards for supporting the podcast, please visit Warfare's Patreon page.To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com. Thanks so much for listening!© Stephanie Drawdy [2024]

Obra fundamental de un maduro Miguel Ángel, expresa el pensamiento del autor plasmado a través de su arte en la piedra.

Wandering Works for Us PodcastDate: 22 November 2023Title: Our Favourite Places in FlorenceSummary of EpisodeSorry it took so long to get this episode out, but we had A LOT to talk about. In this episode, we give you our first hand account of Florence, Italy. Back in early October, we met up with some of our friends from the US and toured Florence for 5 days. We visited the Uffizi, ate great food, saw the David and the Duomo and the Santa Croce Basilica, and drank all the wine. We loved most of it, like some of it, and discovered that Florence is an amazing Renaissance city.Key TopicsThis episode is longer than our usual ones, but we had so much to talk about![01:00] Reasons for moving to Portugal and traveling within the EU [08:45] the Uffizi Museum[15:45] Michelangelo's David and the Accademia[19:45] Piazza della Signoria[21:00] Piazza del Michelangelo and the other side of the Arno River[23:40] Ponte Vecchio Bridge[25:22] Duomo, Giotto's Bell Tower, and the Baptistry [30:45] Santa Croce Basilica[35:00] The wine and the food![43:50] Chianti/Tuscany Wine Tour** CORRECTION: We said that Napoleon's Daughters were buried in the Santa Croce. They are not–it is his niece and sister-in-law.Important Links All of the places that we mention are linked in our blogs! Please make sure you check them out and sign up for our newsletter and updates to the blog for more details. Go to wwforus.com and sign up in the popup or the first page!InstagramFacebookTiktokUffizi Blog PostFlorence Blog PostWine Tour Blog PostThanks to Everyone who has been so supportive!Special thanks to all of our family and friends that have helped with our move, helped with setting up our new apartment and learning the ropes of our new country. It has been quite the adventure!Shout out to Laura and Renee, our Florence travel buddies and Vicki and Mac our Paris travel peeps.RESOURCES & LINKSSpecial shout outs to AL and Leanne of A Sideways Life that has given us so much help and support for the move. To Gal and Mayaan at Smoozitive with their love and support. Please check out their podcasts on Apple Podcasts A Sideways Life website and podcastSmoozitive website (if you are moving abroad, these women are experts and will help you out!)Support this podcast at — https://redcircle.com/wandering-works-for-us/donations

In apertura parliamo degli sbarchi di migranti a Lampedusa e del naufragio di lunedì notte, con circa quaranta persone soccorse, otto dispersi e la morte di una bimba di soli due anni. Con noi Rosalba Reggio de Il Sole 24 Ore, che ha trascorso una settimana a bordo della nave Geo Barents di Medici senza Frontiere, e Pietro Bartolo, medico lampedusano ed europarlamentare del Pd.A seguire parliamo dell'assoluzione degli attivisti di Ultima Generazione che si incollarono alla teca della Primavera del Botticelli, negli Uffizi a Firenze. Secondo la sentenza "il fatto non sussiste". Con noi Simone Ficicchia, uno dei militanti coinvolti.

The Uffizi Gallery in Florence contains three paintings by Caravaggio. Two of them, the “Bacchus” and “The Medusa Shield” were sent by Cardinal Del Monte to Grand Duke Ferdinand de' Medici, while the third, the “Sacrifice of Isaac,” was acquired later. All three paintings reflect Caravaggio's unique and revolutionary painting style which incorporates shocking realism, violence, and the dramatic use of light and shadow.

Vacilla il sostegno polacco alla resistenza ucraina Il tesoro di Roman Abramovich La destra contro Christian Greco  Eike Schmidt, dagli Uffizi a Palazzo Vecchio? Può davvero l'intelligenza artificiale autenticare un'opera d'arte?

Aestate incipienti, Catherina et Timotheus imaginem satis pulchram statuae Galateae nymphae de qua in altero colloqui mentionem fecimus. Nunc imaginem ab amico missam e Museo c.t. Uffizi describimus et nonnulla de pistrina Baltimoriae tractamus.

Photo:  1910 Honolulu No known restrictions on publication. @Batchelorshow #Italy: Tourist graffitti mars the Uffizi & What is to be done? Lorenzo Fiori, Ansaldo Foundation. https://www.euronews.com/culture/2023/08/24/cultural-vandalism-uffizi-chief-presses-for-harsh-penalties-for-defacing-of-vasari-corrido

In s2e29, Platemark hosts Ann Shafer and Tru Ludwig talk about Claude Lorrain, the arbiter of landscape painting in the 17th century. He worked most of his life in Rome and elevated landscape as a subject up the academic hierarchy by including small figural groups and naming the compositions with mythological or biblical subjects. He's known by various names that can be confusing. He was born Claude Gelée in the independent duchy of Lorraine, which is why the French call him le Lorrain. The English, who collected his works assiduously and even now have the highest number of his works (by country), refer to him simple as Claude. He created an amazing cache of ink and wash drawings of each of his painted compositions in a first catalogue raisonné of sorts. He dubbed this book the Liber Veritatis («the book of truth»). Claude told his biographer Filippo Baldinucci that he kept the record as a defense against others passing off his work as theirs. This bound group of drawings was collected and owned by the Dukes of Devonshire from the 1720s until 1957 when it was given to the British Museum (in lieu of estate taxes upon the death of Victor Christian William Cavendish, the 9th Duke of Devonshire). While Claude died in 1682, his renown in England was enough to prompt the print publisher John Boydell to hire artist Richard Earlom to create prints after the drawings nearly one hundred years after Claude's death. Two hundred etchings with mezzotint were created between 1774 and 1777, and were published in two volumes as Liber Veritatis. Or, A Collection of Two Hundred Prints, After the Original Designs of Claude le Lorrain, in the Collection of His Grace the Duke of Devonshire, Executed by Richard Earlom, in the Manner and Taste of the Drawings.... Later, a third volume of an additional 100 prints was published in 1819. Earlom used etching to mimic Claude's ink lines and mezzotint for the wash areas. They were printed in brown ink to mimic iron gall ink. Hugely influential in England, the books were popular with collectors and were used by artists as models for copying. The Liber Veritatis also inspired J.M.W. Turner to produce a similar project of 71 prints after Turner's painted compositions, which he called Liber Studiorum. They may appear old fashioned to contemporary viewers, but rest assured, landscape was just getting its legs under it. Boring imagery? Maybe. But important for our story of the history of prints in the West. Episode image: Claude Lorrain (French, c. 1600–1682). Seaport with Ulysses Returning Chryseis to Her Father, c. 1644. Pen and brown ink with brown and blue wash, heightened with white on blue paper. 19.8 x 26.2 cm. British Museum, London.   Gian Lorenzo Bernini (Italian, 1598–1680). Bust of Louis XIV, 1665. Marble. Palace of Versailles. Hyacinth Rigaud (French, 1659–1743). Louis VIX, 1700–01. Oil on canvas. 277 x 194 cm. (109 x 76 3/8 in.) The Louvre, Paris. Claude Mellan (French, 1598–1688). Louis XIV as a Child, 1618–1688. Engraving. Sheet (trimmed to platemark): 13 9/16 x 9 1/2 in. (34.5 x 24.2 cm.). Metropolitan Museum of Art, New York. Federico Barocci (Italian, 1528–1612). The Stigmatization of St. Francis, after the painting in the Church of the Capuccines, Urbino, c. 1575. Etching, engraving, and drypoint. Plate: 228 x 145 mm. (9 x 5 ¾ in.). Achenbach Foundation for Graphic Arts, Fine Arts Museum of San Francisco. Federico Barocci (Italian, 1528–1612). The Annunciation, c. 1585. Etching and engraving. Sheet (trimmed within platemark): 17 3/8 × 12 5/16 in. (441 × 312 mm.). Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). Christ Crucified between the Two Thieves: The Three Crosses (iv/iv state), c. 1660. Drypoint. Sheet (trimmed to platemark): 15 1/16 x 17 1/2 in. (382 x 444 mm.). Metropolitan Museum of Art, New York. Annibale Carracci (Italian, c. 1557–c. 1642). St. Jerome in the Wilderness, c. 1591. Etching and engraving. Sheet (trimmed to platemark) : 24.8 x 19.2 cm. (9 ¾ x 7 9/16 in.). Metropolitan Museum of Art, New York. Guido Reni (Italian, 1575–1642). The Holy Family, c. 1595–1600. Etching and engraving. Sheet (trimmed to platemark): 20 x 14 cm. (7 7/8 x 5 12 in.). Metropolitan Museum of Art, New York. Jusepe de Ribera (Spanish, 1591–1652). The Penitence of St. Peter. 1621. Etching and engraving. Sheet (trimmed to platemark): 31.8 x 24.2 cm. (12 ½ x 9 ½ in.). Metropolitan Museum of Art, New York. Salvator Rosa (Italian, 1615–1673). Jason and the Dragon, 1663–64. Etching and drypoint. Plate: 13 5/16 × 8 9/16 in. (33.8 × 21.8 cm.); sheet: 14 5/16 × 9 15/16 in. (36.4 × 25.3 cm.). Metropolitan Museum of Art, New York. Gian Lorenzo Bernini (Italian, 1598–1680). The Ecstasy of Saint Teresa, 1647-52.  White marble set in an elevated aedicule in the Cornaro Chapel, Santa Maria della Vittoria, Rome. Caravaggio (Italian, 1571–1610). Conversion of Saint Paul on the Way to Damascus, 1600–01. Oil on canvas. 230 × 175 cm. (91 × 69 in.). Santa Maria del Popolo, Rome. Andrea Pozzo (Italian, 1642–1709). Assumption of St. Francis, c. 1685. Sant'Ignazio, Rome. Pietro Testa (Italian, 1612–1650). The Martyrdom of St. Erasmus, c. 1630. Etching. Sheet: (trimmed to platemark): 27.9 x 18.9 cm. (11 7 7/16 in.). Metropolitan Museum of Art, New York. Jacques Callot (French, 1592–1635). Plate eleven: The Hanging from the series The Large Miseries and Misfortunes of War, 1633. Etching. Sheet: 4 1/8 x 8 1/4 in. (10.5 x 21 cm.); plate: 3 1/4 x 7 5/16 in. (8.2 x 18.6 cm.). Metropolitan Museum of Art, New York. Peter Paul Rubens (Flemish, 1577–1640). The Consequences of War, 1637–38. Oil on canvas mounted to panel. 206 x 342 cm. (81 x 134 ½ in.). Palazzo Pitti, Florence. Diego Velasquez (Spanish, 1599–1660). Surrender at Breda, 1634–35. Oil on canvas. 307 x 367 cm. (121 x 144 in.) Museo del Prado, Madrid. Callot's Hanging Tree spreads word of the facts of the attack on Nancy, whereas paintings can only be in one place (Rubens' Consequences of War and Velasquez's Surrender at Breda). Jean Marot (French, 1619–1679), after Gian Lorenzo Bernini (Italian, 1598–1680). The Louvre in Paris, elevation of the principal facade facing Saint-Germain l'Auxerrois. Plate 8 from Jacques-François Blondel's Architecture françoise, volume 4, book 6. Nicolas Poussin (French, 1594–1665). Et in Arcadia ego, 1637–38. Oil on canvas. 85 × 121 cm. (34 1/4 × 47 1/4 in.). Louvre, Paris. Nicolas Poussin (French, 1594–1665). Landscape with St. John Patmos, 1640. Oil on canvas. 100.3 × 136.4 cm (39 1/2 × 53 5/8 in.). Art Institute of Chicago, Chicago. Nicolas Poussin (French, 1594–1665). The Abduction of the Sabine Women, c. 1633–34. Oil on canvas. 60 7/8 x 82 5/8 in. (154.6 x 209.9 cm.). Metropolitan Museum of Art, New York. Rembrandt van Rijn (Dutch, 1606–1669). Landscape with the Good Samaritan, 1638. Oil on oak panel. 46.2 × 65.5 cm. (18 × 25 3/4 in.). Czartorynski Museum, Kraków. Jacob van Ruisdael (Dutch, 1628/1629–1682). View of Haarlem with Bleaching Fields, c. 1670–75. Oil on canvas. 62.2 x 55.2 cm. (24 ½ x 21 ¾ in.). Kunsthaus Zurich, Zurich. Thomas Cole (American, born England, 1801–1848). Catskill Mountains Landscape, c. 1826. Oil on panel. 15 15/16 x 21 7/8 in. Sheldon Museum, University of Nebraska-Lincoln. Tru's diagrams of Poussin's Et in Arcadia Ego. Claude Lorrain (French, c. 1600–1682). Self-Portrait. Oil on canvas. Musée des Beaux-Arts de Tours. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682). Frontispiece for the Liber Studiorum, 1777. Plate: 7 x 5 in. New York Public Library. Claude Lorrain (French, c. 1600–1682). Seaport with the Embarkation of the Queen of Sheba, 1648. Oil on canvas. 149.1 × 196.7 cm. (58 3/4 × 77 1/2 in.). National Gallery, London. One of many Claude Lorrain paintings with its corresponding diagram. Several diagrams showing compositional plans according to the Golden Ratio. Claude Lorrain (French, c. 1600–1682). Rustic Dance, 1637. Oil on canvas. Galleria degli Uffizi, Florence. Claude Lorrain (French, c. 1600–1682). The Village Boerendans Dance, c. 1637. Etching. 29.7 x 24.1 cm. (11 ¾ x 9 ½ in.). Alamy Stock Photo. Claude Lorrain (French, c. 1600–1682). Harbor Scene with Rising, 1634. Etching. Sheet: 5 9/16 x 8 1/4 in. (14.1 x 21 cm.); plate: 5 1/8 x 7 13/16 in. (13 x 19.8 cm.). Metropolitan Museum of Art, New York. Claude Lorrain (French, c. 1600–1682). Harbor Scene with Rising Sun, c. 1649. Oil on canvas. 97 x 119 cm. (38 x 46 ¾ in.). Hermitage Museum, St. Petersburg. Claude Lorrain (French, c. 1600–1682). Seaport with Ulysses Returning Chryseis to Her Father, c. 1644. Pen and brown ink with brown and blue wash, heightened with white on blue paper. 19.8 x 26.2 cm. British Museum, London. Claude Lorrain (French, c. 1600–1682). Seaport with Ulysses Returning Chryseis to Her Father, 1650s. Oil on canvas. 119 x 150 cm (46 ¾ x 59 in.). Louvre, Paris. Claude Lorrain (French, c. 1600–1682). Landscape wirth Aeneas at Delos, c. 1672. Pen and brown ink and brown wash, with gray-brown wash. 19.3 x 25.6 cm. British Museum, London. Claude Lorrain (French, c. 1600–1682). Landscape with Aeneas at Delos, 1672. Oil on canvas. 99.6 x 134.3 cm. National Gallery, London. Claude Lorrain (French, c. 1600–1682). Index of owners of Claude's paintings in the Liber Veritatis. British Museum, London. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682). Holy Family, from the Liber Veritatis, 1776. Etching and aquatint. Sheet : 23 x 29.4 cm.; plate: 20.8 x 26.3 cm. Pushkin State Museum of Fine Arts, Moscow. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York. John Boydell (British, 1719–1804), publisher. Dedication from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York. James Mallord William Turner (British, 1775–1851). Fifth Plague of Egypt, from the Liber Studiorum, part III, plate 16), 1808. Etching only (before first state). Plate: 7 x 10 in. (17.8 x 25.4 cm.); sheet: 8 1/8 x 25 in. (20.6 x 63.5 cm.). Metropolitan Museum of Art, New York. James Mallord William Turner (British, 1775–1851) and Charles Turner (British, 1774–1857). Fifth Plague of Egypt, from the Liber Studiorum, part III, plate 16), 1808. Etching and mezzotint (first state of three). Plate: 7 1/16 x 10 1/4 in. (17.9 x 26 cm.); sheet: 8 1/4 x 11 7/16 in. (21 x 29.1 cm.). Metropolitan Museum of Art, New York. Claude Glass. Science Museum, London. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 154 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 1 and 2 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York. Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 3 and 4 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York.  Richard Earlom (British, 1743–1822), after Claude Lorrain (French, c. 1600–1682), published by John Boydell (British, 1719–1804). No. 13 and 14 from Liber veritatis: or, A collection of prints, after the original designs of Claude le Lorrain ; in the collection of His Grace the Duke of Devonshire, 1777–1819. New York Public Library, New York. Claude Mellan (French, 1598–1688). Moses Before the Burning Bush, 1663. Engraving. Sheet (trimmed to platemark): 9 7/16 x 13 3/16 in. (24 x 33.5 cm.). Metropolitan Museum of Art, New York. Golden mean diagram, https://blog.artsper.com/en/a-closer-look/golden-ratio-in-art/.  

Have you wondered what is like to travel to the beautiful city of Florence and stand in front of some of the most famous art works in the world? Well we share what that is like as we visit Michelangelo's David, see  Botticelli's Birth of Venus and dozen more famous pieces.  To say we were impressed is a massive understatement. After visiting all the famous galleries we embark on a fantastic wine and food tour where our very passionate guide shares the secret of the dark side of Florence and takes us on a taste sensation tour of the Florence and  Tuscan region through local authentic restaurants. We also go to a place to drink wine that is totally unique and can only be found in Florence.  I was so excited. We tell you where you can find the best panoramic views of the city – and the best time to go there and how we ended up back in front of the Duomo late at night watching a football match between my English premier league team and Firenze football club. This episode covers it all – food, wine, art, nature, football, history, food and wine – you get the idea.  So please enjoy episode 63 – part two of our Florence series. You can find the show notes with pictures, maps and tour information and links here www.beachtravelwine.com/podcast/63/florence2 Oh and don't forget if you know someone planning a trip to Italy – then please share our Italian series with them by sending them to www.beachtravelwine.com/italy Find all our other podcasts from around the world here www.beachtravelwine.com/podcast --- Send in a voice message: https://podcasters.spotify.com/pod/show/leanne-mccabe/message

In this episode of Passion for Italy, Joe and Lori visit beautiful Firenze.Follow along as we leave Roma and travel via train from Roma Termini Station to Santa Maria Novella station in Firenze.We walk the streets and visit  Accademia and see the statue of David. Joe walks to the top of the Duomo.In the show we discuss: Palazzo Vecchio  and Piazza della Signoria. Crossing the Ponte Vecchio to  see Pitti Palace and  Boboli Gardens.We visit Santa Maria Novella, Santa Croce, and San Lorenzo.Mercato Centrale, Mercato Nuovo. We loved the food, wine and gelato of this beautiful city.Try the Gelato at Perche No, Grom, My Sugar and so many more locations.Trattoria Za Za is fantastic.This was our slow down time after Rome and before Positano and Capri.

You've seen the David, you know all about the Duomo, and the Uffizi is just to crowded... What else is there to see in Florence? As it turns out, a lot.  On this mini-episode, Tiffany fills you in on some amazing places to visit in Florence once you've seen the top three. Sign up for our newsletter for a full list with addresses, websites, and visiting information, as well as a few Florence restaurant recs. ------------------------------------- ADVERTISE WITH US: Reach expats, future expats, and travelers all over the world. Send us an email to get the conversation started. BECOME A PATRON: Pledge your monthly support of The Bittersweet Life and receive awesome prizes in return for your generosity! Visit our Patreon site to find out more. TIP YOUR PODCASTER: Say thanks with a one-time donation to the podcast hosts you know and love. Click here to send financial support via PayPal. (You can also find a Donate button on the desktop version of our website.) The show needs your support to continue. START PODCASTING: If you are planning to start your own podcast, consider Libsyn for your hosting service! Use this affliliate link to get two months free, or use our promo code SWEET when you sign up. SUBSCRIBE: Subscribe to the podcast to make sure you never miss an episode. Click here to find us on a variety of podcast apps. WRITE A REVIEW: Leave us a rating and a written review on iTunes so more listeners can find us. JOIN THE CONVERSATION: If you have a question or a topic you want us to address, send us an email here. You can also connect to us through Twitter, Facebook, and Instagram. Tag #thebittersweetlife with your expat story for a chance to be featured! NEW TO THE SHOW? Don't be afraid to start with Episode 1: OUTSET BOOK: Want to read Tiffany's book, Midnight in the Piazza? Learn more here or order on Amazon. TOUR ROME: If you're traveling to Rome, don't miss the chance to tour the city with Tiffany as your guide!  

The end of the line for Matteo Messina Denaro came in mundane fashion. On a Monday morning the mafia boss was waiting in a queue for a Covid vaccine in Palermo when police closed in. A colonel from the carabinieri, Italy's militarised police, asked him: “Are you Matteo Messina Denaro?” “You know who I am,” came the reply. The Guardian's Lorenzo Tondo and Clare Longrigg tell Michael Safi that the capture of such a high-ranking mafia boss is significant but does not kill off the organisation, which has evolved into a different proposition for authorities than it once was. Police hope it will allow them to solve murders stretching back decades. The last confirmed sighting of Denaro before his arrest was in Tuscany in 1993, around the time explosives in a parked Fiat were detonated outside the Uffizi gallery, killing three people, injuring more than 40 and damaging priceless works of art

For this latest roundup of OLD NEWS stories, we're joined by a very special guest, to talk about: The MASS MoCA union; the new monument to the Central Park 5; the debate about bringing attention to the climate crisis by throwing food and attaching body parts to famous artworks in museum, as analyzed by Jerry Saltz in his piece ‘MASHED POTATOES MEET MONET,' as well as through our own lenses on the phenomenon; how a stolen painting was turned into a popular throw pillow (which you can purchase online for $18.40 plus shipping); the struggles of Pace Gallery's Superblue, and the history of Pace through the Glimcher family, including a botched diversity hiring of Marc Glimcher's daughter; Guy Richards Smit's cartoon, “WHAT DO YOU SAY TO SOMEONE AFTER A VERY BAD STUDIO VISIT?”;  a consideration of big tech's plundering of art and illustration for its generative AI projects, as poetically analyzed through Molly Crabapple's LA Times Op-Ed, “BEWARE A WORLD WHERE ARTISTS ARE REPLACED BY ROBOTS;” why the director of Florence's Uffizi Gallery is demanding employees follow strict guidelines for email etiquette; and what our respective OLD NEWS favorites for the week were.

Trascrizione episodi e contenuti extra su --> https://patreon.com/justitalian Per gli amanti dell'arte, la Galleria degli Uffizi è l'attrazione numero uno a Firenze e in Italia! Gli Uffizi contengono una delle collezioni di dipinti più importanti del mondo.

Titian was the greatest Venetian painter of his age. His reputation and achievements in 16th-century Europe were rivaled only by Michelangelo. Venetian artists introduced their own particular style and vision into Renaissance art, as seen in the Venus of Urbino. Suddenly, female nudity and eroticism exploded onto the scene in a type of soft-core Renaissance pornography. This episode explores the unusual erotic iconography of the Venus of Urbino, and how it depicts a rather straight-forward visual voyeurism between subject and object.

Cruciani è ancora a Roma. Secondo Parenzo, con le sue ospitate, sta distruggendo il marchio di Radio 24 e della Confindustria. Su Soumahoro predicano calma, "calma un c***o". Riparte il Gufo Parenzo. Occhio ascoltatori. Massimo da Genova, dopo la scelta di Di Maio come rappresentante europeo nel Golfo Persico, vuole andare a Bruxelles e orinare sulla bandiera dell'Unione.Anna da Roma entra negli studi romani ed è un crescendo totale. Prima fa sentire come ha goduto per la vittoria della Meloni. Poi definisce "blatte" gli omosessuali e dichiara lo "schifo" che prova ogni volta che li vede baciarsi. "Bergoglio? L'ha scelto il Pd". Poi resta in regia quando entra Pasquale Lino Romano.Il re dei percettori del reddito non è preoccupato della Manovra del Governo. Anzi, lui ha 48 anni e ha portato un "cervello" a Parenzo. All'urlo di battaglia "soffritemi", Lino si scaglia contro tutti, anche contro Anna. Prima richiede il tfr una volta finito il reddito, poi dice ad Anna "vai su Onlyfans". Infine canta l'inno. E non è Fratelli d'Italia.L'ingegnere aerospaziale Alexis Mucci è mamma e sex worker. E' entrata nella grande polemica dopo il seno in trasparenza agli Uffizi e lotta contro i nemici di Onlyfans. Anche perchè ha fatto la famiglia grazie a questo lavoro. Adinolfi dovrebbe essere felice.L'apostolo Roberto di Giovandomenico torna in studio. Era all'ultima cena (si proprio quella) e anche in questa puntata ha scoppiettanti novità.

“When you're not sitting across from someone, you're sitting across from the whole world.” –Stephanie Rosenbloom In this episode of Deviate, Rolf and Stephanie talk about the rewards of traveling alone, and how to mix solo and companion travel within a single trip (2:00); how going alone makes you more receptive to museums, restaurants, and walking in a new play (11:00); how to better savor your travel experiences while they're happening (21:00); certifying versus savoring experiences, and how to balance travel as an external act with a more spiritual internal process (31:00); and strategies for savoring solo travel experiences (46:00). Stephanie Rosenbloom (@stephronyt) is a travel writer for The New York Times, where she has been a reporter for more than a decade, and the author of the book, Alone Time: Four Seasons, Four Cities, and the Pleasures of Solitude. For more about Stephanie, check out http://www.stephanierosenbloom.com. Notable Links: The Vagabond's Way, by Rolf Potts (travel book) On Karawa (Japanese conceptual artist) Flâneur (urban stroller in France) The Marais (district in Paris) The Motorcycle Diaries, by Ernesto Guevara (book) Thích Nhất Hạnh (Buddhist monk and author) Savoring, by Fred B. Bryant (book) Uffizi (art museum in Florence, Italy) The Birth of Venus (painting by Botticelli) LiveTrekker (route-tracking app) Souvenir, by Rolf Potts (book) Busking (street performance) Evernote (task-management app) The Deviate theme music comes from the title track of Cedar Van Tassel's 2017 album Lumber. Note: We don't host a “comments” section, but we're happy to hear your questions and insights via email, at deviate@rolfpotts.com.

Leonardo da Vinci's Mona Lisa has been described as, “the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world.” She's been immortalized in everything from Andy Warhol's pop art to Dan Brown's bestselling novel, The Da Vinci Code. But there was a time when the Mona Lisa was not well known, if you can imagine – and it took a man named Vincenzo Peruggia to launch her into stardom. See omnystudio.com/listener for privacy information.

There are nine choirs of angels. One of those choirs, or groups, are the archangels. They are powerful allies in our spiritual battles, because God gave them great power to fight against those demons we have to face on a regular basis. They are spiritual beings that we can't see, because they don't have a body. But they really exist. Not just in our minds, or in our collective myths, or our symbols, or our culture. They are as real as your dog, or your sister, or electricity. We can't see electricity, but we can see its effects. A meditation preached at Kintore College in Toronto by Fr. Eric Nicolai on September 29, 2022. Music: Carlos Gardel, Soledad, arranged for guitar by Bert Alink Music: Francesco Botticini Three Archangels with Tobias, c.1471 Uffizi, Florence. For more meditations, check my channel: https://www.youtube.com/c/EricNicolai/videos www.ernescliff.ca www.opusdei.ca

We finally get into the Medici in style with the man who is considered the founder of the family's great fortune and political dominance. We follow Cosimo de Medici as he slowly asserts his power over the Republic of Florence with careful internal and external political manoeuvring to form what some have called the "crypto-signoria" of the Medici, all the whole increasing theri vast wealth in the face of many perils.

Molly Maine is a fine art painter who moved to Paris to study painting and drawing at Studio Escalier, an art school in Montmartre. In her studio in Montmartre, she makes autobiographical paintings that use imagery of interior and exterior spaces, reflection, still life, and portraiture.A Californian by birth, she attended Sarah Lawrence College in New York where she majored in art and literature. Though interested in art since childhood, it was while copying from Botticelli's “La Primavera” at the Uffizi during a study abroad program in Florence Italy, that she became interested in figurative painting and drawing. After graduation, she worked as an artist and scenic painter in Portland Oregon. In Oregon she was awarded a yearlong fully funded painting residency from the Calligram Falcon foundation. Molly has since lived Oxford England and Paris France where she pursues her interest drawing and painting from live models as well as from paintings and sculptures at the Louvre.  margaretmaine.comSupport the show