Podcasts about watteau

This lecture provides an overview of agency law, a core concept in business associations. It explains the definition and key elements of an agency relationship, including mutual consent, action on behalf of the principal, and the principal's right to control the agent. The text distinguishes between different types of authority an agent can possess, such as actual (express and implied) authority, apparent authority, and authority created through ratification. It also outlines the fiduciary duties owed by agents to principals (loyalty, care, obedience) and the principal's duties to the agent (compensation, reimbursement, indemnification). Finally, the lecture discusses liability to third parties for both contracts and torts, methods for terminating agency, and highlights relevant case law, doctrinal debates, practical applications, and policy considerations.The three key elements of agency are assent by both parties (mutual consent), action on behalf of the principal, and control exercised by the principal.An agency relationship can be formed when one person asks a friend to do something on their behalf, and the friend agrees, even without a formal contract or payment, like asking a friend to pick up dry cleaning.Ratification occurs when a principal approves or adopts an act performed by an agent who did not initially have the authority to do so. By ratifying, the principal becomes bound as if the agent had authority from the start.Watteau v. Fenwick held a principal liable for acts of an agent that exceeded actual authority, provided the acts were of the type usually entrusted to such an agent, reflecting a broad view of liability.One defining characteristic of a corporation is the limited liability of shareholders, meaning their personal assets are protected from the corporation's debts and obligations.The board of directors is responsible for the centralized management of a corporation, typically overseeing daily operations and appointing officers.Piercing the corporate veil is a doctrine where courts disregard the separate legal entity status of a corporation to hold shareholders personally liable for the corporation's debts or obligations, usually when there is fraud, injustice, or the corporation is a mere alter ego.In a general partnership, all partners are jointly and severally liable for partnership debts, while in an LLP, partners typically have limited liability for partnership debts and are shielded from liability for the malpractice of other partners.The duty of loyalty requires partners to act with the punctilio of an honor the most sensitive, meaning they must be honest, candid, and fair in all aspects of the partnership relationship and cannot take advantage of opportunities meant for the partnership.A derivative suit is a lawsuit brought by a shareholder on behalf of the corporation to enforce a right or remedy a wrong when the corporation's management fails to do so.

Continuo a Kizira. El pintor Watteau va pintar-ne paisatges i Baudelaire la cantà a Les flors del mal. El director de cinema Angelopulos va rodar la pel·lícula Viatge a Citera i el cantant Dalaras hi posà la banda sonora. L'illa representa l'ideal on no s'arriba. podcast recorded with enacast.com

Jaume Segalés habla de la exposición Proust y las artes y entrevista a la autora de Querida culpa: gracias, pero adiós."Proust y las artes" El Museo Nacional Thyssen-Bornemisza (Paseo del Prado, 8) dedica una cuidada exposición a Marcel Proust, una de las figuras literarias más relevantes de los siglos XIX y XX. Podemos verla hasta el 8 de junio. Una muestra que profundiza en la relación entre el Arte y la personalidad, la vida y el trabajo del ilustre escritor parisino que, a su vez, tuvo una gran repercusión en otras disciplinas como la Filosofía o la Historia del Arte. Las ideas estéticas que Proust desarrolla en sus escritos, los ambientes artísticos, monumentales y paisajísticos que le rodearon (especialmente el de la capital francesa durante la Tercera República) articulan el recorrido. Se compone de pinturas de, entre otros, Manet, Renoir, Monet, Rembrandt, Vermeer, Van Dyck, Watteau y Turner; una escultura de Antoine Bourdelle; diseños de moda de Mariano Fortuny y otros creadores coetáneos; y una selección de manuscritos y libros de Proust. Una selección lograda gracias a los préstamos de entidades colaboradoras de gran renombre como la Biblioteca Nacional de Francia y la Biblioteca del Ateneo de Madrid, así como los Museos: Louvre, d'Orsay y de Histoira de París, la Maurits-hauss de La Haya, el Rijksmuseum de Ámsterdam, el Städel de Fráncfort y la National Gallery de Washington. Entrevistamos al comisario de la exposición, Fernando Checa."Querida culpa: gracias, pero adiós" Una guía para liberar el peso emocional y vivir con plenitud. Entrevistamos a la autora, Sonia Rico, periodista, coach certificada, instructora de yoga, máster en Programación Neurolingüística (PNL) y terapeuta en kinesiología emocional. El libro expone cómo soltar la culpa, como acto de amor propio, a través de relatos conmovedores, testimonios reales y herramientas prácticas, para transformar la culpa en un motor de aprendizaje y crecimiento. La autora nos recuerda que la culpa no es un enemigo, sino una señal que nos invita a mirar hacia adentro, a identificar las creencias que ya no nos sirven y a liberarnos de las interpretaciones y expectativas tóxicas que nos impiden avanzar.Sección lingüística "Dicho Queda" Carlota Izquierdo Gil (Instagram: @cigservicioslinguisticos) nos habla sobre el origen del término "pokemon".

durée : 01:29:57 - Les Nuits de France Culture - par : Albane Penaranda - Le peintre Marc Chagall a 90 ans en 1977. Cette année-là, le Louvre lui consacre une exposition qui met en valeur sa production de la décennie écoulée. Avec les voix de Marc Chagall, André Malraux, Georges Auric et de nombreuses archives. - réalisation : Virginie Mourthé - invités : Marc Chagall Peintre et graveur naturalisé français; André Malraux Écrivain et homme politique français; Sylvie Andreu; Georges Auric

A 2025 preview: Georgina Adam, our editor-at-large, tells host Ben Luke what might lie ahead for the market. And Ben is joined by Jane Morris, editor-at-large, and Gareth Harris, chief contributing editor, to select the big museum openings, biennials and exhibitions.All shows discussed are in The Art Newspaper's The Year Ahead 2025, priced £14.99 or the equivalent in your currency. Buy it here.Exhibitions: Site Santa Fe International, Santa Fe, US, 28 Jun-13 Jan 2026; Liverpool Biennial, 7 Jun-14 Sep; Folkestone Triennial, 19 Jul-19 Oct; Ruth Asawa: A Retrospective, San Francisco Museum of Modern Art, 5 Apr-2 Sep; Museum of Modern Art (MoMA), New York, 19 Oct-7 Feb 2026; Gabriele Münter, Guggenheim Museum, New York, 7 Nov-26 Apr 2026; Musée d'Art Moderne de Paris, 4 Apr-24 Aug; Elizabeth Catlett: a Black Revolutionary Artist, Brooklyn Museum, New York, until 19 Jan; National Gallery of Art (NGA), Washington DC, 9 Mar-6 Jul; Art Institute of Chicago, US, 30 Aug-4 Jan 2026; Ithell Colquhoun, Tate Britain, London, 13 Jun-19 Oct; Abstract Erotic: Louise Bourgeois, Eva Hesse, Alice Adams, Courtauld Gallery, London, 20 Jun-14 Sep; Michaelina Wautier, Kunsthistorisches Museum, Vienna, 30 Sep-25 Jan 2026; Radical! Women Artists and Modernism, Belvedere, Vienna, 18 Jun-12 Oct; Dangerously Modern: Australian Women Artists in Europe, Art Gallery of South Australia, Adelaide, 24 May-7 Sep; Art Gallery of New South Wales, Sydney, 11 Oct-1 Feb 2026; Lorna Simpson: Source Notes, Metropolitan Museum of Art, New York, 19 May-2 Nov; Amy Sherald: American Sublime, SFMOMA, to 9 Mar; Whitney Museum of American Art, New York, 9 Apr-Aug; National Portrait Gallery, Washington DC, 19 Sep-22 Feb 2026; Shahzia Sikander: Collective Behavior, Cincinnati Art Museum, 14 Feb-4 May; Cleveland Museum of Art, US, 14 Feb-8 Jun; Cantor Arts Center, Stanford, US, 1 Oct-25 Jan 2026; Jenny Saville: The Anatomy of Painting, National Portrait Gallery, London, 20 Jun-7 Sep; Linder: Danger Came Smiling, Hayward Gallery, London, 11 Feb-5 May; Arpita Singh, Serpentine Galleries, London, 13 Mar-27 Jul; Vija Celmins, Beyeler Collection, Basel, 15 Jun-21 Sep; An Indigenous Present, ICA/Boston, US, 9 Oct-8 Mar 2026; The Stars We Do Not See, NGA, Washington, DC, 18 Oct-1 Mar 2026; Duane Linklater, Dia Chelsea, 12 Sep-24 Jan 2026; Camden Art Centre, London, 4 Jul-21 Sep; Vienna Secession, 29 Nov-22 Feb 2026; Emily Kam Kngwarray, Tate Modern, London, 10 Jul-13 Jan 2026; Archie Moore, Queensland Gallery of Modern Art, 30 Aug-23 Aug 2026; Histories of Ecology, MASP, Sao Paulo, 5 Sep-1 Feb 2026; Jack Whitten, Museum of Modern Art, New York, 23 Mar-2 Aug; Wifredo Lam, Museum of Modern Art, Rashid Johnson, Solomon R. Guggenheim Museum, New York, 18 Apr-18 Jan 2026; Adam Pendleton, Hirshhorn Museum and Sculpture Garden, Washington DC, 4 Apr-3 Jan 2027; Marie Antoinette Style, Victoria and Albert Museum, London, 20 Sep-22 Mar 2026; Leigh Bowery!, Tate Modern, 27 Feb- 31 Aug; Blitz: the Club That Shaped the 80s, Design Museum, London, 19 Sep-29 Mar 2026; Do Ho Suh, Tate Modern, 1 May-26 Oct; Picasso: the Three Dancers, Tate Modern, 25 Sep-1 Apr 2026; Ed Atkins, Tate Britain, London, 2 Apr-25 Aug; Turner and Constable, Tate Britain, 27 Nov-12 Apr 2026; British Museum: Hiroshige, 1 May-7 Sep; Watteau and Circle, 15 May-14 Sep; Ancient India, 22 May-12 Oct; Kerry James Marshall, Royal Academy of Arts, London, 20 Sep-18 Jan 2026; Kiefer/Van Gogh, Royal Academy, 28 Jun-26 Oct; Anselm Kiefer, Ashmolean Museum, Oxford, 14 Feb-15 Jun; Anselm Kiefer, Van Gogh Museum, Stedelijk Museum, Amsterdam, 7 Mar-9 Jun; Cimabue, Louvre, Paris, 22 Jan-12 May; Black Paris, Centre Pompidou, Paris, 19 Mar-30 Jun; Machine Love, Mori Art Museum, Tokyo, 13 Feb-8 Jun Hosted on Acast. See acast.com/privacy for more information.

En 1911, le vol de la Joconde avait traumatisé le monde entier ; en 1939, juste à la veille de la Guerre, celui d'une toile de Watteau, L'Indifférent, fait moins parler de lui – pourtant, la solution de l'énigme est plus étonnante encore… Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

UN LIVRE, UN LECTEUR – Emission présentée par Florence Berthout Elle reçoit Daniel Thierry pour parler du livre de Philippe Sollers « La divine comédie » À propos du livre : « La divine comédie » Dante a laissé, avec La Divine Comédie, une œuvre prodigieuse, éclaboussant de son génie, de sa pensée, de sa philosophie, les siècles à venir. Une œuvre prodigieuse mise en scène par un non moins prodigieux auteur, dont on a gardé du nom un adjectif : dantesque. Un adjectif qui sied aisément au XXe siècle, traversé par les conflits, les horreurs, avec ses atrocités, convoquées dans "le bruit et la fureur d'une inhumanité poussée à son comble". La comédie n'est plus divine. Elle est humaine, "trop humaine" s'empresse de préciser Philippe Sollers, dans cet entretien avec Benoît Chantre (directeur littéraire aux éditions Desclée de Brouwer), revisitant la modernité à la lumière de Dante. Mais si le terme de dantesque signifie infernal, Philippe Sollers évoque, en quatre parties, l'essentialité de la porte de l'enfer avant l'enfer, le purgatoire et le paradis, deux arcs-en-ciel trop vite et facilement oubliés, sinon niés, depuis deux siècles. Sont ainsi convoqués, au fil d'une conversation agréable, ténue et sans relâchement, Péguy, Apollinaire, Rimbaud, Joyce, Baudelaire, Watteau et Fragonard, Picasso et Bacon, Mozart... Une ardente conversation de salon née de la création de Dante, partie prenante de l'œuvre, spectre flottant au-dessus des arts, "premier explorateur occidental" à mettre les pieds en enfer, "premier constructeur du purgatoire" aussi et "le seul qui se soit mis en présence du paradis".

Rubrique:nouvelles Auteur: leon-frapie Lecture: AlmadeDurée: 09min Fichier: 6 Mo Résumé du livre audio: « - Quelle plaisanterie : les fiançailles de Gaston Chantier avec Mlle Mintreuil ! - Je vous affirme. - Non, voyons ! Elle est plutôt jolie fille : avec son teint délicat de blonde, son grand chapeau à fleurs et la mode courte actuelle, on dirait une piquante bergère de Watteau. Tandis que lui, il est franchement laid : pas grand, lourdaud, noiraud, il louche par intermittence, il a eu le nez aplati étant enfant ; son menton en a profité pour avancer, on dirait, ma parole, d'un masque chinois ! - Il plaît. » Cet enregistrement est mis à disposition sous un contrat Creative Commons.

Conférence de Guillaume FaroultLa BnF propose un cycle de conférences pour s'initier aux principaux courants artistiques et comprendre les œuvres d'art en regard de lectures critiques. Cette nouvelle édition s'intéresse à la représentation du corps dans l'art.Cette séance examine les représentations des comportements amoureux, galants, chastes ou libertins dans les chefs-d'œuvre de grands artistes du XVIIIe siècle, tels Watteau, Fragonard et Boucher.Par Guillaume Faroult, conservateur en chef au département des Peintures du musée du LouvreConférence enregistrée le 29 novembre à la BnF I François-Mitterrand. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

durée : 00:15:55 - Les Nuits de France Culture - par : Albane Penaranda - Dans ce "Clin d'oil", le peintre Bernard Dufour nous raconte l'histoire d'une passion, celle du premier directeur du Louvre Vivant Denon pour le tableau de Watteau appelé "Le Gilles". Ce tableau, l'un des derniers de Watteau, a connu un destin extraordinaire. Le tableau d'Antoine Watteau, que l'on a longtemps appelé "Gilles" avant de l'appeler "Pierrot", est pour beaucoup l'une des ouvres les plus fascinantes et les plus mystérieuses de l'histoire de la peinture. La destinée de ce tableau est liée à l'histoire elle-même fascinante de Dominique-Vivant Denon, le premier directeur du Musée du Louvre, qui devint propriétaire du Gilles de Watteau en 1804. C'est cette histoire que Bernard Dufour nous relate dans l'émission "Clin d'oil". Plus que le tableau lui-même qu'il considère pourtant comme "extrêmement énigmatique" et comportant à la fois un "maximum de simplicité" allié à un "maximum d'étrangeté et d'énigme", ce qui l'intéresse c'est le rapport de ce tableau avec un collectionneur et comment une toile acquiert une signification au-delà de son auteur. Retrouvez l'ensemble du programme d'archives Bernard Dufour, la poursuite du réel, proposé par Albane Penaranda. Par Pascale Lismonde Clin d'oeil - Le Gilles de Watteau par Bernard Dufour (1ère diffusion : 15/04/2000) Avec Bernard Dufour, peintre Réalisation Catherine Prin-Le Gall Édition web : Documentation de Radio France

durée : 00:06:47 - Les Nuits de France Culture - par : Albane Penaranda - Une Nuit autour de Bernard Dufour pour découvrir le parcours au long cours d'un peintre passé de l'abstraction au figuratif dans les années 1960 et qui n'a cessé de rechercher le réel à travers la représentation du corps des femmes et de la mort. Un programme d'archives proposé par Albane Penaranda. Né à Paris en 1922, mort en 2016 dans l'Aveyron, dans sa maison du Pradié où il avait son atelier depuis les années soixante-dix, Bernard Dufour est tout sauf un artiste de tout repos. À l'occasion du centenaire de sa naissance, partons à la découverte de celui-là même qui désignait le sexe et la mort comme les deux pôles de sa création et, pour ne pas sembler céder à une quelconque bienséance, disait "pornographie" quand on parlait d'érotisme à propos de sa peinture. Une peinture dans laquelle il avait fait entrer la figuration au début des années soixante, en payant cher de tourner ainsi le dos à la pure abstraction qui dominait alors. L'intime, l'autobiographie, Martine sa femme, le mas du Pradié. ses autoportraits regardant dans les yeux le regardeur. le corps des femmes, leurs sexes dévoilés sans pudeur. l'obsession du réel et le refus de tout réalisme, de tout conceptualisme. Parviendrons-nous à faire voir quelque chose de la peinture de Bernard Dufour dans cette Nuit ? Certainement, en l'écoutant parler de ses toiles, de ses livres et de ses photographies, des femmes de sa vie et de la tragédie violente de leurs morts ; en l'écoutant parler des opéras d'Alban Berg, du Gilles de Watteau, d'André Breton collectionneur, de La Belle Noiseuse et de la lignée des peintres qu'il ne quittait pas des yeux : Rembrandt, Goya, Cézanne, Giacometti . Tout au long de cette Nuit, lors notamment d'entretiens avec Catherine Millet, Alain Veinstein et Pierre Descargues, nous entendrons une parole libre, crue, enthousiaste et passionnée. Bernard Dufour, la poursuite du réel, un programme d'archives proposé par Albane Penaranda. Par Albane Penaranda Réalisation Antoine Larcher Bernard Dufour, la poursuite du réel (1ère diffusion : 20/11/2022) Avec la collaboration de Hassane M'Béchour Indexation web : Odile Dereuddre, Documentation de Radio France Archive Ina-Radio France

Today's episode takes us back to the reign of the Sun King, Louis XIV, whose court was every bit as frothy as the clouds the harvest goddess Ceres is lounging on. We find out crabs are sometimes lobsters and how a penniless young man from the outskirts of Paris named Antoine Watteau ended up scoring a big commission from one of the most powerful men in the court. And why this painting is now so rare! If you want to follow along, find it here on the Gallery's site SHOW NOTES (TRANSCRIPT BELOW) “A Long Look” opening and closing themes are by Ron Gelinas: “Ascension” https://youtu.be/jGEdNSNkZoo and “Easy” https://youtu.be/2QGe6skVzSs Episode theme is “Violin Concerto no. 3 in G major, K. 216” composed by Wolfgang Amadeus Mozart. Performed by the NOVA Community Chorus, courtesy of musopen.org  https://musopen.org/music/2863-violin-concerto-no-3-in-g-major-k-216/ Artwork information https://www.nga.gov/collection/art-object-page.46149.html Watteau info https://www.nga.gov/collection/artist-info.1967.html#biography https://www.nga.gov/features/slideshows/18th-century-france-the-rococo-and-watteau.html#slide_1 https://www.britannica.com/biography/Antoine-Watteau/Watteaus-Cythera#ref35071 Cancer crab info https://www.britannica.com/place/Cancer-constellation https://ima.princeton.edu/2016/06/21/junes-zodiac-sign-lobster-like-crabs/   For a transcript visit alonglookpodcast.com

durée : 00:58:50 - Les Cours du Collège de France - par : Merryl Moneghetti - Qu'est ce qui s'est joué entre la France et l'Allemagne autour de l'Enseigne de Gersaint de Watteau ? Pourquoi l'intérêt croissant pour ce tableau ? Reflète-t-il l'esprit français ? Bénédicte Savoy revient sur l'histoire de cette oeuvre et les projections identitaires qu'elle a pu susciter.

Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.

Los Miserables Autor: Víctor Hugo Cuarta Parte: El idilio de la calle de Plumet y La epopeya de la calle de Saint-Denis Libro tercero La casa de la calle de Plumet Cap I : La casa del pasadizo secreto. A mediados del siglo pasado, un presidente de birreta del Parlamento de París, que tenía una amante y lo ocultaba, pues por entonces los grandes señores exhibían a sus amantes y los burgueses las ocultaban, mandó construir «un hotelito» en el barrio de Saint-Germain, en la calle de Blomet, que nadie frecuentaba y se llama ahora calle de Plumet, no lejos del lugar que llamaban a la sazón Pelea de animales. Se componía esa casa de un pabellón con un solo piso; dos salas en la planta baja, dos dormitorios en el primero; abajo, una cocina; arriba, un gabinete; bajo el tejado, un desván; y todo ello lo precedía un jardín con una gran verja que daba a la calle. Era un jardín de unos trescientos pies cuadrados. Y esto era cuanto podían vislumbrar los transeúntes; pero, en la parte trasera del pabellón, había un patio estrecho y, al fondo de ese patio, una vivienda de planta baja con dos habitaciones y un sótano, algo así como una previsión por si hubiera que ocultar a un niño y a su ama. Esa vivienda daba por detrás, pasando por una puerta disimulada con cerradura secreta, a un corredor largo y estrecho, enlosado, sinuoso, al aire libre, que transcurría entre dos tapias altas y que, oculto con arte prodigiosa y como perdido entre las cercas de los jardines y los campos cultivados, a cuyos recovecos y rodeos se amoldaba, llegaba hasta otra puerta, también con cerradura secreta, que se abría a medio cuarto de legua de allí, casi en otro barrio, al final de la calle de Babylone, por donde no pasaba nadie. El señor presidente entraba por allí, de forma tal que incluso quienes lo estuvieran espiando y siguiendo y hubieran notado que el señor presidente iba a diario y de forma misteriosa a alguna parte no habrían podido sospechar que ir a la calle de Babylone era ir a la calle de Blomet. Merced a hábiles adquisiciones de terrenos, el ingenioso magistrado pudo llevar a cabo esas obras viarias en terrenos de su propiedad y, por consiguiente, sin control alguno. Más adelante, volvió a vender, en parcelas pequeñas para jardines y cultivos, esos terrenos que orillaban el corredor, y los propietarios de esas parcelas creían, a ambos lados de las tapias, que estaban viendo un muro divisorio y no sospechaban siquiera la existencia de esa prolongada cinta de baldosas que serpenteaba entre ambas tapias por entre sus platabandas y sus huertos de frutales. Sólo los pájaros veían esa curiosidad. Es probable que las currucas y los paros cotorreasen mucho el siglo pasado a cuento del señor presidente. El pabellón, edificado en piedra y al estilo de Mansard, con paredes forradas de madera y muebles al estilo de Watteau, rococó por dentro y de peluca por fuera, tras el triple muro de unos setos de flores, tenía un toque discreto, coqueto y solemne, como corresponde a un capricho del amor y la magistratura. Esa casa y ese corredor ya no existen en la actualidad, pero existían aún hace unos quince años. En 1793, un calderero compró la casa para derribarla, pero, como no le llegó el dinero, la nación lo declaró en quiebra. De forma tal que fue la casa la que derribó al calderero. A partir de entonces, no vivió nadie en la casa, que fue convirtiéndose despacio en unas ruinas, como toda morada a la que no presta vida la presencia del hombre. Conservó los muebles antiguos y siempre estuvo en venta o en alquiler, de lo que quedaban avisadas las diez o doce personas que pasan al cabo del año por la calle de Plumet mediante un cartel amarillo e ilegible colgado en la verja del jardín desde 1810.

durée : 00:15:55 - Les Nuits de France Culture - par : Albane Penaranda - Dans ce "Clin d'œil", le peintre Bernard Dufour nous raconte l'histoire d'une passion, celle du premier directeur du Louvre Vivant Denon pour le tableau de Watteau appelé "Le Gilles". Ce tableau, l'un des derniers de Watteau, a connu un destin extraordinaire. - invités : Bernard Dufour artiste, peintre, photographe, écrivain

We meet Alex Rotter, Chairman of Christie's 20/21 Art Departments, to discuss Christie's New York forthcoming auction 'Visionary: The Paul G. Allen Collection' which runs from 9–10 November 2022 at Rockefeller Center. The collection of philanthropist Paul G. Allen, co-founder of Microsoft, includes more than 150 masterpieces spanning 500 years of art history. Reflecting the depth and breadth of Paul G. Allen's collection, the auctions connect this visionary innovator to a range of ground-breaking artists, joining Paul Cezanne with David Hockney, Alberto Giacometti with Louise Bourgeois, Georges Seurat with Jasper Johns and Agnes Martin with Yayoi Kusama. Valued in excess of $1 billion, The Paul G. Allen Collection is poised to be the largest and most exceptional art auction in history. Pursuant to his wishes, the estate will dedicate all the proceeds to philanthropy.From 29 October – 8 November 2022, view The Paul G. Allen Collection in-person at Christie's Rockefeller Center galleries in New York. Follow @ChristiesInc and visit their official website: https://www.christies.com/en/events/visionary-the-paul-g-allen-collection/overviewFrom Canaletto's famed vistas of Venice and Paul Cezanne's magisterial vision of the Mont Sainte-Victoire to Gustav Klimt's Birch Forest, Georgia O'Keeffe's 'Red Hills with Pedernal, White Clouds', and latterly, David Hockney's joyful depictions of his native Yorkshire, the collection highlights landmark moments in the development of landscape painting through centuries. Botticelli's Madonna of the Magnificat, Georges Seurat's pointillist masterwork Les Poseuses, Ensemble (Petite version) and Lucian Freud's Large Interior, W11 (after Watteau) demonstrate the enduring power of the human figure in art, while the polyvalent practice of artists such as Max Ernst and Jasper Johns show how artists can subvert tradition to move art forward. We explore some of our own personal favourite works by Georgia O'Keeffe, Agnes Martin, David Hockney, Louise Bourgeois, Bridget Riley and Barbara Hepworth.Alex Rotter grew up in a family of art dealers in his native Austria, and studied at the University of Vienna. He currently lives in New York and is responsible for overseeing a global team of specialists spanning the full scope of 20th and 21st Century art. Rotter's progressive approach to presenting extraordinary works of art to the market has yielded many of the most groundbreaking moments in auction history. Career highlights include the 2017 sale of Leonardo da Vinci's Salvator Mundi , which sold for $450 million, becoming the most expensive object ever sold at auction, and Jeff Koons' Rabbit from the Collection of SI Newhouse, which sold for $91.1 million and set a world auction record for a living artist. Hosted on Acast. See acast.com/privacy for more information.

durée : 01:01:00 - Les Nuits de France Culture - En 1999, l'émission "Lieux de mémoire" partait sur les traces du personnage d'Arsène Lupin en recherchant ses inspirateurs, comme le célèbre anarchiste de la Belle Epoque, Alexandre Marius Jacob, et ses "élèves", tels Patrick Brice ou Timour-Serguei Bogousslavski, retraité de la cambriole. Arsène, le dandy, c'est le plus grand et le plus charmant, certes mais c'est aussi un personnage qui papillonne moins que le dit sa légende.Le champagne, les femmes, le haut-de-forme et la cape noire virevoltante : Arsène Lupin ? Pas vraiment. Contrairement à ce que pièces de théâtre et feuilletons télévisés se sont plu à représenter, le héros de Maurice Leblanc n'a que peu à voir avec un mondain. A-t-il un jour sablé le champagne, celui qui, en fait de conquêtes, n'a connu que des amours malheureuses? Derrière un personnage plus dense que léger, dans des ambiances marquées par l'empreinte d'Edgar A. Poe, un brigand a, peut-être, influencé l'auteur d'Arsène Lupin. Maurice Leblanc est jeune journaliste au Gil Blas en 1905, quand le procès d'Alexandre Jacob défraie la chronique. Homme d'esprit et de répartie, Jacob est un anarchiste libertaire qui pille de préférence les notables. Figure inédite au tournant du siècle, il incarne le "cambrioleur", une notion neuve pour une nouvelle délinquance sociale. Le personnage d'Arsène Lupin, gentleman cambrioleur, naît la même année que son procès et, sous la plume de Maurice Leblanc, transgresse les lois pour finalement mieux servir la société : de dandy détrousseur, il devient patriote quand en 1914 se profile, puis se met à défendre les malheureux dans ses aventures d'après-guerre.Un oeil sur Lupin, Jean-Marc Fombonne s'intéresse aux voleurs, ceux qui, à leur manière, ont perpétré un certain art du vol, et reçoit, entre autres invités, Timour-Serguei Bogousslavski,  graveur, ancien faussaire, qui vola un Watteau au Louvre en toute simplicité, et Laurence, la femme de Patrick Brice, l'auteur d'une trentaine de hold up qui ne manquait jamais d'envoyer des fleurs à ses victimes. Par Jean Marc Fombonne Réalisation : Brigitte Bouvier Lieux de mémoire - Arsène Lupin (1ère diffusion : 29/07/1999) Indexation web : Documentation sonore de Radio France Archive Ina-Radio France

durée : 01:30:00 - Les Nuits de France Culture - Marc Chagall : "Watteau pour moi c'est le génie, c'est incroyable les blancs, les gris, on peut devenir fou"

Los Miserables Autor: Víctor Hugo Primera Parte: Fantine Libro tercero En el año 1817 Cap IV : Tholomyès está tan alegre que canta una canción española. Aquel día estaba hecho de aurora de punta a cabo. La naturaleza toda parecía entregada al asueto y risueña. Los parterres de Saint-Cloud aromatizaban el aire; el aliento del Sena movía blandamente las hojas; las ramas gesticulaban al viento; las abejas saqueaban los jazmines; todo un mundo bohemio de mariposas revoloteaba encima de las aquileas, los tréboles y las avenas fatuas; había en el augusto parque del rey de Francia un montón de vagabundos: los pájaros. Las cuatro alegres parejas, mezclándose con el sol, los campos, las flores y los árboles, resplandecían. Y todas, en esa comunidad paradisíaca, que hablaba, cantaba, corría, bailaba, perseguía a las mariposas, cortaba campanillas, y se mojaba las medias caladas de color de rosa en las hierbas altas, lozanas, alocadas y sin ápice de maldad, recibían donde cayeran los besos de todos, menos Fantine, encerrada en su inconcreta resistencia, soñadora y esquiva, y que estaba enamorada. —Tú —le decía Favourite— eres siempre un poco rara. En eso consisten las alegrías. Cuando pasan parejas felices es como una llamada honda a la vida y a la naturaleza, y de todo hacen brotar caricias y luz. Había una vez un hada que hizo los prados y los árboles ex profeso para los enamorados. De ahí viene ese eterno escaparse los amantes como se escapan los escolares de las aulas, que vuelve a empezar una y otra vez y durará mientras haya aulas y escolares. De ahí que la primavera sea tan popular entre los pensadores. El patricio y el ganapán, y el par y el duque y el humilde, los de corte y los de ciudad, como se decía antes, todos ellos son súbditos de esa hada. Ríen, se buscan, hay en el aire una luz de apoteosis. ¡Cómo transfigura amar! Los pasantes de notario son dioses. Y los chilliditos, las persecuciones por la hierba, las cinturas abrazadas al vuelo, esas jergas que son melodías, esas adoraciones que estallan en la forma de decir una sílaba, esas cerezas que una boca le quita a otra, todo resplandece y transita en nimbos celestiales. Las muchachas hermosas se despilfarran tiernamente. Y es creencia común que nada de esto concluirá nunca. Los filósofos, los poetas y los pintores miran esos éxtasis y no saben qué hacer con ellos, de tan deslumbrados como los dejan. ¡Embarquemos hacia Citerea!, exclama Watteau; Lancret, el pintor del pueblo llano, contempla a esa clase media suya que alza el vuelo por el cielo azul; Diderot les tiende los brazos a todos esos amoríos, y D'Urfé les añade druidas. Tras el almuerzo, las cuatro parejas fueron a ver, en el lugar que se llamaba a la sazón la glorieta del rey, una planta recién llegada de la India, cuyo nombre no conseguimos recordar ahora mismo y que, por entonces, movía a todo París a ir a Saint-Cloud; era un arbolillo raro y delicioso, de copa alta, cuyas incontables ramitas, delgadas como hilos, despeinadas y sin hojas, estaban cubiertas de un millón de rositas blancas, con lo que el arbusto parecía una melena con piojos que eran flores. Siempre había una muchedumbre admirándolo.

Présidente, joueuse, cheffe d'entreprise et consultante, Laura Di Muzio nous rejoint cette semaine sur le podcast pour nous parler de son impressionnant parcours dans le rugby. Alors qu'elle jouait au foot Laura découvre le rugby au collège en EPS avec les garçons de la section sportive. à 15 ans avec sa soeur jumelle elle rejoint la section de rugby féminin en UNSS au lycée Watteau de Valenciennes puis en club à Villeneuve d'Ascq. Joueuse de rugby à XV et à sept, elle est fait son ultime saison au Lille Métropole Rugby Club Villeneuvois (LMRCV). Captaine emblématique de l'équipe, et championne de France en 2016, elle est rester au sein du club LMRCV où elle y est devenue présidente. Aujourd'hui Laura vit de son sport... On découvre son histoire dans cette épisode. Bonne écoute !  Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

DIBUJO DE LA MUERTE Guillermo Carnero (Valencia, 1947) Publicado por vez primera en 1967, Dibujo de la muerte era el rompedor poemario de un jovencísimo Guillermo Carnero (contaba tan solo 20 años) con el que inauguraba su trayectoria poética y confirmaba una nueva etapa para la lírica española, dejando atrás no sólo la llamada poesía social sino también el intimismo vitalista de sus más inmediatos predecesores generacionales. Podría decirse que, saltando por encima de ellos, entroncaba con el proceso literario interrumpido con la guerra civil y que tenía como punto de partida el Modernismo de finales del XIX y como término las vanguardias y la conocida como generación del 27. Dos son las notas que caracterizan a Dibujo de la muerte. En primer lugar, la representación de un mundo artístico de Belleza. Nos encontramos, aquí, ante la Belleza creada por el Arte: el monasterio de Las Huelgas, Citerea, Aranjuez, Venecia…O con individuos que encarnan la persecución de ese ideal: Scarlatti, Oscar Wilde, Watteau, o, incluso, el ficticio Detlev Spinell (protagonista de la nouvelle de Thomas Mann Tristán, que reemplaza en el poema de Carnero al compositor Gustav von Aschenbach de Muerte en Venecia). Y Belleza también del lenguaje con el que se describen objetos, espacios, sensaciones. Y junto a la Belleza, la omnipresencia de la Muerte, ángel debelador que transforma el Arte en artificio, que resuelve todo en ruinas: cómo lamenta Scarlatti la irrupción de las voces humanas (inexorablemente sometidas a la muerte) en medio de la belleza sonora de su Concertato, en qué pétreo silencio se ha convertido la vida en el monasterio de Las Huelgas, qué agónico el final de Detlev Spinell, tras haber comido un puñado de fresas, atrapado por su pasión amorosa en una Venecia apestada, con qué desprecio mira Watteau a los vulgares paseantes de los Campos Elíseos (¡los paradisíacos Campos Elíseos, nada menos!) siendo como es él dueño de un universo fabuloso surgido de su imaginación, con qué inútil obstinación se recluye Oscar Wilde en su mundo para preservarse del dolor. Y, finalmente, con qué piadoso desencanto ve el sujeto poético de “Embarco a Citerea” zarpar la nave hacia la isla de la eternidad. CRÉDITOS (Poema / Voz / música): Presentación / Fernando Alcaine / Mahler, symphony nº 5 - (Fragmento-Travermarch-1) 1-Amanecer en Burgos / Mingo España / Mahler, symphony nº 5 - (Fragmento-Travermarch-2) 2-Muerte en Venecia / Elena Parra / Mahler, symphony nº 5 - (Fragmento-Adagietto-1) 3-Watteau en Noguent-Sur-Marne / María José Sampietro / Mahler, symphony nº 5 - (Frag.Adagietto-2) 4-Óscar Wilde en París / Manuel Alcaine / Mahler, symphony nº 5 - (Fragmento-Adagietto-3) 5-Concertato / Lola Orti / Scarlatti (Sonata para clave) 6-El Serenísimo príncipe Ludovico… / Ica Ventura / Mahler, symphony nº 5 - (Frag.-Scherzo-1) 7-Capricho en Aranjuez / Mingo España / Mahler, symphony nº 5 - (Fragmento-Scherzo-2) 8-Embarco para Cyterea / Lola Orti / Mahler, symphony nº 5 - (Fragmento-Scherzo-3)

İstanbul Edebiyat Evi bünyesindeki Kıraathane Kitapları'nın "bağırmayan" yazarlara ve "bağırmayan" kitaplara özel bir düşkünlüğü var. Fransız yazar Pierre Michon'un külliyatını Türkçeye kazandırma işine de biraz bu yüzden giriştik. Kralın Bedenleri'nden sonra Üstatlar ve Hizmetkârlar'ı da Orçun Türkay'ın çevirisiyle yayımladık. Sırada Küçücük Hayatlar ve Onbirler var. Fakat Michon'u yayımlamak bize, onun aslında bizdeki hakim duygunun aksine pek de öyle "kısık sesli" bir yazar olmadığını hissettirdi. Çevirmeni kadar okurundan da maharet bekleyen bir üslup ustası Michon ve aslında "yüksek sesli edebiyat" yapıyor, en azından yüksek sesle okunmayı isteyen metinler sunuyor bize.Sözü burada, Üstatlar ve Hizmetkarlar'ın editörlüğünü yapan Levent Yılmaz'a bırakıyoruz:Michon aslında fısıltıların, mırıltıların olduğu kadar avaz avaz çığlıkların, bağırışların, toplu halde konuşmaların da yazarı. Bir de tabii, kendi kendine konuşmanın, sessiz sessiz, içinden. Goya, Watteau ve Piero della Francesca etrafına örülen Üstatlar ve Hizmetkarlar'ı yüksek sesle okumadıkça, dünyaya hem alaycı hem de imrenerek bakan bu büyük üslup ustasını anlamak bayağı zor. Küçücük Hayatlar'dan bu yana, küçücük olmayan, gayet büyük büyük edebi mücevherler çıkarıyor ortaya; insan hakiki edebiyatla karşılaşıyor, ferahlıyor, büyük bir nefes alıyor.Levent Yılmaz'dan Michon'a odaklanan bir edebiyat konuşması.

John Marciari is Charles W. Engelhard Curator and Head of the Department of Drawings and Prints at the Morgan Library & Museum. Marciari oversees a collection that is renowned throughout the world. Drawings and Prints is one of the largest of the Morgan's curatorial departments and its approximately 25,000 works span the fourteenth century through the nineteenth century. The department is especially strong in drawings from the Italian, French, Dutch, and British schools, and the list of important artists represented is vast, ranging from Michelangelo and Raphael to Dürer, Rubens, Fragonard, David, Watteau, Gainsborough, Constable, Turner, Ingres, and Degas, among other notables. The department also has the largest and finest collection of Rembrandt etchings in America. , So that idea of what the drawings tell us about the artist is another thing that's constantly interesting to me. You, maybe more so than a finished painting, get a sense of what problems an artist is trying to work out along the way. What ideas he has and rejects sometimes tell you an awful lot about the choices made in the final work. I like that insight into the creative process that you get from studying drawings. www.themorgan.org · www.creativeprocess.info

“A mi lado sin tregua el Demonio se agita; en torno de mí flota como un aire impalpable; lo trago y noto cómo abrasa mis pulmones de un deseo llenándolos culpable e infinito. Toma, a veces, pues sabe de mi amor por el Arte, de la más seductora mujer las apariencias, y acudiéndo a especiosos pretextos de adulón mis labios acostumbra a filtros depravados. Lejos de la mirada de Dios así me lleva, jadeante y deshecho por la fatiga, al centro de las hondas y solas planicies del Hastío, y arroja ante mis ojos, de confusión repletos, vestiduras manchadas y entreabiertas heridas, ¡y el sangriento aparato que en la Destrucción vive! “La destrucción” poema de “Las flores del mal”. Charles Baudelaire. Hay unanimidad en cuanto a la opinión de que la poesía moderna- no sólo en Francia sino en todo el ámbito de la cultura de occidente- empieza con un libro, “Las flores del mal” de Charles Baudelaire, publicado en 1.857. En esas páginas, no muchas, se contiene el núcleo de todo lo que será la poesía hasta hoy, y en este tiempo que ha transcurrido desde esta obra fundacional es difícil encontrar poetas importantes que no puedan considerarse como discípulos directos o indirectos de Baudelaire. El primer ciclo de esa descendencia cubre aproximadamente la segunda mitad del siglo XIX y los alrededores de 1.900, año en torno al cual muere Verlaine. A partir de entonces los continuadores de Baudelaire han desarrollado genialmente sus presupuestos hasta el punto de dar la impresión de que lo han inventado todo; a partir de ellos, el siglo XX hará muchas cosas que sonarán a nuevas, pero que no consistirán más que en llevar a sus últimas consecuencias lo que hizo este puñado de franceses. Entre Baudelaire y el 1.900 se extiende, pues, una época cápital de la poesía europea, a la que se ha dado el ambiguo nombre de . En realidad simbolistas propiamente dicho sólo los hubo a partir de los años ochenta del XIX, cuando esta palabra se puso en circulación; simbolista, en rigor, sería la tercera y última de las fases en que puede dividirse este período. La primera corresponde a la magistral de Baudelaire, y la segunda a la de sus grandes discípulos – Verlaine y Rimbaud, y otros , que pasaron a ser maestros de la generación llamada simbolista. Pero si el nombre pertenece a los epígonos, el genio es de los iniciadores; y cuando el simbolismo toma cuerpo y denominación, se convierte en una moda, suscita polémicas, genera antologías, manifiestos, etc., y se incorpora por parte de la poesía a la estética finisecular, resulta que sus figuras son menores, desdeñables, de segundo o tercer orden, y nos interesan mucho menos que los grandes inventores líricos que les habían precedido, aún sin fama, sin nombre y sin escuela. Baudelaire es el origen de toda esta historia, pero como siempre en los orígenes hay estímulos y coincidencias que ayudan a explicar los grandes cambios. Y este cambio se forja a mediados del XIX con una serie de circunstancias de carácter muy distinto. En la vida del país es la transición entre la monarquía burguesa de Luis Felipe y el Segundo Imperio; muchas ilusiones concebidas en las barricadas de 1.848 se irán al traste, la revolución acabará muy pronto en un cesarismo, mientras empieza otra época y los últimos románticos se mueren. Algunos de estos últimos románticos, antes de desaparecer, contribuirán a un clima nuevo que se está formando en la literatura francesa. Por ejemplo, Gérard de Nerval y Théophile Gautier sitúan la poesía más allá del subjetivismo romántico, pero el cambio de la sensibilidad se aprecia en los jóvenes de la generación nacida hacia 1.820 a la que pertenecen, entre otros Flaubert y Baudelaire. En esos años posteriores a 1.848 se inicia la corriente que luego será llamada , que une a los temas de la antigüedad grecorromana y a ideales de la más esmerada perfección formal, unos símbolos de libertad, progreso y república. Son los años en que Baudelaire está escribiendo “Las flores del mal”, aunque naturalmente todo ese aire de los tiempos no bastaría para explicar esa obra maestra, que acertó a encontrar en sus versos una voz nueva y profunda como pocas. Charles Baudelaire nació en París en 1.821. Su padre, que le llevaba treinta y cuatro años a su esposa, había sido un antiguo sacerdote que colgó los hábitos durante la revolución, y murió en 1.827, cuando el futuro poeta era aún muy niño; su madre, un año después, contraía segundas nupcias con el comandante Aupick. Este militar que iría ascendiendo hasta llegar a general, no parece haber merecido el obstinado rencor con que le distinguen todos los baudelerianos, haciéndose eco del odio que le tuvo su hijastro. Pero biográficamente es una pieza clave, como lo es también esa madre que ocupa un turbio y dramático lugar en la atormentada vida interior del poeta. En 1.893 se le expulsa del liceo Louis-le-Grand por indisciplina, pese a lo cual termina el bachillerato; se matrícula en la facultad de Derecho, pero nunca se tomará en serio los estudios, ni mucho menos llegará a ser abogado. Se instala ya en el permanente desorden de su vida, sin haber encontrado aún en la literatura el único orden que puede salvarlo del naufragio. Tiene amistades literarias , algunas muy ilustres, como Balzac y Nerval, y relaciones amorosas que le harán contraer la sífilis, de cuyas consecuencias iba a morir veintitantos años más tarde. El matrimonio Aupick se alarma, convoca un consejo de familia y se obliga al díscolo estudiante a emprender un largo viaje por mar que le llevará hasta la isla Mauricio. Pero a su regreso,en 1.842, nada ha cambiado: es mayor de edad, se instala por su cuenta y se dispone a gastar la parte de la herencia paterna que le corresponde. En su vida bohemia aparece ahora la mulata Jeanne Duval, modestísima actriz de los teatros de bulevar, amante y musa con la que sostendría largas y muy borrascosas relaciones. Su padrastro, que se ha convertido en un gran personaje oficial (es comandante en jefe de la plaza de París), y su madre frenan sus derroches, sometiéndole a un consejo de familia, lo cual significa que sólo va a percibir una pequeña renta mensual. Es la guerra abierta con su familia, mientras escribe versos que se incorporarán a su gran libro, prueba la crítica de arte y se entusiasma por una serie de artistas ignorados o muy discutidos, como el pintor Delacroix, el poeta americano Edgar Allan Poe y el músico Wagner. Baudelaire está ya en la vanguardia de la estética, pero no consigue abrirse paso en la literatura. En revistas publica poemas sueltos y un curioso cuento, “La Fanfarlo”, anuncia un gran libro que ha de llevar el provocativo título de “Las lesbianas”, frecuenta los ambientes artísticos, pero por el momento no pasa de ser uno de tantos bohemios que quizá promete. Empieza a ceder a la tentación de las drogas e intenta suicidarse, juzgándose, según el mismo dice, . La revolución del año 48 le exalta, ofreciéndole unos ideales y la posibilidad de dejar de ser ; participa en las barricadas de París, se hace miembro de la Sociedad Republicana Central que había fundado Blanchi, colabora en un efímero periódico de tendencias socializantes, y en el mes de junio se une a las insurrecciones populares. Pero todo eso tiene los días contados, la ilusión se agota muy pronto, y siguen las agrias disputas con la familia y la vida en común con la indigna mulata, que le engaña y se burla de él. En los siguientes años continúa dando tumbos sin conseguir centrar o equilibrar su existencia: proyectos teatrales, traducciones de Poe, poemas publicados aquí y allá, bajo la severa mirada reprobadora del general Aupick, al que han nombrado senador. Su vida amorosa sigue siendo un nudo de contradicciones: amores encanallados, amores platónicos, Marie Duval,, la actriz Marie Daubrun, la bella Madame Sabatier, a quién escribe anónimamente, su salud sigue siendo mala y las deudas crecen. Pero Gautier ha publicado ya “Esmaltes y camafeos”, y Baudelaire reconoce en él a su maestro, a quién va a dedicar “Las flores del mal”. Mediante la poesía cree poder sublimar toda la dolorosa confusión en que se debate. En 1.857, dos meses después de la muerte del general Aupick, se publican por fin “Las flores del mal”, con una tirada de mil trescientos ejemplares. De este año crucial data también la publicación de los primeros poemas en prosa, así como sus fugacísimos y frustrados amores con Madame Sabatier, la que parecía amada lejana e inaccesible, y que cuando deja de serlo crea en él uno de esos conflictos psicóticos tan baudelerianos en los que se mezclan la culpa y la soberbia. Le quedaban diez años de vida, que iban a ser, con raras excepciones, una sucesión de incomprensiones y fracasos. Sigue traduciendo a Poe, “Las flores del mal” se reeditan con poemas nuevos, parte de los poemas en prosa se reúnen bajo el título “El esplín de París” en 1.864, pero tienen una acogida muy fría. Tampoco las conferencias que va a dar a Bruselas tienen éxito, y piensa vengarse escribiendo un libro contra los belgas. Los síntomas de su enfermedad venérea se hacen más alarmantes y su vida con Jeanne Duval es un verdadero infierno. Encontrándose en Bélgica, tiene noticia de que unos jóvenes poetas de veintitantos años, un tal Mallarmé y un tal Verlaine, le colman de elogios; el poeta maldito tiene, pues, discípulos, lo cual, como tal poeta maldito, no parece complacerle demasiado. Escribe: . Muy pronto la soledad va a adquirir tonalidades trágicas; su mal progresa con gran rapidez, y su consecuencia es la parálisis y una afasia creciente. Es hospitalizado en Bruselas, acude su madre, que tiene setenta y dos años, y en julio de 1.866 se le traslada a París y es ingresado en una clínica hidroterápica del barrio de Chaillot. En esa clínica, sin haber recuperado el uso de la palabra, pero conservando toda su lucidez, muere el 31 de agosto de 1.867. Como decíamos, poco antes de morir, Baudelaire descubrió que tenía admiradores desconocidos. Uno de ellos era el joven Paul Verlaine, nacido en 1.844 en Metz, hijo de un oficial del ejército. Tuvo una niñez en apariencia normal y feliz, y desde 1.851 vivió con su familia en París, devorando poesía, escribiendo versos y sintiendo una admiración sin límites por Victor Hugo y los románticos en general. Hacía 1.860 descubre a Baudelaire, entrevé nuevos caminos para su futuro soñado de poeta, y en seguida concurre a los primeros cenáculos parnasianos, en los que aprende el rigor de la forma. Empieza a publicar en revistas, pero como debe mantenerse, entra en calidad de escribiente en las oficinas del ayuntamiento de París. Al año siguiente, 1.865, muere su padre, colabora en “L´Art”, revista parnasiana que naufraga muy pronto y en 1.866 es ya uno de los poetas de la revista “El Parnaso contemporáneo”, en cuyas entregas figuran nombres tan ilustres como Gautier, Baudelaire y Leconte. Sigue su primer libro, “Poemas saturninos”, muy boudeleriano, y tras una crisis en la que sufre trastornos nerviosos y bebe en exceso, frecuentando los ambientes de la bohemia literaria, parece equilibrarse gracias a Mathilde Mauté, con quién va a casarse en 1.870. En las “Fiestas galantes”, de 1.869, evoca con sensibilidad el mundo frágil y bello de Watteau, y en “La buena canción” de 1.870 canta su nuevo amor, que le ha dado la felicidad y la paz. Pero no eran tiempos de paz: inmediatamente sobrevino la guerra franco-prusiana, y luego el asedio de París y la Comuna. Verlaine perdió su empleo y la armonía conyugal se vio amenazada. En ese momento crucial de la vida del joven poeta, débil y apasionado, su destino se cruza con una de las figuras más fuertes y enigmáticas de toda la literatura contemporánea, otro joven, diez años menor que él, que ocupa también un lugar de primer orden en la descendencia de Baudelaire: Arthur Rimbaud (1.854- 1.891), precocísimo y rebelde a ultranza, que coincidirá con Verlaine en ese París dolorido y espectral que hace pocos meses ha sido escenario del desastre de la Comuna. El encuentro de ambos torcerá para siempre la existencia de Verlaine y será el origen de una intrincada y dramática historia. Rimbau había nacido en Charleville, en las Ardenas, en un hogar desavenido, y ya en su época de colegial empezó a escribir versos, insólitamente buenos para su edad; constantes disputas con una madre muy autoritaria le empujaron a huir de Charleville en varias ocasiones, y en febrero de 1.871 llegó a París y conoció a Verlaine, quién le introdujo en los ambientes literarios de la capital. La influencia del jovencísimo Rimbaud, que deslumbraba a todos con su talento poético y su espíritu de rebeldía absoluta, fue decisiva, y en 1.872, cuando se fue a Bélgica, arrastrando con él a Verlaine, quién abandonó a su esposa y a un hijo de pocos meses. Los dos amigos pasan a Inglaterra, se suceden las riñas y las reconciliaciones, y por fin la ruptura se produce en Bruselas, donde Verlaine dispara sobre Rimbaud dos tiros de revólver que le hieren en la muñeca. Condenado a dos años de prisión Verlaine publica “Romanzas sin palabras”, un libro profundamente innovador, que revela una poética nueva, fundada en la música del verso, pero que cae en el vacío total. Mientras, la separación legal se consuma, y el poeta encarcelado recobra la fe cristiana de su niñez. Al verse de nuevo en libertad, trata en vano de reconciliarse primero con Mathilde y luego con Rimbaud, provocando así una pelea con este último en Alemania. Rimbaud había seguido su vida errante por diversos países de Europa, como movido por una desazón íntima que se expresa en los poemas en prosa de “Una temporada en el infierno”, conjunto de visiones escritas en un lenguaje bello y hermético que parece aventurarse mucho más allá de donde habían podido llegar los poetas más audaces y revolucionarios. Rimbaud será ya para la literatura el vidente por antonomasia, como Verlaine el más refinado y sensible de los músicos que ha tenido la lengua francesa. Verlaine volvió a Inglaterra para ganarse la vida con la enseñanza, volvió a caer en el alcoholismo, y ya en los años ochenta se habrá convertido en un guiñapo humano cuya vida escandalosa le sitúa al margen de la sociedad; publica un nuevo libro de poemas “Cordura” de 1.881, de inspiración religiosa, da a conocer a los que él llama “Los poetas malditos”, de 1.884, volumen que habla de Rimbaud, Corbière y Mallarmé, y en “Antaño y ayer” de 1.885 reúne versos de épocas muy diversas, algunos maravillosos, otros mediocres. La desigualdad, la irregularidad, el mal uso y el despilfarro de unas inmensas dotes líricas, va a ser hasta el final una constante en él. Conoce de nuevo la cárcel por haber agredido a su propia madre encontrándose bajo los efectos del alcohol, e instalado definitivamente en París empieza el último y lamentable período de su vida; entrando y saliendo de los hospitales, viviendo a salto de mata, borracho la mayor parte del día, y publicando una desconcertante mezcla libros poéticos de tema religioso y de tema descarnadamente erótico. En los años noventa, una vez ha echo eclosión el movimiento llamado simbolista, los jóvenes le reconocen como un gran maestro, y le visitan reverentemente en las tabernas, burdeles y hospitales que suele frecuentar. A pesar de vivir en la miseria más sórdida, en 1.893 es candidato para la Academia y al año siguiente recibe el pomposo título de . Muere en enero de 1.896 como una estampa viviente del poeta maldito, , como le cantó en su responso Rubén Darío, el hombre que exprimió las palabras para extraer de ellas un inimitable lirismo, una música nunca oída que habla del sueño y de lo inefable. No menos singular, a su manera, fue también el fin de su antiguo amigo y compañero Arthur Rimbaud, quién en 1.876 parece haber renunciado por completo a escribir para lanzarse a una vida de aventuras en países exóticos. Se enrola en el ejército colonial holandés, deserta, va a parar a Chipre, luego recorre los puertos del Mar Rojo, y a fines de 1.880 fija su residencia en Abisinia, dedicándose al tráfico de marfil y de armas; uno de los mayores poetas del siglo se olvida de toda actividad literaria y vive en tierras remotas como mercader. En el curso de estos últimos años se publica en París su segundo libro “Las iluminaciones”, compuesto tiempo atrás, y que es uno de los textos más sorprendentes y fulgurantes de la poesía moderna. Rimbaud describe en estos poemas en prosa un mundo mágico y misterioso que parece obedecer a leyes que no tienen nada que ver con las de la realidad. En la pluma de este alquimista de la poesía que quiere por medio del arte de la palabra, todo se transforma en prodigio, locura o milagro, un encantamiento que permite . Esta poesía tan violenta, críptica y original iba a prestarse a las interpretaciones más contradictorias, cuando, mucho después de su muerte, se hizo el descubrimiento de Rimbaud. Para los surrealistas fue un precursor, además de un símbolo de la rebeldía absoluta ante la condición humana; otros vieron en él un gran revolucionario cuya enigmática obra sólo se explica con claves políticas; no faltó quién hablara de influencias de las religiones orientales, y Claudel, que se consideraba su discípulo, le llamaba , atribuyéndole un espíritu radicalmente cristiano. Y el misterio que todavía hoy envuelve la poesía de Rimbaud y sus supuestos significados, iba e espesarse con las extrañas circunstancias que se dan en el último periodo de su vida. En el curso de los años ochenta, en Abisinia, Adén o El Cairo, si escribe a su familia es para pedir obras técnicas, diccionarios, manuales que le permitan conocer mejor el comercio al que se ha consagrado, jamás nada relacionado con la literatura, que parece haber borrado de su memoria. Ahora es alguien que lucha denodadamente por hacerse rico, y, cuando la fortuna empieza a sonreírle, en la primavera de 1.891, cae enfermo. Tiene un tumor en la rodilla que se agrava y que obligará que le trasladen a la costa, recorriendo trescientos kilometros de desierto en unas parihuelas; embarca con destino a Adén, allí quieren amputarle la pierna, y por fin ingresa en un hospital de Marsella donde los médicos diagnostican un cáncer generalizado. La amputación resulta inútil y muere en Marsella el 10 de noviembre de 1.891, a los treinta y siete años, después de que, según el discutido testimonio de su hermana Isabelle, se hubiese reconciliado con la Iglesia.

durée : 00:25:09 - Thomas Adès, compositeur (2/5) - par : Thomas Vergracht - Une rencontre avec Francis Bacon et la contemplation de Watteau jalonnent cet épisode centré sur les années de formation du compositeur et pianiste Thomas Adès. - réalisé par : Gilles Blanchard

Nathan and Eppy dive into one of the most oddball episodes, S4E8 Irving the Explainer. It's an intentionally obtuse episode that really benefits from seeing it cold - if you haven't, be warned that we might spoil the fun with our discussion! Written by David Chase, this episode seems to be a pretty polarizing one, and we talk about the various lenses through which you can view it to find the fun. Content warning: the episode isn't really about Naziism, but it contains references to Nazis and Nazi sympathizers, and includes newsroom footage of Hitler in the opening credits. We have another podcast: Plus Expenses. Covering our non-Rockford media, games and life chatter, Plus Expenses is available via our Patreon (https://www.patreon.com/twohundredaday) at ALL levels of support. Want more Rockford Files trivia, notes and ephemera? Check out the Two Hundred a Day Rockford Files Files (http://tinyurl.com/200files)! We appreciate all of our listeners, but offer a special thanks to our patrons (https://www.patreon.com/twohundredaday). In particular, this episode is supported by the following Gumshoe and Detective-level patrons: * Richard Hatem (https://twitter.com/richardhatem) * Brian Perrera (https://twitter.com/thermoware) * Eric Antener (https://twitter.com/antener) * Bill Anderson (https://twitter.com/billand88) * Chuck from whatchareading.com (http://whatchareading.com) * Paul Townend, who recommends the Fruit Loops podcast (https://fruitloopspod.com) * Shane Liebling's Roll For Your Party dieroller app (https://rollforyour.party/) * Jay Adan's Miniature Painting (http://jayadan.com) * Jay Thompson, Matthew Lee, Kip Holley, Dael Norwood, Dave P, Dale Church and Dave Otterson! Thanks to: * Fireside.fm (https://fireside.fm) for hosting us * Audio Hijack (https://rogueamoeba.com/audiohijack/) for helping us record and capture clips from the show * Spoileralerts.org (http://spoileralerts.org) for the adding machine audio clip * Freesound.org (https://www.freesound.org/) for other audio clips

John Berger escribe con pasión, conocimiento y experiencia sobre el dibujo, su primer gran amor creativo. John Berger nació en Londres en 1926 y murió en París, a los 90 años de edad, el 2 de enero de 2017. Es recordado como uno de los críticos de arte más celebres del siglo XX y es autor de la obra Modos de ver (1972) que revolucionó la teoría del arte y se convirtió en un popular programa de televisión que él mismo presentó. A los 6 años de edad fue enviado por sus padres a un internado del que se escapó a los 16 años para estudiar arte en Londres. Comenzó sus estudios de dibujo en 1942 pero pronto, entre 1942 y 1946 se enroló en el ejercito británico y participó en la Segunda Guerra Mundial. A su regreso a Gran Bretaña, desde los 20 a los 30 años, ejerció como profesor de dibujo, al mismo tiempo que trabó vínculos con el Partido Comunista Británico y comenzó a escribir en la revista Tribune bajo la supervisión de George Orwell. Entonces decidió abandonar la pintura y dedicarse a escribir a tiempo completo destacándose como crítico marxista y defensor del realismo. Él ha sostenido que fue la situación política del momento lo que le impulsó a tomar este camino y no tanto su desinterés por la práctica artística. El libro titulado Sobre el dibujo (Editorial Gustavo Gili, 2007) presenta una colección de textos sobre el que fue su primer amor, al que ha dedicado mucho tiempo de experiencia sensible, de reflexión y de reveladora escritura. Nos dejaremos llevar, guiados por la clara prosa de Berger, por su singular y orgánica selección de observaciones, que nos permitirán hacer un recorrido –no sin asombro– desde el más remoto pasado hasta el más apremiante presente. Desde los albores de la especie humana hasta el significado del dibujo al natural, de la obra de dos artistas como Watteau y Van Gogh que ilustraron como pocos con su vida y su arte la fugacidad de la vida y el enamorarse de la sencillez de lo existente, desde la relación entre imagen y palabra hasta el gran debate que debería estar mucho más presente hoy día entre el dibujo y la fotografía.

Vanishing Postcards host and storyteller Evan Stern on the importance of telling the stories from the places that are off the interstate. This episode is brought to you by Brain.fm. I love and use brain.fm every day! It combines music and neuroscience to help me focus, meditate, and even sleep! Because you listen to this show, you can get a free trial.* URL: https://brain.fm/innovativemindset If you love it as much as I do, you can get 20% off with this exclusive coupon code: innovativemindset   Born during the driving rainstorm that inspired Stevie Ray Vaughan to record the classic “Texas Flood,” Evan Stern is one of a proud few who can claim Austin as his legitimate hometown. Having caught the performing bug early on, he first gained attention at age 11 with a second-place finish in Austin's famed O. Henry Pun Off, and has since graced the stages of New York's Carnegie Hall and Lincoln Center. A graduate of Sarah Lawrence College and the British American Drama Academy, whether acting Shakespeare, or charming audiences with the turn of a Cole Porter phrase, Evan is first and foremost a storyteller, with a sincere love and appreciation for history, travel and the art of raconteurship. He is now honored to return to Texas for the first season of Vanishing Postcards, an ambitious project that represents a synthesis of these passions through the form of audio essay. Vanishing Postcards is a documentary travelogue in which listeners are invited on a road trip exploring the hidden dives, traditions, and frequently threatened histories that can be discovered by exiting the interstates. Named one of the Best Podcasts of 2021 by Digital Trends. Connect with Evan IG - @vanishing_postcards IG - @evansternnyc Podcast- https://podcasts.apple.com/us/podcast/vanishing-postcards/id1544610020 Episode Transcript [00:00:00] Evan Stern: It's hard for me to really latch on one specific lesson that I have gained, but I do believe that. Everybody wants, ultimately wants to be heard. [00:00:18] Izolda Trakhtenberg: Hello and welcome to the innovative mindset podcast. I'm your host Izolda Trakhtenberg on the show. I interview peak performing innovators in the creative social impact and earth conservation spaces or working to change the world. This episode is brought to you by brain FM brain FM combines the best of music and neuroscience to help you relax, focus, meditate, and even sleep. [00:00:39] I love it and have been using it to write, create and do. Deepest work because you're a listener of the show. You can get a free trial head over to brain.fm/innovative mindset to check it out. If you decide to subscribe, you can get 20% off with the coupon code, innovative mindset, all one word. And now let's get to the show. [00:00:58] Yeah.[00:01:00] [00:01:02] Hey there. And welcome to the innovative mindset podcast. My name is Izolda Trakhtenberg. I'm your host, and I'm super thrilled that you're here. I'm also really excited and thrilled to talk about and meet this week's guest. Listen to this. Evan stern was born during the driving rainstorm that inspired Stevie Ray Vaughn to record the class. [00:01:22] Texas flood. I love that Evan stern is one of a proud few who can claim Austin. S's legitimate hometown that's the town is growing. So, wow. That's amazing how few people probably are from there. Having caught the performing bug early on. He first gained attention at age 11 with a second place finish in Austin's famed. [00:01:43] Oh, Henry punt off. And it says grace, the stages of new York's Carnegie hall and Lincoln center, a graduate of Sarah Lawrence college. American drama academy. Wow. Whether acting Shakespeare or charming audiences with the turn of a Cole Porter phrase, Evan is first and foremost, a storyteller, and [00:02:00] you know how close that is to my heart. [00:02:02] He's got a sincere love and appreciation for history travel and the art of a wreck on tour ship. He's now honored to return to Texas for the first season of vanishing postcards and ambitious project that represents a synthesis of these passions through the form of audio essay. Vanishing postcards is a documentary travel log in which listeners are invited on a road trip, exploring the hidden dives, traditions, and frequently threatened histories that can be discovered by exiting the interstates named one of the best podcasts of 2021 by digital trends, evidence here to talk about banishing postcards and everything else. [00:02:37] So amazing that he's doing Evan. Thank you so much for being there. Show welcome. [00:02:41] Evan Stern: Thank you so much for having me. It's a great honor. Oh, [00:02:44] Izolda Trakhtenberg: you're very sweet. So I I'm, this is such an exciting thing. Delving into the history of Texas. First of all, into the, into the storytellers of Texas into the dives and the honky-tonks of Texas as a travel log.[00:03:00] [00:03:00] But as a podcast, what, what inspired you to do this? What inspired you to go? You know what? I'm going to create this travel log. And I'm going to make it about my home state. What happened that you went, yes, I want to do this. [00:03:13] Evan Stern: Well, it was, it, it wasn't as if there was a lightning bolt of inspiration. It was a very kind of slow gradual process. [00:03:21] Um, and, and you told me, you know, a few years ago that right now I'd be working on a podcast. Um, you know, I might've said really. Um, but like, like so many though, I am one of those people who over the last 10 years just absolutely fell in love. Podcasting, um, and the, um, audio medium of storytelling, I think kind of the gateway drug for me, um, was years ago, I started listening to the moth, you know, just people getting up and telling personal stories without notes. [00:03:52] I, I just absolutely loved it. Um, then you start discovering, um, other programs, you know, like the, the kitchen [00:04:00] sisters and, and, and, and there's, you know, different, different stuff. I mean, there, there's a wonderful podcast about classic Hollywood called you must remember this. There's one about country music called cocaine and rhinestones, um, and around, and, you know, not too long ago as well. [00:04:18] Um, you know, the YouTube algorithm, uh, kept suggesting for whatever reason that I watched these, uh, travel blog, travel blog videos, and in watching them, I would never really see the way that I enjoy traveling represented. Um, I mean, certainly it's not always the case, but I think more often than not, when you, when you see videos of that nature, it's much less about the places themselves. [00:04:45] It's much more about the people saying, oh, look at me and how cute I am in this place. Um, and I just kind of gradually started thinking, you know, I wonder if there is something that, uh, that, that I can do. [00:05:00] Um, and initially I had this grand idea. That I wanted to do a show that was going to be a musical travel log of Mexico. [00:05:09] Um, you know, I'm, I'm immersed in the gig economy in New York, and I always try my best to get away January February just to, to escape the, the bitter cold of the winter. And, um, you know, Mexico is my happy place. It's, it's cheap, it's warm. Um, and so I initially had this idea that I was going to go, uh, kind of explore, use music as a portal to exploring the cultural, regional history of Mexico. [00:05:36] I was going to go to Vera Cruz that was going to where the tradition of, you know, and one a Watteau and, um, you know, in Monterey and the north. And I went so far as to, uh, produce a pilot episode, um, in Marietta Yucatan, um, about the tradition of the trophies that they have there. And it's one thing to, you know, when you're running an event, [00:06:00] Um, you know, you're thinking to yourself, oh my goodness, this is just going to be the best thing ever. [00:06:05] This is going to be amazing. And then you sit down and you listen to what you have spent months working on and you go, oh my goodness, I have missed the mark. So terribly. Um, it was a perfect lesson in show. Don't tell, I mean, w what happened was, is I talked all about the city of Marietta. It's about its history, this, that, and the other, but you didn't actually, um, when, when you were listening to it, I also learned pretty quickly that the, the human voice has such terrific color, shade, and nuance to it. [00:06:37] That if you have an actor come in, um, to a dub over, uh, you know, what was said in English, you just, you just lose so much. Um, and I realized pretty quickly that I needed to learn much more about audio production before tackling a project of that ambitious nature. And so I started thinking to myself, well, you know what. [00:06:59] Might [00:07:00] not be as exotic as Mexico, but if there's one thing I know it's that Texas people love to talk and they tell great stories. So in January of 2020, um, grab some equipments. Um, and I went back down to Texas to see what I could do. Um, really, it was just, uh, going to be kind of an experiment. Um, but it very quickly evolved into vanishing postcards. [00:07:26] Um, what happened was, is I took a look at what I was doing, um, and I realized that each episode was a snapshot of a different place. And if there was a thing that the place has had in common it's that you didn't know how much longer a lot of them were going to be around or that they were representative of broader cultural histories or traditions that. [00:07:52] You know, you, you just, they're kind of rare, um, in, in this kind of fast paced rapidly homogenizing [00:08:00] world. Um, and, um, since then it, it became, it it's, it's been an incredibly rewarding journey. Um, you know, as I maybe referenced earlier in, in many ways, it is kind of a 180 from a lot of the work I've previously done at the, at the same time. [00:08:17] Um, I feel that all of that work really kind of beautifully prepared me for it. Um, and having embarked on this journey, um, I ended up covering like about 1500 miles of, of Texas and, um, having embarked on this journey as a solo traveler, um, I'm now really grateful that the series is out in the world. Um, and I can invite, uh, you know, people like you and listeners really around the world, uh, to, to join me now and experience, uh, everything that I got to do. [00:08:49] Izolda Trakhtenberg: Wow. That's amazing. And it's incredible to me, what you just said about how you took everything that you had learned up until that [00:09:00] point and reframed it and repurposed it almost into this, this way of looking at your home state. And yet it is both technical and it takes a lot of artistry. And I'm wondering what, in, as part of, as part of doing this project, what did you learn? [00:09:21] What was the thing that stood out for you that you learned maybe about yourself or about the people in your state or about the places? What was the biggest thing you learned and how did it change you? [00:09:31] Evan Stern: Well, there's a lot, I mean, it's hard to, for me to really latch on one specific lesson that I have gained. [00:09:38] Um, but I do believe that. Everybody wants, ultimately wants to be heard. They, they really do. Um, and I mean, people often ask me, you know, w w w w when I first started doing this, it was, it was in January, 2020. It was before the pandemic hit. Obviously the pandemic changed, um, a [00:10:00] lot of what I could do. Um, but I was really the first episodes that you'll hear in the series. [00:10:05] I was really just kind of showing up at these places completely unannounced. Um, they really had no idea, um, that I was going to be there. Um, and it, it, people ask me, you know, did you meet resistance? We'll we'll really know. Um, everyone was, was intrigued. And for the most part, people were so honored that, you know, someone like me was taking an interest in their work, their place, uh, what they were doing. [00:10:35] Um, and I don't think too, I mean, Someone recently asked me too, that, that when they, you know, listen to the, to the series, you know, that, you know, they, they feel as if I'm able to, you know, extract these, these stories. And they said, well, how, how do you, how do you make this magic happen? And, well, the truth is is that you, you can't, um, there is nothing that you can do to you. [00:10:59] You never [00:11:00] really know what is is going to happen. Um, but the stories, if you just, if you start talking to people, um, you approach them with respect, empathy, and a willingness to listen. Um, and you ask them specific questions. Um, you just, you, you never know what you're going to. Um, and something that I tell anyone who's maybe interested in doing something like this. [00:11:29] Um, I will say that if you do want to, you know, get stories, you do want to ask people specific questions. Um, I would never go up to someone and just say, tell me about yourself. Um, I might say, um, before we get started, could you maybe describe for me your childhood home, you know, something like that. And, um, that really kind of opens up the door and we just kind of take things from there. [00:11:51] Yeah. [00:11:56] Izolda Trakhtenberg: Sorry. I'm taking all of that in. I like to take a pause to make sure [00:12:00] that I've, that I've understood everything. One of the things that I heard you say that really struck a chord with me was that it's about listening. And the other thing of course was asking those specific questions and. Were there any, and if so, what are they techniques that you use specifically as a, as a performer to help you with that part of it? [00:12:26] Evan Stern: Well, you know, I honestly, I think that, um, as I said so much of my experience, um, leading PR prepared me in, in leading up to this, um, and a big job that I've had for a number of years here in the city is it's a very, it's a very strange job. Um, I work as a, what is called a standardized patient, um, that is the medical schools, programs, hire actors to facilitate simulations [00:13:00] for, uh, medical interns and students. [00:13:03] Um, I have played all sorts of different cases. You'd never believe. I mean, they've had to diagnose me. I've been the graphic designer they've had to diagnose with cancer. Um, I have, uh, you know, I, I I've been the 19 year old crack addict who suffered a panic attack. You name it. I've I've had it. Um, but I have learned so much in, in working with these students in terms of how they build rapport and what works and what doesn't. [00:13:34] Um, I think it's amazing. How many people, uh, it can be applied to interview situations, whatever, um, you know, you give someone a microphone. Sometimes they just kind of become a completely different person. You know, they think that every question, you know, has to be probing and every question, you know, has to have weight, but you really just have to remember how you talk to people in your [00:14:00] everyday life. [00:14:02] You know, how do you introduce yourself to a stranger? Um, you know, you're just going to start talking to people, um, and you know, you, you read their body language and you, you really just it's about establishing trust. Um, and it, and I feel that people understand that. I don't think of myself as a journalist. [00:14:30] Um, I'll be the first to say that I think of myself as more of an essayist. I really think that a journalist job is to investigate a journalist job is to probe. I'm not really there to do that. I'm really there just to, you know, kind of have a conversation and, and enjoy the ride and see where that ride takes. [00:14:49] You know, I'm not, if someone tells me a tall tale, um, I'm not going to fact check that story. Um, but I think that people recognize [00:15:00] that. Um, and you know, I just think that, um, just, just really, like I said, just, just remembering how we relate to one another, uh, every day is, is just crucial. [00:15:15] Izolda Trakhtenberg: Yeah, you're talking. I mean, as you're talking, I'm going, he's, he's talking about integrity and authenticity, and those words are abandoned about aura a lot nowadays, but it really, it seems to me that that's, that that's what you, that, that that's what, what you were using, you know, using who you, who you were authentically to meet these people. [00:15:37] And I know you said that people asked you if you, if you met resistance, I'm wondering what was the most wild story you heard? [00:15:46] Evan Stern: Goodness. Oh, man, there, there were, there was, uh, so, so there's this teeny town called Castile, Texas that sits on the Western edge of the, uh, [00:16:00] the hill country. It's absolutely beautiful, very isolated. [00:16:04] The town has a population of six and, um, I don't even know if he's really there, mayor, I don't know if they actually have a mayor, but you know, the, the big local personality is Randy Love. Festi, uh, he's the owner of the Castille store. Um, I'll be releasing his episode in a, in a few weeks. Um, but, uh, when I was there, he told me that, uh, he had, uh, he, he, he, he took a trip to Cabo San Lucas with his girlfriend. [00:16:36] Uh, they saw this, uh, chicken in a bar and he said, you know what, I need a chicken for the store. So, um, you know, he bought this, uh, roof. For the store. And, um, he had this, uh, Billy Bass that was like, you know, one of those electronic things, you know, you clap your hands in the best wiggles. Well, um, one day as he tells [00:17:00] me, he looks over and, um, this rooster is having sexual relations with that bass. [00:17:05] So this thing he tells me became this huge sensation where people from all over the place started coming to town to see his rooster perform, you know, 12 times a day. And he was able to, uh, make hundreds of thousands of dollars in real estate deals that he was able to sell to the people who came through the store because of that rooster. [00:17:27] And then he proudly led me into the store where he showed me this. He, you know, he, he called the rooster cockroach. Yeah, and the rooster died. And after the rooster died, he had that. He took him to the taxidermists and, um, had him, uh, mounted and placed on top of his good friend, Billy the bass. And I've seen a lot of taxidermy in my day. [00:17:51] I don't think I have ever seen a stuffed rooster and I have certainly never seen a row stuffed rooster on top of a Billy Bass. I'll [00:18:00] tell you that right now. [00:18:02] Izolda Trakhtenberg: Wow. That is. Tall tale for sure. [00:18:10] Oh my goodness. I uh, wow. Yeah, yeah. I don't even, I'm like, whatever. How do I follow that up? I think, I don't [00:18:21] know. I did. I did, because you know, the thing, the thing about this is that anytime we tell stories or listen to stories, I think we're changed by them even if, even if it's, oh, that's just the most ridiculous thing I've ever heard. Your experience of life is, is, is changed in some way or another. So I guess I'm wondering, how have you been changed by doing this project? [00:18:45] Evan Stern: Well, It's in many ways, it's been a dive into the unknown, as I said, it's, it's very, it was all very new for me in the beginning. Um, I had to do a lot of learning and [00:19:00] I re I really had to put myself out there. Um, it definitely, um, tested the boundaries of my comfort, um, in a lot of ways. Um, you know, you really just have to, as I said earlier, you have to go up out there and just start talking to people. [00:19:16] Um, and I usually found that I was way more nervous than the people I was talking to. And, um, I was talking to someone else about this, um, experience. Someone said, and, you know, she asked me, she was like, well, how do you, where does that confidence come from? Where do you get that confidence? And I said, well, you know what? [00:19:36] I, I, I think I've discovered that confidence is kind of overrated. Um, because you can't just read a book or, you know, attend a three-day workshop, whatever, and magically have confidence. It just doesn't happen that way. Confidence happens as a result of experience. Um, it happens as a result of mistakes. Um, and, [00:20:00] um, I think. [00:20:02] I heard somewhere that, you know, what heroic act doesn't involve, just huge levels of vulnerability. Um, and so I, I think I have definitely grown in confidence as a result of all of this, but that really, uh, just is a by-product of, of the work itself and everything that, you know, has been asked of me to, to rise to this challenge [00:20:36] Izolda Trakhtenberg: and that in itself, the, the skills you've built, the ideas that you've gotten and, and brought to fruition is a big part of the change I would imagine. And I love, I'd love to discuss a little bit as you talk about this, what is the process? What was the creative process that goes in to making an episode to crafting vanishing posts? [00:20:59] Evan Stern: Absolutely. [00:21:00] So each, you know, obviously I do have each episode does have a subject that I am interested in delving into. Um, there are people that I want to meet, just so you know, so basically, um, a bit more about the show itself for, for those listening out there. So essentially listeners are invited to join me on a road trip. [00:21:23] And so each episode is produced in documentary style. So, you know, you're going to hear a lot of, it's not, you know, interview, it's not talk show, you're going to hear a lot of different voices. Um, you're going to hear some of my narration, um, and I really work hard to make it an immersive listening experience for those who, who are hearing the episodes. [00:21:49] Um, but basically the, the way that I constructed is, um, there are. And, uh, as I said, you know, each episode, there are certain issues that, that I'm looking at. [00:22:00] Um, and so I just go, I, I talk to people, um, and I assemble a number of interviews at the, at the places that I go to. Um, you know, I try to talk to the, uh, the owners. [00:22:14] I try to talk to the workers. I try to talk to the people who go to these places. Um, you're going to ask all of those people different questions. Um, but you're also, I think there, you know, you also want to, there are also some specific questions that I will ask all of them. Um, and then what I do is I, I come back home and I listened to all of the, um, I listened to all of the interviews and I extract, you know, the, the gold from each person I speak with, you know, I could very well talk to someone for like an hour out of that hour conversation. [00:22:51] I might just take, you know, Three minutes worth of, of nuggets or whatnot. Um, and then I, you know, I, I look at [00:23:00] everything that I have and I stepped back and I, I just kind of look for it, you know, that, what, what, what, what, what are the commonalities, what, what do people keep coming back to, you know, are there opposing views? [00:23:15] Um, and from there, I, I just kind of take these nuggets and I weave together a story out of all of that. Um, I really let my subjects kind of guide the way that the, the story moves and goes. Um, the, the most challenging job for me is in the writing process of pasting it all together. Um, everything has to have I learned, you know, for years, I, you know, I've, I've. [00:23:45] Did a lot of performing in the cabaret world. Um, and you know, even if you're just putting together a show, that's, that's really kind of, you know, a series of songs, what is said in between those songs is every bit as [00:24:00] important as the songs themselves and everything has to have architecture and a beginning, middle and an end. [00:24:06] Um, so the, the greatest challenge for me is about how I can link everything together, um, in the narration as part of a cohesive whole, um, you know, I think, but each episode, uh, you know, I, I never, totally, there are always things that I want to focus on, but you just never totally know where it's going to go. [00:24:27] And before each one, um, I always ask my God, is this going to work? Um, but some so far it's worked out okay, [00:24:38] Izolda Trakhtenberg: That moment of, oh, what if this is going to be a complete disaster? I know it well. Um, and it's, I'm so fascinated by what you're saying with respect to the storytelling, the beginning, middle and end, and the sort of the patter between songs in, in, in a cabaret show, all of, all of those things, those elements [00:25:00] of storytelling, what do you think is the result? [00:25:06] What is the most crucial thing to put into it? And what is the result? How do you, when do you feel like yes, it has worked as opposed to, oh, it's going to be a disaster. [00:25:16] Evan Stern: Well, as I said earlier, again, the most important thing is, is show don't tell, um, and what, what, what is always best for me is I try not to. [00:25:34] I try not to express too much in the way of, of opinion. Um, what, what is really magical though, is just when you have, when you're talking to someone and, you know, whether they realize it or not, they, they share and tell a story that just kind of beautifully encapsulates everything, you know, that, that just really explains the issue [00:26:00] without it, you know, at that point, the work for you is, is really done. [00:26:05] Um, but you know, kind of an example of, of something that, you know, I, I did that, that was a challenge, um, was, you know, I have an episode that's coming out in a bit where. I took a trip first to, to Brownsville, Texas, where I spoke with this man who is the last, uh, cook in the United States who was allowed to serve a barbacoa cooked barbacoa, as it was meant to be prepared, which means it's, it's cooked in a pit under the ground. [00:26:37] Um, and that's what he does. He, he, he's serving barbacoa out of what had been his childhood home. Um, there's a pit out back that's in the ground and, you know, that's where he cooks it. The reason that he's allowed to do it is because his father started it in 1956 and it's been going on for this long. And so I focused on him and I did a segment on him. [00:26:57] And then I went to San [00:27:00] Antonio and I, um, you know, met a cook there who, you know, talked about cooking up puffy tacos. And, um, it ended up, you know, she, her story went in a completely different direction. Um, I mean, her mother. Started this business out of, uh, out of a garage because it was her last hope. Um, she was an incredible woman, a revered figure in San Antonio, um, who, you know, was shockingly murdered. [00:27:28] Um, and she talked all about that and, and, and everything. And, and then, and how she like found forgiveness and was being able to move beyond and, you know, everything that her, how her mother prepared her and how her mother expressed love through, through cooking. And, um, I realized that, you know, on, on the surface, you know, these two stories, yes, they were about cooking, but they were very, very different. [00:27:55] But what, what is it that they had in common? I realized that, you know, [00:28:00] through their cooking, they were both expressing love. And for me, and that's how I brought the two together. [00:28:14] Izolda Trakhtenberg: I'm still thinking, sorry, it's a beautiful, uh, yeah. That notion of, um, cooking and, and healing through cooking and expressing love through cooking, but also expressing love for, I guess, the, the heritage and the inspiration for what they did is so important. And I'm wondering if you have someone or figures or people in, in your world. [00:28:45] Hoo hoo hoo. Does that for you? Who inspired you to do this? And if so, is it that same love, it sounds weird to say love connection, but is that connection one of love and respect? What [00:29:00] is it about the people or the images or, or the ideas that inspired you that comes from that place? [00:29:11] Oh, no you're [00:29:11] Evan Stern: thinking. Oh, no, of course, absolutely. I mean, [00:29:20] There. I mean, who can you say, can you just rephrase the question in a simple, in a simple one sentence in a simple one sentence for me? Can you say, say what you're getting at [00:29:30] Izolda Trakhtenberg: again here? Sure. I'm just wondering who inspired you throughout the journey? Are there any public figures or is there anybody in Texas? [00:29:37] Are there any people who made you go, ah, this is what I want. Well, [00:29:41] Evan Stern: what I can say is that if, if there is a bar that I am always working towards, you know, never, never met him personally. Um, but I am old enough to remember growing up on CVS. There was a man by the name of Charles Kuralt who would travel the [00:30:00] country and he would really just kind of share good news is, is what he was, is what he was doing. [00:30:07] And he. He, he never expressed anything in, in terms of, in, in, in showing these stories, he was able to present, you know, the best of people without really expressing anything in the way of judgment. And there are many situations throughout this process where I have asked myself, what would Charles Kuralt do? [00:30:32] Hmm. Um, and you know, I, I don't mean to, I'm not trying to compare myself to Charles Caroll. Um, in the least, you know, I have much more work to do, you know, before I feel like I can get people called him the Walt Whitman of American television. Um, but I can tell you that that is the bar that I am always working towards. [00:30:56] Um, and the greatest compliments that I have received, [00:31:00] um, you know, or when people have heard this series and said, oh, you know what, this reminds me of Charles Perrault. [00:31:08] Izolda Trakhtenberg: That's lovely. And I remember Charles Caroll also on like, uh, CBS Sunday morning or something like that. Yeah, yeah. Yeah. His stories were all, you know, when, uh, you were mentioning the idea of love and heart. [00:31:20] That's what I remember thinking about his stories was that they were always full of such quiet soul and heart. They didn't have to be huge stories, but they were, they always left me feeling better and always gave me something to think about. Well, yeah, [00:31:38] Evan Stern: go on. Go on. No, no, no, go ahead. Go ahead. Well, and I do believe that there is a great void of that when you look at our media landscape right now, and th there, there really is. [00:31:48] Um, we live in a horribly polarized, horribly divided age. Um, I, I do not believe that anything that we have lived through over the [00:32:00] last five, six years should be normalized. I will be the first to say that, um, But I do believe that, you know, the, the issues that we are wrestling with right now as a nation, uh, in the divisions that we're dealing with in terms of politics and race are completely unsustainable. [00:32:20] But at the same time, I do think that there is more that we have in common than what we've realized. And I do think that culture right now is one of those rare areas of agreement. And what this show is about celebrating is that culture, um, you know, culture provides opportunity for shared experiences and you know, that that's really kind of what I'm getting at with, with all of this. [00:32:53] Um, and, and additionally too, I mean, how can we expect for people in [00:33:00] our rural communities to appreciate what is good and beautiful about places like New York city or San Francisco, or even Austin for that matter, if we cannot appreciate what is good and beautiful about them, [00:33:22] Izolda Trakhtenberg: from what you just said, it feels like there's a sort of a, through the looking glass aspect to your show that you're inviting people to go on a journey with you to, to see these places or to listen to these, to these stories and to hear about them. When you do that, when you're in that space of inviting people on a journey, how do you decide which stories are the ones that are important to tell. [00:33:52] Evan Stern: Well, something that's important to me. Is that so often when we think about art and [00:34:00] culture, I mean, we think about palaces of civilization, like the mat, the British museum, the, the loop, but the truth is that art and culture is everywhere. And oftentimes some of the best of it comes from places that you're just not going to read about in glossy magazines. [00:34:20] You're not going to see about these places on Instagram. And it's really about exploring that, you know, Detroit gave us Motown, Clarksdale, Mississippi gave us the blues. Um, and, and for me, it's really kind of about seeking these, these places out. You know, if you read a, you know, if you read like a tourist guide book about Texas, they're going to tell you to go to the Alamo. [00:34:49] They're going to tell you to go to the river walk, do this, do that. Um, There's so much more to that. I mean, I had the [00:35:00] great honor of visiting a town called San Benito, um, which is about, you know, 15, 18 miles north of the border. Um, and you know, th this is, you know, if you look at this country, um, you know, the real Grandy valley, um, is just statistically, one of the, the poor regions, you know, there's been a lot. [00:35:21] Um, you know, uh, D population, you know, flight, whatnot, but this town of San Benito, um, was responsible for giving birth to the movement of music. Um, which is an incredible genre. Basically what happened is the, uh, the Mexican laborers down in south Texas, um, heard the music that was brought to the area by the checks, the Germans, they heard the Pocus, they heard the accordions, um, and they, they took that accordion music. [00:35:51] They took those polkas and they added their own lyrics and Spanish to them. They threw in guitar and they created this whole entire genre [00:36:00] of music. And, um, w w the story there is, is, is I knew that I wanted to. To do a piece, you know, on the border, you hear about the border a lot, um, in the news right now, but what is always lost in the noise surrounding all of that is the culture and the people who actually exist there. [00:36:19] Um, and I thought that kahuna really kind of provided a terrific, uh, opportunity just to explore kind of the beautiful th the, the beauty that exists there. And I heard that there was this museum in this town called the Texas kahuna music hall of fame. So I sent a message on Facebook. Um, I I'd heard that, uh, it was founded and owned by a man by the name of Ray Abila. [00:36:42] And a little while later, I got a call from his son, turned out, uh, that Mr. Abila, his father had died about seven months prior, but that if I wanted to go, um, visit the museum, that they would be honored to have me and I showed up. This museum, the small town in [00:37:00] Texas and the entire family was there because they wanted for me to know about their father. [00:37:07] Um, they wanted me to know about Cancun . Um, they found a, the president of a record label who specializes in this music so that he could be there with us too. And they had such pride and joy in, in sharing. And an honor that someone took the time to visit a place like, like San Benito. Um, it is an experience I will always treasure and never forget. [00:37:34] Izolda Trakhtenberg: That is so lovely. And I'm so glad that you got to tell that to, to tell that story, to show, to show, to sort of open the window, if you will, into San Benito and into this music. And I'm wondering something, this is a little off topic, but do you know who Alan Lomax was? I [00:37:54] Evan Stern: have heard the name. Um, please refresh my memory. [00:37:57] Izolda Trakhtenberg: Sure, sure. So he was an [00:38:00] ethnomusicologist and what he did with his whole career for 50 years, he traveled the world and he recorded music. And when video came along, video of mew, indigenous music, wherever he was, he tried to find the music from that place. And, uh, and there, when I worked at the national geographic site in many moons ago, he came over and he was like, Hey, I would love to put together a library that didn't happen with the geographic, but his daughter, after his death put up a website and there is a website that you can go and, uh, sort of see the music from anywhere. [00:38:35] You can hear the music from anywhere, you just type it in. And if it's there, if they got a recording of it, you'll be able to hear it. And so I'm wondering for posterity, what is your. W w w this library, if you will, that you're creating this travel log that you're creating in my mind, Alan Lomax, his version of it is providing us access to music from all [00:39:00] over the world that is, that could be lost. [00:39:03] And I'm wondering, what do you, what is your feeling about that with the stories that you're telling you mentioned earlier that these that's, their survival is not certain the different traditions and the, and even the, the, you know, the honky-tonks the places themselves, what are you going for here? What is your long-term vision for vanishing postcard? [00:39:24] Evan Stern: Well, so yes, so I'm collecting oral history and I, I think it is really important that we do have a record of it. Um, I think in some ways, uh, this is something perhaps of a bit of a call to arms. Um, you know, I, I want to say it's about shining a light on, you know, what is, what is still, what is still there. [00:39:47] Um, but we can still go to, but as I said, you know, some of this stuff might not be around for too much longer, so it's, it's really kind of about drawing attention to it so that we can preserve it. Um, you know, I look at my [00:40:00] hometown of Austin. Texas as a whole. Um, it is, it is changing at rapid pace. I don't think that change is something to be feared. [00:40:09] Um, in, in many ways I think it is something that, um, should be embraced, but we have to change and grow responsibly. Um, we have to ask, you know, why, w w what is it that people like about Austin? What is it about Texas that draws people there? Why do people keep coming? Um, and I do think that it is it's culture, and I believe that we, as a society need to do a lot more to protect the culture that surrounds us. [00:40:36] I mean, th th most of the places that I spotlight are small businesses and. You know, whenever a small business closes that, you know, has a great history behind it or fondness to it, you'll have all of these people come out of the woodwork saying, oh my goodness, this is horrible. This is the worst thing ever. [00:40:54] But my question always is, well, when was the last time you, you actually went there? Um, [00:41:00] I mean, it's really exhausting. It's a lot of hard work, um, to, to keep these places going. And if people get tired or they aren't making ends meet you, you can't blame them. Um, and this is an issue that you see happening in New York. [00:41:14] It's an issue you see happening in Texas, California, London, name it it's happening. Um, and so I do think that. You know, th th hopefully this series kind of makes people think, uh, a bit more about that. Um, and long-term, it is my hope, uh, that I can expand the map beyond Texas because, um, the, the issues that I feel are explored in this series are truly universal. [00:41:44] In fact, if you look at the analytics, um, most people tuning in and listening right now are actually listening from outside of Texas. Um, and so I think it's important to, uh, you know, I want to expand the map [00:42:00] and, um, you know, if I can do a part to draw attention to, you know, the, the, the beauty of a meal, American culture that surrounds us, um, you know, that's kind of what my goal is. [00:42:16] Izolda Trakhtenberg: And it's a great goal. And I'm so glad that you said that you eventually, cause that was going to be, my next question was, do you want to take it outside of Texas? And I mean, Texas covering Texas can be a lifetime's work cause it's such a big place with such a varied set of, of uh, peoples and cultures. [00:42:32] And yet I love the notion of, of that, what you said, finding those small businesses, finding those people, who aren't, the ones trumpeting themselves and giving them a chance to, to shine. I think that's amazing and wonderful that you're doing that. And I love the notion. And if you could. What would you go next? [00:42:53] Evan Stern: Uh, well, I, I have a dream. I would love to drive route 66 from Oklahoma to [00:43:00] California, and I would love to collect stories and oral histories along the way. Um, I think that route 66, so much of why, um, it kind of occupies this mythic status, um, is because of the timing. Um, you know, there were other highways that were built before or after there were larger ones. [00:43:19] Um, but I think, you know, if you journey route 60, I've never done it, but I, I have to think that if you drive route 66, I mean, you were following in the steps of the, the Okies who migrated to California because of the dust bowl and the great depression. Um, it was an incredible artery during world war II. [00:43:38] So there's that history as well. Um, then it kind of. You know, in encapsulates that golden age of American travel and in the late forties and fifties, then it was decommissioned. And, you know, there was a lot of abandonment that happened and kind of, what does that say? Um, you know, about the American dream, you [00:44:00] know, it was it, uh, and, and so there's a lot that I would like to explore and taking that journey, um, beyond that, I would also love to take a trip to Mississippi sometime, uh, something that fascinates me about Mississippi. [00:44:11] I think, um, the, the writer really Maura said that Mississippi is America's Ireland. Um, if you look at it, it has produced the most incredible Canon of just literary lions, um, William Fox. Um, Richard Wright, Eudora, Welty. Um, they were all Mississippians and Mississippi continues to produce an incredible writers there. [00:44:36] There's a wonderful storytelling tradition attached to Mississippi. Um, and I would love to see, uh, what, what I could get there. [00:44:47] Izolda Trakhtenberg: I love it. I think that's amazing. First of all, I'd driven along 66 and you will, you will love it. Love it, love it. And, uh, you know, Mississippi and the south in general [00:45:00] has a rich storytelling culture. I have every time I spend time in Alabama, Mississippi, Georgia, Florida, that, that part of the country there, if you, if you set a spell, you will, you will get amazing stories. [00:45:16] And often you don't, it doesn't take a lot of prompting. So I'm I'm you said earlier that, that it's just about sort of talking to people the way you would talk to them. The, I guess the question is, have you had people who just say Nope, Nope. Not doing it. And if so, what have you done if that particular story is important to you or do you just move on to the next person? [00:45:38] Oh, [00:45:38] Evan Stern: absolutely. Well, there, there is. Um, you know, so the. The third episode that you'll hear in the series. Um, I did at a honky-tonk called arche blue, silver dollar, um, in this town called Bandera, Texas. Um, it's a fantastic place. Um, again, it was pre pandemic. Um, so, you know, I showed up there unannounced and I really wanted to [00:46:00] talk to, uh, archi blue. [00:46:01] He's he's the owner, he's in his eighties. He performs there every Saturday night. Um, I thought, you know, th this guy is a legend. I've got to talk to him, got to talk to him. He wanted absolutely nothing to do with it. Wouldn't give me an inch refuse to let me record him. Um, and you know, he was cordial when I talked to him, we're talking, you know, you're one word answers, you try everything. [00:46:24] Um, but what happened is, is, uh, every, I, I talked to everyone. That I could find around him and everybody had a story about archi that they wanted to share and, um, what resulted in. And so his refusal became part of the story itself. Um, but in talking to everyone who knew and loved him and had stories to share about him, you really got a terrific, uh, portrait that wouldn't have existed. [00:46:56] Otherwise that that I think is entirely charming. [00:47:00] Um, and when that happened, I had to remind myself that one of my very, very favorite, um, essays of all time, uh, was written by, uh, gates Elise. Um, in 1965, he was given an assignment to interview Frank Sinatra for Esquire magazine and Frank Sinatra completely refused to talk to him. [00:47:23] Um, but what he ended up doing was he interviewed all the hangers on everyone in his, his entourage. And, uh, to this day, people say that it is the most realistic. Portrait of Frank Sinatra that has ever been captured. Um, and so I would recommend to anyone who finds themselves in that position to think of that story and, you know, maybe read that story, uh, because that's something that I draw tremendous inspiration from.[00:48:00] [00:48:03] Izolda Trakhtenberg: It's so interesting. I have a friend who, uh, who's a PR expert and she talks about the difference between marketing and PR Gloria, Charles, her name. And she says marketing is when you come to people and you say, Hey, I'm great. But PR is when someone else goes, you know what? That person they're great. And as long as it's someone you trust, it weighs more than if the person is trumping again themselves, you know? [00:48:31] And so there's something to what you said that kind of reminded me of that, that notion of the other people around Frank Sinatra or, or, or archi, uh, being the ones who tell their tale. And I, I guess I'm wondering within that, I've asked you about the wildest, what is the story that has touched you the most? [00:48:55] The one that made you go, ah, wow. I had no [00:49:00] idea. [00:49:02] Evan Stern: Well, for me, the, the episode that, that, that has the most personal heart for me, um, is, is the second one. What happened is I went to this dance hall. Um, I, I, I knew that I wanted to do a piece on dance halls. Um, in, in Texas, you know, everyone always talks, always writes about Greenhall or Lukin Bach. [00:49:27] You know, those are the big dance halls, but there are many, many, many more others out there. And there was one I discovered that I'd never been to called SEF Shaq hall. It's in this teeny community, um, called Seton, Texas. It's about eight miles outside of a town called temple. It's a community of about 40 people. [00:49:48] And, um, and there's this old dance hall there called SEF shuck hall. That is pretty much trapped in time. Um, by most accounts, it is now the oldest, [00:50:00] um, family run dance hall in Texas. You know, it's a family that, that owns it. This family has, has always owned and run it. And, um, I went there and I wanted to talk to its owner, Alice, who is 89 years old. [00:50:19] Um, and, uh, you know, I had actually called an advanced to ask if I could come and talk to her. She said, sure, well, I got there. And I said, well, I'm here to talk to Alice. And it turned out, you know, that morning she took a fall and they had to take her to the emergency room. Um, and you know, and it kind of, you know, you could feel the way. [00:50:41] In that situation, you know, what, what happens to this place? Um, you know, without, without Alice here. And I ended up talking to her daughter-in-law and son, um, and you know, they're, they're committed to keeping it going. Um, but you could feel like the, you [00:51:00] know, the, you know, I, I feel like that situation kind of infused the episode with, with weight. [00:51:06] Um, but beyond that, um, you know, I listened to, to what I had initially, and there was something missing. Um, I said to myself, I said, you know, I'm doing a lot of talking here. I'd like to find someone else who could do some, some talking for. Um, and there there's an association called the Texas dance hall preservation. [00:51:29] And I found the woman who was working at the time as their executive director, because I wanted to talk to her just to kind of get some more historic perspective on dance halls. You know, I was talking about the history. I think it's better if someone else can talk about the history, other than me, that actually knows more. [00:51:45] And, you know, I talked earlier about how, you know, you have those moments where someone just kind of, you know, tells a story or share something that just beautifully illuminates everything. And, um, [00:52:00] I was talking to her and I asked, I said, you know, there are so many causes out there in this world that are, that are worth devoting attention to. [00:52:09] I said, you know, why are dance halls important to you? And she said it was, it became an incredibly emotional interview that I was not expecting at all. But she said that, you know, those places have a lot of heart and that her fear was that we're getting away from that as a society. And, you know, she, you know, ends up crying. [00:52:34] She's saying, you know, these places, you know, people go there, you know, it's not just about the fun. It's, it's not just about the dancing. Um, it's about, you know, it's about cleaning the roof. It's about cleaning the toilet. And she says, I see so many people working so hard to keep these places going and, you know, and of course it is perfectly illustrated what the shoe lock family, you know, we're, we're [00:53:00] doing, you know, the, the, the daughter-in-law the son, you know, they, they work, you know, five days, they do not take days off. [00:53:07] You know, they have regular jobs that they keep Monday through Friday, and then they're there on the weekends. And, um, I think that it beautifully exemplified their story. In addition to just about every other person that I talked to in the series as a whole, [00:53:30] Izolda Trakhtenberg: that is beautiful. And I'm so grateful that you shared that, that moment of, of talking to her and also the story of. Dance halls in general or, or anything that we do because we love it. Um, you know, we, we do it because whatever it is, whatever that thing is that you do, because you love it. And particularly these places where one of the things that I think Evan, that, that you've highlighted, that I think is so [00:54:00] incredible is that you've taken, you've highlighted places that aren't going out for fame. [00:54:08] You know, these are people and places that are just living, doing their thing and living their lives day in and day out, year in and year out. And they're not going to be a celebrity. They're not trying to be world famous for example. And yet you've shown the light on them. And I think that's so it's powerful because of that, because they're living their lives and doing something hopefully that they love, like with the dance hall story. [00:54:35] And they're not looking for accolades and yet you've given them a platform. And I'm so grateful that you've [00:54:43] Evan Stern: done that. Well, I will say it's not even that. I think a lot of them as well, feel a responsibility to the people who go to these places, you know, like a dive bar, isn't just a place to grab a beer. [00:54:58] You know, a dive [00:55:00] bar represents an entire community. Um, you know, a dive bar, a dance hall. These are all places where people go to, to belong. That's that's, that's what, all of the, that's another through line that I think these places have in common, you know, whether it's a barbecue joint, a dive bar, a dance hall, people go to these places for community and for places to belong. [00:55:25] And I think that it's, it's, it's important to highlight that aspect as well. [00:55:31] Izolda Trakhtenberg: Absolutely. I agree. Yeah. Interestingly because people come and go, like you said, there are a lot of people who, who come to Texas, uh, especially Austin has, has ballooned. Uh, I guess the question that's come that's upper. Most of my mind right now is culturally the culture of places changes. [00:55:54] Right? And so, as the culture evolves, I [00:56:00] know that you're a lot of what vanishing postcards is about is, is capturing that before it goes away before it's no longer in its current form. Are there things that you've done that have been, uh, sort of in the process of changing or something is over and something new's coming to take its place? [00:56:21] And if so, what have those things been? [00:56:25] Evan Stern: Um, you mean my work or places I've been. [00:56:30] Izolda Trakhtenberg: I guess I'm not asking the question very well. I'm just wondering about culturally, your vanishing postcards project is focused on sort of the smaller, uh, heart, very heartfelt places in people in Texas now and perhaps, and perhaps hopefully someday elsewhere. [00:56:51] And as, as the culture changes in those places or for those dance halls, have you captured in any of the [00:57:00] episodes that you've done? That change taking place? Absolutely. [00:57:04] Evan Stern: Um, the, the very first place that I went to, um, was a bar called, uh, the, the dry Creek cafe. Um, it's been there for about 70 years. Um, it, when it first opened in the early 1950s, it really basically sat on the edge of the country. [00:57:22] Now, not only is it no longer country, um, it's now pretty much surrounded by mansion's. Um, it's now basically it's this ramshackle dilapidated dive that is surrounded by some of the priciest real estate in all of Texas. Um, but this bar has survived. Um, and I think it's one of the few places that you can go where you're reminded that, you know, before the tech, uh, millionaires invaded the Hills, the Hills were actually home to Cedar choppers, which was this, um, Appalachian subculture. [00:57:55] Um, and, uh, the, the very first person that I interviewed. [00:58:00] In, um, in Texas for the series was angel their bartender. Um, this was a tough day game, you know, raspy voice, you know, just changed smoker, you know, just, just fabulous, you know, just tough as nails, woman. Um, she was incredibly, um, reticent to, uh, to speak with me again, getting her to talk on the record and letting along to record her. [00:58:28] Um, just took every ounce of charm that I could possibly muster. But when she found out that I was okay with cussing, um, she opened right up. She let the F bombs fly. Um, we had a terrific time, um, and, uh, very sadly I think about, um, four months or so. Um, after I, I interviewed her, she died. Um, what was remarkable about angel is, um, as I said, the place opened in, um, I think it was 1950. [00:58:59] [00:59:00] Three. Um, she was only the third bartender to ever work there. Wow. Um, and so I'm incredibly grateful that I, you know, captured her, her voice and I have that record of her. Um, but you know, you have to ask, you know, when, when someone like that goes, you know, um, you know, what does that, how does that change a place? [00:59:22] You know, what does that do? I was actually just back in Austin last week. Um, and I went there to visit the place to, you know, just see if there was some additional footage I could get that would help bring the season two to a close, um, just to kind of see how that change had affected things. Um, and you know, so there, there are analogies, there, there are now like a few bartenders there who are like trading duties and whatnot. [00:59:48] Um, but I think what's kind of beautiful is that those who have filled in, you know, were all regulars, who, who knew and loved and cared about the bar. Um, [01:00:00] and, uh, you know, they dedicated a section of the bar to angel where they have, you know, her pictures and some things that she loved. Um, and, um, it was, it was just kind of interesting and reassuring to see, um, how, you know, yes, you know, when a beloved, you know, figured, uh, leaves, it's hard and it's challenging. [01:00:21] Um, but if the community is there. It will come. It will find a way to continue. At least for now. I'm grateful to see that, to know that the dry Creek is still there and that those who love it, um, are doing their part to, uh, to keep it going. [01:00:38] Izolda Trakhtenberg: I'm so glad to hear that story. That is wonderful. Evan. I want to thank you so much for taking the time to talk to me about this. [01:00:46] It's, it's such an important topic because it isn't one that, that we tend to focus on. So I'm really grateful that you took the time to tell me about vanishing postcards and to tell me about the culture and the people that you are, [01:01:00] uh, Capturing, if you will, for, for all of us, for all of us to enjoy. And I, and if you're listening to this, you need to go check out vanishing postcards. [01:01:08] I've listened to a few episodes and it's fabulous and amazing. Evan. If you wouldn't mind, I would love it. If you would give whatever social media. Uh, that you have so that if people want to find you, that they can. [01:01:22] Evan Stern: Absolutely. So the, um, you know, if you search, uh, vanishing postcards on Instagram, uh, you'll find it there. [01:01:29] Um, it also has a, a, a, a Facebook page, just search vanishing postcards. It should turn up. Um, you can also find me on Instagram as well. I'm at Evan stern NYC. Um, and, um, you know, I thank you so much and oh, and, but most important, most crucially, um, you know, please go find, listen to subscribe to vanishing postcards. [01:01:54] Um, since this is a podcast, uh, you know, whatever, you're listening to this on, I'm quite [01:02:00] confident that you'll find us there. We're on apple, we're on Spotify, we're on all the, uh, you know, whatever platform is out there. We're more than likely on, and I'd be most honored if you'd consider giving us a little. [01:02:12] Izolda Trakhtenberg: Awesome. And I will actually put all of that in the show notes so that if you're listening to this and you've seen the show notes, you'll be seeing the links to all of it. I just, people learn differently. So I like giving both the audio and the sort of, you can read it visual for it. Uh, Evan, again, I'm really grateful that you took the time to chat with me. [01:02:32] Me and I, I have one last question, if that's okay. Of course. It's a question I ask everybody who comes on the show and it's a silly question, but I find that it yields some profound results. Yeah. And the question is this, if you could sky write anything for the whole world to see what would you. [01:02:53] Evan Stern: What would I say for the whole world to see? [01:02:58] Oh my [01:03:00] goodness. Yeah. So I feel like I need to say something profound, like Buddha or something like that now, or Yoda. My goodness. [01:03:11] Izolda Trakhtenberg: I've had people say, eat your veggies. So it does not have to be, [01:03:16] Evan Stern: I mean, it is a cliche. Um, I've, I've heard it many times. Um, but I, I do believe that there is something to be said for the fact that if I were to write this in the sky, I would say luck is the result of preparation meeting opportunity. [01:03:34] I absolutely believe that to be true. Um, I always do my best to be, uh, you know, prepared and, uh, educate myself and, you know, and, and be ready so that, um, you know, when opportunity comes, you know, luck can, can happen. [01:03:53] Izolda Trakhtenberg: I love that. I think that's a great way to end this episode, Evan stern, you are fabulous, and I'm [01:04:00] so glad that you were here. [01:04:01] Thank you. This is the innovative mindset podcast. You have been listening to my wonderful conversation with Evan stern, who is the host of the vanishing postcards podcast, which of course, you know, you need to check out if you're liking what you're hearing, do me a favor, leave a review, let me know comment. [01:04:20] However you'd like to get in touch. I would appreciate it until next time. This is again, Izolda Trakhtenberg reminding you to listen, learn, laugh, and love a whole lot. [01:04:36] thanks so much for joining me today. I really appreciate you being here. Please subscribe to the podcast if you're new and if you like what you're hearing, please review it and rate it and let other people know. And if you'd like to be a sponsor of the show, I'd love to meet you on patrion.com/innovative mindset. [01:04:53] I also have lots of exclusive goodies to share just with the show supporters there today's episode was produced by [01:05:00] Izolda Trakhtenberg and his copyright 2021 as always, please remember, this is for educational and entertainment purposes. Only past performance does not guarantee future results, although we can always hope until next time, keep living in your innovative mindset.   * I am a Brain.fm affiliate. If you purchase it through the above links and take the 20% off, I'll get a small commission. And please remember, I'll never recommend a product or service I don't absolutely love!  

“L'Empire des sens” de François Boucher à Jean-Baptiste Greuzeau musée Cognacq-Jay, Parisdu 19 mai au 18 juillet 2021Interview de Sixtine de Saint Léger, attachée de conservation du musée Cognacq-Jay et commissaire associée de l'exposition,par Anne-Frédérique Fer, à Paris, le 27 mai 2021, durée 14'56, © FranceFineArt.Extrait du communiqué de presse :commissariat :Annick Lemoine, directrice du musée Cognacq-Jay avec la collaboration de Sixtine de Saint Léger attachée de conservation du musée Cognacq-Jaycomité scientifique :Guillaume Faroult conservateur en chef, en charge des peintures françaises XVIIIe siècle et peintures britanniques et américaines, musée du LouvreFrançoise Joulie, historienne de l'artAlastair Laing, conservateur honoraire au National Trust, LondresÀ l'occasion du 250e anniversaire de la mort de François Boucher (1703-1770), le musée Cognacq-Jay explore le thème de l'Amour dans sa forme la plus licencieuse, au prisme des créations de Boucher et de ses contemporains – maître, rivaux ou élèves – tels que Watteau, Greuze et Fragonard. Ce dialogue révèle comment Boucher, le peintre de Louis XV, s'impose comme une ñgure centrale du développement de l'art érotique au XVIIIe siècle.Une centaine de peintures, dessins et estampes, qui traitent du désir autant qu'ils le suscitent, sont exceptionnellement réunis. Provenant de prestigieuses collections internationales publiques et privées, ces chefs-d'oeuvre sont souvent présentés pour la première fois en France. Le parcours de l'exposition prend une nouvelle ampleur en se déployant exceptionnellement dans huit salles du musée.Le XVIIIe siècle signe l'avènement du plaisir des sens. Plus qu'à toute autre époque, l'Amour y occupe une place dominante dans les arts. Philosophes, hommes de théâtre, romanciers et artistes, tous investissent le thème des passions amoureuses et des désirs charnels. On ne compte plus, sous le pinceau des meilleurs peintres, les scènes bucoliques où badinent bergers et bergères, les boudoirs où s'échangent les soupirs langoureux, les alcôves où s'égarent « le coeur et l'esprit ». Pourtant, dans cet océan d'images consacrées à l'Amour, on a jusqu'ici peu insisté sur l'audace et l'originalité de certaines inventions.« Peintre des Grâces », François Boucher est également l'auteur de compositions secrètes, à la charge érotique saisissante. Au sommet de sa gloire, sa notoriété s'accompagne d'une réputation sulfureuse, habilement alimentée par ses détracteurs. Ses très lascives Odalisques – représentées nues, alanguies sur un sopha, le fessier comme offert au spectateur – ont largement contribué à nourrir les rumeurs.Au travers de huit sections, l'exposition décline les temps du plaisir et les gestes amoureux, depuis la naissance du désir jusqu'à l'assouvissement des passions. Ce parcours déploie une polysémie amoureuse, de Watteau à Greuze, ponctuée par les créations de Boucher. Resserrée sur les oeuvres les plus audacieuses, l'exposition propose de regarder ces inventions à l'aune des échanges entre artistes, en suivant les phénomènes d'émulation et de rivalité, jusque dans le dialogue particulièrement fécond avec la littérature libertine de l'époque. Elle s'achève sur de rares chefs-d'oeuvre qui invitent à réfléchir sur la violence des pulsions charnelles et sur leurs conséquences tragiques.En contrepoint, afin de situer les frontières de l'interdit, un cabinet d'erotica présente une soixantaine d'objets extraordinaires à caractère pornographique – peintures, miniatures, boîtes à secrets, livres factices, etc. Ces objets inédits dévoilent les rivages les plus secrets de l'imaginaire érotique du siècle des Lumières. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

durée : 00:11:01 - L'Île enchantée - par : Marianne Vourch - "L’île enchantée", "Assemblée dans un parc", "Les Champs-Élysées" ou encore "Embarquement pour Cythère", cette suite de titres charmeurs et mystérieux suscite depuis le XVIIIè siècle une interrogation : Où Watteau situe-t-il ses fêtes galantes ? Le peintre se serait inspiré des paysages de Flandre - réalisé par : Sophie Pichon

Comment les malades étaient représentés dans la peinture néerlandaise du XVIIème siècle ? Passion Modernistes RSS jQuery(document).ready(function($) { 'use strict'; $('#podcast-subscribe-button-498 .podcast-subscribe-button.modal-60b4074ae3e61').on("click", function() { $("#secondline-psb-subs-modal.modal-60b4074ae3e61.modal.secondline-modal-498").modal({ fadeDuration: 250, closeText: '', }); return false; }); }); Portrait Laura Pennanec’h Dans cet épisode Laura Pennanec’h vous raconte parle de représentations des maladies, de la peinture néerlandaise du XVIIème siècle et de l’histoire du genre. Depuis 2017 elle prépare une thèse sur le sujet « Réseaux de savoirs genrés autour du corps malade dans la peinture hollandaise du XVIIe siècle » au Centre Alexandre-Koyré (EHESS), sous la direction de Christian Jacob et Rafael Mandressi. A partir d’une centaines de tableaux, elle étudie comment des peintres nés ou formés à Leyde qui a vu se développer une école de peintres, « les peintres précieux« , qui ont beaucoup représentés les malades et les médecins. Parmi ses peintres, elle étudie notamment Gérar Dou, Frans van Mieris l’Ancien et Jan Steen. Une représentation genrée de la maladie Gerard Dou (Leyde, 1613 – Leyde, 1675), La femme hydropique, (De waterzuchtige vrouw), 1663, huile sur panneau de bois, (86 cm x 68 cm), Paris, Musée du Louvre. La thèse de Laura Pennanec’h entend mettre en lumière les réseaux de savoirs genrés enserrant les corps malades tels qu’ils furent dépeints dans la Hollande du XVIIe siècle. Cela permet d’établir d’abord une histoire des corps malades tels qu’ils ont été peints à l’époque en prenant pour entrée les variations iconographiques produites par le sexe des malades représentés. Il s’agit également de faire une histoire de l’insertion des tableaux dans un territoire donné, une histoire des circulations des motifs et des thèmes iconographiques entre les images et entre les peintres afin d’étudier ce que ces circulations disent de la culture visuelle des artistes, de leurs relations personnelles, de leurs sociabilités. Comparer avec l’histoire des sciences Parallèlement, l’utilisation d’un corpus textuel (médical comme artistique) permet de resituer les tableaux par rapport aux discours écrits sur la maladie, sur les relations entre hommes et femmes, sur les modalités de figuration des corps. Si elles ne sont pas prises pour centre, les intentions des acteurs — peintres, médecins — sont néanmoins intégrées dans un raisonnement qui souligne l’importance du cadre personnel, social et intellectuel dans lequel ils évoluaient, donnant à voir, d’une certaine manière, une sociologie rétrospective de ce qui existait à l’époque. En ce sens, Laura multiplie les échelles d’analyse, en se concentrant tour à tour sur les lieux (faculté de médecine, maison particulière, atelier de peintre), les individus (peintres, médecins, chirurgiens, malades), les objets et les pratiques (visite médicale, saignée, pose de ventouses, observation des urines). Pour en savoir plus sur le sujet de l’épisode, Laura vous conseille de lire : Frans van Mieris l’Ancien (Leyde, 1635 – Leyde, 1681), La visite du médecin ou La malade d’amour (Het bezoek van de arts of De zieke vrouw), 1657, huile sur cuivre, (34 cm x 27 cm), Vienne, Kunsthistorisches Museum. Sur la peinture néerlandaise du xviie siècle :Une synthèse dense mais efficace : Haak, Bob. The Golden Age: Dutch Painters of the Seventeenth Century. Londres: Thames and Hudson, 1984. Une référence plus récente qui permet de repenser la notion de « siècle d’or » : Blanc, Jan. Le siècle d’or hollandais : une révolte culturelle au XVIIe siècle. Paris, France: Citadelles & Mazenod, 2019. Sur la médecine et les savoirs sur le corps au xviie siècle : Un manuel à destination d’étudiants en histoire de la médecine (et avec une visite du médecin de Jacob Toorenvliet, peinte en 1666, en première de couverture !) : Elmer, Peter, éd. The Healing Arts: Health, Disease and Society in Europe, 1500-1800. Manchester: Manchester University Press, 2004. Un ouvrage sur la circulation des savoirs dans les Provinces-Unies : Cook, Harold J. Matters of Exchange: Commerce, Medicine, and Science in the Dutch Golden Age. New Haven: Yale University Press, 2007. Le frontispice de la Genees-Oeffening de Paul Barbette, graveur anonyme, vers 1670. Sur les femmes dans la peinture néerlandaise du xviie siècle : Un ouvrage synthétique : Franits, Wayne E. Paragons of Virtue: Women and Domesticity in Seventeenth-Century Dutch Art. Cambridge: Cambridge University Press, 1993. LE texte de référence sur les représentations de femmes malades : Dixon, Laurinda S. Perilous Chastity: Women and Illness in pre-Enlightenment Art and Medicine. Ithaca: Cornell University Press, 1995. Dans cet épisode vous avez pu entendre les extraits des œuvres suivantes : Constantijn Huygens – Pathodia Sacra: Multi dicunt animae meae Jan Pieterszoon Sweelinck – Fantasia Cromatica Anthoni van Noordt – Psaume 2, pour orgue Dalida – Je suis malade Si cet épisode vous a intéressé vous pouvez aussi écouter : Épisode 15 – Isabelle et les médecins à Paris au XVIIIème siècle Épisode 14 – Axel et le peintre Watteau Épisode 12 – Paul-Arthur et les épidémies au XVIIIème siècle Épisode 3 – Johana et les sages-femmes en Alsace Ce très beau générique a été réalisé par Julien Baldacchino (des podcasts Stockholm Sardou, Radio Michel, Bulle d’art…) et par Clément Nouguier (du podcast Au Sommaire Ce Soir).

durée : 00:47:09 - Remède à la mélancolie - par : Eva Bester - "Histoire de ma vie" de Casanova, l'Italie, les Lumières, Nietzsche, Sade, Watteau, Ingrid Caven et Brigitte Fontaine, Jacques-Henri Lartigue et le tennis... Retrouvez tous les remèdes de notre invitée !

Interview de Myriam Watteau auteur compositeur, écrivain, présentatrice de la web tv Love Sister par Belgrand Philippe de la radio libre-antenne.fr Bonne écoute de cette nouvelle interview des experts.

durée : 00:49:13 - Remède à la mélancolie - par : Eva Bester - "Voyage à Tokyo" de Yasujirö Ozu, la marche, Montaigne, Marina Tsvetaeva, Winnie l'Ourson, Antoine de Watteau, Schubert, Yves Montand, un chêne... Retrouvez tous les remèdes de notre invité !

En 1911, le vol de la Joconde avait traumatisé le monde entier ; en 1939, juste à la veille de la Guerre, celui d’une toile de Watteau, L’Indifférent, fait moins parler de lui – pourtant, la solution de l’énigme est plus étonnante encore… Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Découvrez le peintre Watteau, connu pour ses représentations des fêtes galantes mais victime de vide archivistique. Doctorant en histoire de l’art à la fois à l’École du Louvre et à l’Université de Bourgogne de Dijon, Axel Moulinier travaille sur le peintre Antoine Watteau et son rapport aux vêtements et aux

John Marciari is Charles W. Engelhard Curator and Head of the Department of Drawings and Prints at the Morgan Library & Museum. Marciari oversees a collection that is renowned throughout the world. Drawings and Prints is one of the largest of the Morgan's curatorial departments and its approximately 25,000 works span the fourteenth century through the nineteenth century. The department is especially strong in drawings from the Italian, French, Dutch, and British schools, and the list of important artists represented is vast, ranging from Michelangelo and Raphael to Dürer, Rubens, Fragonard, David, Watteau, Gainsborough, Constable, Turner, Ingres, and Degas, among other notables. The department also has the largest and finest collection of Rembrandt etchings in America. , So that idea of what the drawings tell us about the artist is another thing that's constantly interesting to me. You, maybe more so than a finished painting, get a sense of what problems an artist is trying to work out along the way. What ideas he has and rejects sometimes tell you an awful lot about the choices made in the final work. I like that insight into the creative process that you get from studying drawings. www.themorgan.org · www.creativeprocess.info

John Marciari is Charles W. Engelhard Curator and Head of the Department of Drawings and Prints at the Morgan Library & Museum. Marciari oversees a collection that is renowned throughout the world. Drawings and Prints is one of the largest of the Morgan's curatorial departments and its approximately 25,000 works span the fourteenth century through the nineteenth century. The department is especially strong in drawings from the Italian, French, Dutch, and British schools, and the list of important artists represented is vast, ranging from Michelangelo and Raphael to Dürer, Rubens, Fragonard, David, Watteau, Gainsborough, Constable, Turner, Ingres, and Degas, among other notables. The department also has the largest and finest collection of Rembrandt etchings in America. , So that idea of what the drawings tell us about the artist is another thing that's constantly interesting to me. You, maybe more so than a finished painting, get a sense of what problems an artist is trying to work out along the way. What ideas he has and rejects sometimes tell you an awful lot about the choices made in the final work. I like that insight into the creative process that you get from studying drawings. www.themorgan.org · www.creativeprocess.info

Ce 25e épisode de Comme en passant est consacré à l’île de Cythère et son évocation picturale et poétique. Brièvement, je vous invite à admirer surtout le tableau de Watteau à la lumière des textes de Baudelaire et de Verlaine, ainsi que du commentaire d’Auguste Rodin sur la composition du tableau. Ce qui nous intéresse ici, ce n’est pas Cythère en tant qu’invention artistique, ni son aspect sociologique (pourquoi parler de Cythère à la fin du XIXe siècle), mais simplement la beauté du tableau et son mouvement équivoque : départ ou arrivée ? Références Dans ce 25e épisode, nous parlerons de Cythère, notamment en peinture et en poésie. Le Pèlerinage à l’île de Cythère d’Antoine Watteau, que vous pouvez admirer au musée du Louvre, à Paris. Consulter la fiche consacrée au tableau. Embarquement pour Cythère d’Antoine Watteau « Un voyage à Cythère » de Charles Baudelaire, in Les Fleurs du Mal. Lire le poème. « Cythère » de Verlaine, dans les Fêtes galantes. Lire le poème et en apprendre sur la symbolique.Iliade d’Homère

We thought it would be really fun to go through some wedding terminology, a glossary of words, you might say.  There are so many words concerning weddings and the wedding industry.  We've compiled a list and thought we would share it with you. Listen in to hear what all these terms mean! Wedding fashionTerms: Dress Terms: https://moncheribridals.com/glossary/ Gown Silhouettes A-line Asymmetrical Ball gown Column Empire Mermaid Sheath Gown Lengths Ballerina Floor length Intermission High-Low Knee-length Street length Tea-length   Skirt Styles Ball Gown Flared Flounce Front slit Pannier Pencil Peplum Pleated Side slit Straight Tiered Wrap   Bodices Asymmetrical Corset Empire Midriff Princess-line Surplice Tank   Necklines Bateau Halter High collar Jewel Off-the-shoulder One-shoulder Portrait Queen Anne Sabrina Scoop Strapless Square Sweetheart V-neck Sleeves Balloon Bell Bishop Cap Dolman Fitted point Gauntlet Gigot Illusion Juliet Off the Shoulder Petal Poet Pouf Spaghetti straps Tee shirt Three-quarter Tulip   Trains Brush Castillion Cathedrale Chapel Court Royal Semi-cathedral Watteau   Fabrics Batiste Brocade Charmeuse Chiffon Crepe Crepe de Chine Damask Duchesse Satin Dupioni English net Faced satin Gabardine Georgette Illusion Jersey Moiré Organdy Organza Peau de Soie Rayon Satin Shantung Silk Silk Gazar Silk Mikado Taffeta Tulle Velvet Don't forget our giveaway!  Ends 11-21 Get those entries in.   Email us at info@fromringtoveil.com Or #fromringtoveil on Twitter or Instagram! Don’t miss a show! Subscribe to From Ring to Veil anywhere you listen to podcasts and please leave us a review. Subscribe to the podcast: {Apple Podcasts} {Google Play} {Stitcher}{Youtube}  -Until next time, No Stress No Worries Keep Calm and Listen On-

In this lecture, Nico Van Hout explains why the caricature of Peter Paul Rubens as a painter of “fleshy, voluptuous women” is only part of the story, focusing in particular on Rubens’s influence on Rembrandt and Jean-Antoine Watteau.

Par Kathleen Nicholson, professeur, Université de l’Oregon

Nico Van Hout, curator at the Royal Museum of Fine Arts Antwerp, explores the thread of Rubens's influence through art history.

Vivienne Westwood (1941-) är modeskaparen som har lyckats med att både ge stil åt den anarkistiska punken och få den adliga titeln Dame, av den brittiska drottningen, som tack för sina insatser för landets kultur. Och det trots att det var hon som skapade kläderna till det band som en gång rimmade god save the queen med fascist regime, Sex Pistols. Idag driver hon ett globalt lyxmärke inom mode, men hon hävdar med bestämdhet att punkig, det kommer hon alltid att förbli. Mer om Vivienne Westwood, och hennes stil, hör ni i veckans program. Vivienne Westwood kallar sig idag för ”klimatrevolutionär” och lägger ner mer tid på filantropi och miljöfrågor, än mode. Den biten håller hon på att fasa över till sin man, Andreas Kronthaler, med vilken hon gifte sig med vid femtio års ålder. Och ja, han är hälften så gammal. Hennes designstil har genom åren pendlat mellan punk och pirater till franskt 1700-tal, så som det är skildrat på porträtt av konstnärer som Watteau och Fragonard. Det vill säga mycket korsetter, rosetter och krinoliner, men i modern tappning. Och hon har använt sig av så mycket tweed i sina kollektioner att hon nästan på egen hand håller uppe den brittiska tweedindustrin. De har tackat henne. Hon älskar dessutom skotskt tartanmönstrat. Till sin kollektion Anglomania, hösten 1993/94 skapade hon sig ett eget tartanmönster, Westwood MacAndreas, döpt efter sin man. Just nu är Vivenne Westwood lite extra i ropet då en ny – eller faktiskt den första riktiga och godkända – biografin om henne har utgivits i Storbritannien, skriven av Ian Kelly. Mumma för den som vill veta hur arbetsfördelningen egentligen såg ut mellan henne och hennes gamle partner, Malcolm McLaren. Han pratade, hon skapade, skulle man kunna säga. I programmet får vi höra hur det är att jobba för Vivienne Westwood idag. Vi har träffat Mårten Andreasson som arbetat för Vivienne Westwood i hennes coutureateljé i London. Vi har också träffat skådespelaren Claire Wikholm, som är ett fan. Och så har vi mött en designer som kallar sig för ”Polens Vivienne Westwood”, Kas Kryst. Veckans gäst är Cia Jansson, modechef på tidningen Elle.

Lucie Skeaping looks at music and the 18th-century French painter Antoine Watteau. No fewer than a third of Watteau's canvases depict musical scenes. The Palais des Beaux-Arts in Brussels is currently running an exhibition of Watteau's work "underscored" by musical items chosen by the great French Early Music specialist, William Christie. With this in mind, this programme examines the "musical" world of the 18th-century's artistic master of evocative sensuality and the fete galante.

French-Swiss soprano Nathalie de Montmollin is back to talk about three poems of Paul Verlaine, one of the greatest French poets of the 19th century. We concentrate on some of the mixed vowels, especially [œ] and [ø] again, the letter X, and go over some of the confusing spellings that make up French! Our texts for today are "Mandoline", "Prison" (or "Le ciel est, par-dessus le toit"), and "Green". At Art Song Central you can find the music for many art songs in pdf form, and also the IPA as well. I'm a big fan of doing your own transcriptions, but these can be a great free resource to check your work. Here are the links, if you are interested in finding out more about Antoine Watteau (on Wikipedia, or at the Watteau website) and the Fete galante, the Commedia dell'arte or Paul Verlaine. If you want to practice reading French, I found this website called Verlaine 20 poèmes expliquées and had promised to repost the website with liaison rules in French. Please feel free to contact me here, on the Facebook page, or directly at ellen@ellenrissinger.com

Réunion publique avec Christian Favier, président du Conseil Général du Val de Marne (94) organisée le 27 mai 2010 à la Scène Watteau de Nogent sur Marne (94130). Diffusion intégrale. Enregistré par le site indépendant d'informations locales Nogent Citoyen à Nogent Sur Marne. Diffusion intégrale avec : Christian Favier.

In the 17th century, Watteau's art exploded. Rich art patrons and collectors fought over his works.

art, music, france, painting, watteau, theory, philosophy, paragone

Artist David Schutter has intently studied an Art Institute work by Jean Antoine Watteau, and is making a new painting from memory, evoking, rather than copying, the 18th century image. He is, as noted by curator Anthony Elms, "painting the action of looking." Learn more from the artist here. Artists Connect is a regularly scheduled series of lectures given by Chicago-area artists. In these illustrated talks, artists describe their own work in relation to one or several works in the permanent collection of the Art Institute. This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.

Pierre Rosenberg, Profesora de Historia del Arte, Universidad del Estado de Nueva York