Bertrand Arthur William Russell, 3rd Earl Russell (18 May 1872 – 2 February 1970) was a British philosopher, logician, mathematician, historian, writer, essayist, social critic, political activist, and Nobel laureate. At various points in his life, Russell considered himself a liberal, a socialist and a pacifist, although he also confessed that his sceptical nature had led him to feel that he had “never been any of these things, in any profound sense.” Russell was born in Monmouthshire into one of the most prominent aristocratic families in the United Kingdom.
In the early 20th century, Russell led the British “revolt against idealism”. He is considered one of the founders of analytic philosophy along with his predecessor Gottlob Frege, colleague G. E. Moore and protégé Ludwig Wittgenstein. He is widely held to be one of the 20th century’s premier logicians. With A. N. Whitehead he wrote Principia Mathematica, an attempt to create a logical basis for mathematics, the quintessential work of classical logic. His philosophical essay “On Denoting” has been considered a “paradigm of philosophy”. His work has had a considerable influence on mathematics, logic, set theory, linguistics, artificial intelligence, cognitive science, computer science (see type theory and type system) and philosophy, especially the philosophy of language, epistemology and metaphysics.
Russell was a prominent anti-war activist and he championed anti-imperialism. Occasionally, he advocated preventive nuclear war, before the opportunity provided by the atomic monopoly had passed and he decided he would “welcome with enthusiasm” world government. He went to prison for his pacifism during World War I.[75] Later, Russell concluded that war against Adolf Hitler’s Nazi Germany was a necessary “lesser of two evils” and criticised Stalinist totalitarianism, attacked the involvement of the United States in the Vietnam War and was an outspoken proponent of nuclear disarmament. In 1950, Russell was awarded the Nobel Prize in Literature “in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought”.
From Wikipedia
We visit a Kengo Kuma-designed art museum in Eskisehir that’s set to become Turkey’s new cultural hotspot.
Painting Edo — the largest exhibition ever presented at the Harvard Art Museums — offers a window onto the supremely rich visual culture of Japan’s early modern era. Selected from the unparalleled collection of Robert S. and Betsy G. Feinberg, the more than 120 works in the exhibition connect visitors with a seminal moment in the history of Japan, as the country settled into an era of peace under the warrior government of the shoguns and opened its doors to greater engagement with the outside world. The dizzying array of artistic lineages and studios active during the Edo period (1615–1868) fueled an immense expansion of Japanese pictorial culture that reverberated not only at home, but subsequently in the history of painting in the West.
Wes Anderson’s new movie, “The French Dispatch,” which will open this summer, is about the doings of a fictional weekly magazine that looks an awful lot like—and was, in fact, inspired by—The New Yorker. The editor and writers of this fictional magazine, and the stories it publishes—three of which are dramatized in the film—are also loosely inspired by The New Yorker. Anderson has been a New Yorker devotee since he was a teen-ager, and has even amassed a vast collection of bound volumes of the magazine, going back to the nineteen-forties. That he has placed his fictional magazine in a made-up French metropolis (it’s called Ennui-sur-Blasé), at some point midway through the last century, only makes connecting the dots between “The French Dispatch” and The New Yorker that much more delightful.
Beginning in the early 1960s, Peter Saul began to incorporate imagery borrowed from a range of pop-cultural sources into his exuberant, brightly colored paintings, adopting a style that has proven to be far ahead of its time. His work developed independently from concurrent art historical movements like Pop art, with which it shares some superficially similar concerns. Instead of the cool detachment of Andy Warhol and Roy Lichtenstein, however, Saul crafted his own unique blend of Surrealism, history painting, vernacular illustration, and the real-life shock and horror of current events.
Every artist needs to learn and master the still life. Written by a well-known artist and expert instructor, The Art of Still Life offers a comprehensive, contemporary approach to the subject that instructs artists on the foundation basics and advanced techniques they need for successful drawing and painting. 
manual and a visual treasure trove of some of the finest still life art throughout history and being created today.
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