Youtube News: Youtube daily report Nov 24 2017

The exhibition Fortuny (1838-1874), organised by the Museo del Prado, features 169 masterpieces

around the catalan painter born in Reus

which have been loaned by the world's most important museums.

The British Museum, the Musée d'Orsay

the Hermitage in Saint Petersburg, the National Gallery in Washington,

the Metropolitan Museum of Art in New York

and also a major loan from the Museo Nacional d'Arte de Catalunya

and particularly from the Museo Fortuny in Venice.

The different galleries and sections offer a complete account

of all Fortuny's different facets

facets and in this sense the exhibition's approach is a comprehensive one.

Fortuny's collecting activities are particularly important,

not just because he included some of the objects he acquired in his paintings

but also because the reflections, colour and textures of his objects

influenced the way he achieved these qualities

in his own painting.

Furthermore, the exhibition focuses not only on the oils but also on the watercolours,

a field that Fortuny completely revolutionised.

This practice, which previously belonged in an academic context

and which was used in the Romantic era as a preparatory aide

for depicting landscapes and monuments,

became independent with Fortuny,

who also made use of techniques that aroused the envy of his friends and fellow artists.

Another focus are pen drawings and pencil drawings,

which Fortuny produced in large numbers throughout his career.

There is also etching, in which he was a great innovator and which offered him

a unique and very immediate expressive medium to transmit his artistic personality.

All these aspects of his output are presented chronologically from the first gallery,

where his Roman training can be seen in the works he sent back to Spain as a grant student,

and the very precisely and finely drawn academic life studies.

A second gallery devoted to North Africa is extremely important

as it reveals one of Fortuny's most unique traits.

On his first trip to Africa in 1860 he discovered the wide-open spaces, geometrical forms,

dazzling colour and clear light typical of the North African landscape,

which would be essential throughout his career from that point onwards.

Other spaces in the exhibition, such as the one on the ceiling commissioned by the Duke of Riánsares,

are particularly notable given that this is the first time the work has been displayed as a ceiling painting

in its original format and not on a vertical wall, allowing it to be fully understood.

There is also a section on copies, particularly those made in the Prado

but also in Rome, of works by great masters of the past,

which reveal not only a remarkable ability to assimilate

the style of the artist in question, be they El Greco, Ribera, Velázquez,

the Venetians, the Flemish or Goya, but also a fascination

for the technical procedures that he subsequently employed in his own paintings,

as in Old Man in the Sun in Granada,

which derives from Ribera's Saint Andrew that he had painted

four years earlier in the Prado.

This section is followed by one on the international success achieved with the genres paintings

set in the 18th century in which his technical skills and virtuosity

allowed him to achieve effects beyond the powers of his contemporaries.

At the same time he continued to paint Arab motifs

and was absolutely fascinated by them when he lived in Granada between 1870 and 1872

where he worked directly in the palaces of the Alhambra,

recreating the imagery of an earlier period

in a remarkably evocative manner.

After that he returned to Rome where he continued with genre subjects and Arabic ones

but also pursued other directions.

Above all the time spent in Portici in the last years of his life

was where he became aware of the coloured nature of shadows and of local colour.

This new approach to nature, which was very free

and enabled him to reproduce the light and colour

of the original landscape, is enormously important in European painting of the time

as it established a different direction to that of the Impressionists and one that is equally important

but which sadly Fortuny did not have time to pursue as he died

shortly after returning to Rome.

Also very important in these final years is the influence of Japanese art,

which he assimilated with remarkable elegance,

as evident in some of the examples in the exhibition,

which is complemented by a catalogue that in addition to the works on display,

many of them for the first time,

includes seventy previously unknown and informative images

which help to complete a new vision, a different vision,

and represent a contribution to our knowledge of this great Spanish artist.

For more infomation >> Exposición: Fortuny (1838-1874) - Duration: 6:17.

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La última lección de Europa al independentismo baja a la tierra a Junqueras - Duration: 4:22.

For more infomation >> La última lección de Europa al independentismo baja a la tierra a Junqueras - Duration: 4:22.

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Who do Atheists Thank on Thanksgiving? (Plus Special Announcement) - Duration: 4:04.

When I was younger, I remember my mom telling me a story about an atheist friend of hers

who nearly got hit by a train while crossing the railroad tracks.

Afterwards, the lady told her that she was so grateful to be alive that she "thanked."

Now, my mother, being very religious laughed as she recounted this story.

Thanked?

Thanked who?

And it does seem rather odd.

If we don't thank god, who do we thank?

Obviously, we can thank cooks for food, architects and construction crews for housing, etc. but

when something out of the blue happens to us of purely natural causes.

Who do we give our gratitude?

The universe?

You can, but it lacks the consciousness to appreciate the notion.

As I thought more about this, it hit me that most Christians who thank god for the good

things in their life, rarely blame him for the bad.

They understand that natural evil in the world just happens.

But neither an atheist nor a Christian will say, "my house burned down in a fire the

other day, and I blamed."

Linguistic comedy aside, as human beings, we search for a conscious causal agent in

everything.

But that doesn't mean there always is one.

Chance accidents of luck or misfortune do happen, and coincidences happen all the time.

Now, while I don't believe in god.

My mom was right.

It is exceedingly silly to offer thanks to nothing in particular.

But it's equally ridiculous to offer thanks to the non-existent.

Thanking God for your meatloaf is about as silly as thanking Dumbledore for you acceptance

letter to MIT.

But does that mean we shouldn't be grateful?

Of course, there are extraordinarily lucky things that have happened to our species,

by natural causes, but we're also surrounded by society – by an entire global community

working hard every day to make life a little bit better – improving transportation, housing,

education, food, and so much more.

Just because natural events occur without a conscious cause for attribution, that doesn't

allow for narrow-minded wallowing in selfish entitlement.

We are where we are at least in part because of everyone else.

Nearly every tool you use was built by someone else.

Nearly every invention in human history was the mind-child of another genius.

We're the beneficiaries of that.

We can add to that.

That alone is enough to give me pause – enough to stir up in me a sense of deep overwhelming

gratitude.

To the enlightenment thinkers who have paved the way for me to express my views freely.

To the scientific giants exploding our collective understanding of the cosmos.

To the human rights pioneers who fought so hard for an equal and fair society.

To every, teacher, trainer, influencer, and mentor who has positively shaped my life.

I am grateful.

I am humbled by that.

Brought low in the realization that my contribution pales in comparison to the collective intellectual

harvest I gluttonously reap.

And I want to do more.

That drives me.

I'm grateful to so many people, long dead or who I will never get the chance to meet.

People I will never get to personally thank.

I may never be able to give back to them.

But what little I have to offer, I can pay it forward.

And maybe as enough of us invest in this little planet together, we can all make and keep

it a world worth being thankful for.

As a special thanks, this Thanksgiving.

I wanted to give something back to my fans, and especially my patrons.

A lot of you have asked me to set up a merchandise store.

It was a lot of work, but I finally have one, and this Black Friday weekend, I'm giving

all my fans %20 off – just follow the link in the video description, but for my patrons,

depending on how much you've pledged, you'll get anywhere from %25 to %45 off, and just

in time for all you wonderful heathens to go wage war on Christmas.

Thanks again for all your love and support.

Happy Thanksgiving.

Eat some Turkey for me, but don't drink the Koolaid.

For more infomation >> Who do Atheists Thank on Thanksgiving? (Plus Special Announcement) - Duration: 4:04.

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YouTube全球熱門單曲周榜Top50 2017.11.10至2017.11.16 - Duration: 12:20.

For more infomation >> YouTube全球熱門單曲周榜Top50 2017.11.10至2017.11.16 - Duration: 12:20.

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FINGER FAMILY Pepa Pig Different Colors Tongue - Learn Colors - Nursery Rhymes for Babies - Duration: 2:03.