From a New York Times online article (01/02/20):
In ways both subtle and substantial, Scorsese sees the world changing and becoming less familiar to him. He gratefully accepted a deal with Netflix, which covered the reported $160 million budget for “The Irishman.” But the bargain meant that, after the movie received a limited theatrical release, it would be shown on the company’s streaming platform.
Scorsese has other aspirations but they have nothing to do with moviemaking. “I would love to just take a year and read,” he said. “Listen to music when it’s needed. Be with some friends. Because we’re all going. Friends are dying. Family’s going.”
Martin Scorsese is the most alive he’s been in his work in a long time, brimming with renewed passion for filmmaking and invigorated by the reception that has greeted his latest gangland magnum opus, “The Irishman.”
And what he wants to talk about is death.
Just to be clear, he’s not talking about the deaths in his movies or anyone else’s. “You just have to let go, especially at this vantage point of age,” he said one Saturday afternoon last month.
In an incisive text tracing the artist’s career and stylistic evolution, Gilles Néret shows how Renoir reinvented the painted female form, with his everyday goddesses and their plump forms, rounded hips and breasts. Renoir’s later phase, marked by his return to the simple pleasure of the female nude in his baigneuses series, was his most innovative and stylistically influential, and would inspire such masters as Matisse and Picasso.
happiness, love, and beauty. Derived from our large-format volume, the most comprehensive retrospective of his work published to date, this compact edition examines the personal history and motivation behind the legend. Though he began by painting landscapes in the Impressionist style, Renoir found his true affinity in portraits, after which he abandoned the Impressionists altogether. Though often misunderstood, Renoir remains one of history’s most well-loved painters—undoubtedly because his works exude such warmth, tenderness, and good spirit.
Through brand-new photography, plans and drawings by Gaudí himself, historical photos, as well as an appendix detailing all his works—from buildings to furniture, decor to unfinished projects—this book presents Gaudí’s universe like never before. Like a personal tour through Barcelona, we discover how the “Dante of architecture” was a builder in the truest sense of the word, crafting extraordinary constructions out of minute and mesmerizing details, and transforming fantastical visions into realities on the city streets.
Gaudí’s incomparable architecture channels much of this multifaceted intricacy. From the shimmering textures and skeletal forms of Casa Batlló to the Hispano-Arabic matrix of Casa Vicens, his work merged the influences of Orientalism, natural forms, new materials, and religious faith into a unique Modernista aesthetic. Today, his unique aesthetic enjoys global popularity and acclaim. His magnum opus, the Sagrada Familia, is the most-visited monument in Spain, and seven of his works are UNESCO World Heritage Sites.
Rossini’s 1829 opera “William Tell” is rarely performed today, but its Overture lives on as one of the most popular works in the classical repertoire. The Overture is essentially an instrumental suite written in four parts and performed without pause. The best-known section is the last, the allegro vivace, famously used as the rousing theme music for “The Lone Ranger” radio and TV series (and notoriously so in “A Clockwork Orange).
Has comedy evolved since you started? I think a lot more is allowed. When I was first starting out and was on “Laugh-In,” around ’71, I was trying to keep a low profile when I’d be working on something new.
In the house of Helios, god of the sun and mightiest of the Titans, a daughter is born. But Circe is a strange child–not powerful, like her father, nor viciously alluring like her mother. Turning to the world of mortals for companionship, she discovers that she does possess power–the power of witchcraft, which can transform rivals into monsters and menace the gods themselves.
and Paris and collected work by artists such as Pablo Picasso, Joan Miró, and Georges Braque. 
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