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On this episode of Advances in Care , host Erin Welsh and Dr. Craig Smith, Chair of the Department of Surgery and Surgeon-in-Chief at NewYork-Presbyterian and Columbia discuss the highlights of Dr. Smith’s 40+ year career as a cardiac surgeon and how the culture of Columbia has been a catalyst for innovation in cardiac care. Dr. Smith describes the excitement of helping to pioneer the institution’s heart transplant program in the 1980s, when it was just one of only three hospitals in the country practicing heart transplantation. Dr. Smith also explains how a unique collaboration with Columbia’s cardiology team led to the first of several groundbreaking trials, called PARTNER (Placement of AoRTic TraNscatheteR Valve), which paved the way for a monumental treatment for aortic stenosis — the most common heart valve disease that is lethal if left untreated. During the trial, Dr. Smith worked closely with Dr. Martin B. Leon, Professor of Medicine at Columbia University Irving Medical Center and Chief Innovation Officer and the Director of the Cardiovascular Data Science Center for the Division of Cardiology. Their findings elevated TAVR, or transcatheter aortic valve replacement, to eventually become the gold-standard for aortic stenosis patients at all levels of illness severity and surgical risk. Today, an experienced team of specialists at Columbia treat TAVR patients with a combination of advancements including advanced replacement valve materials, three-dimensional and ECG imaging, and a personalized approach to cardiac care. Finally, Dr. Smith shares his thoughts on new frontiers of cardiac surgery, like the challenge of repairing the mitral and tricuspid valves, and the promising application of robotic surgery for complex, high-risk operations. He reflects on life after he retires from operating, and shares his observations of how NewYork-Presbyterian and Columbia have evolved in the decades since he began his residency. For more information visit nyp.org/Advances…
Conteúdo fornecido por Anton Fessler and Kunst Museum Winterthur. Todo o conteúdo do podcast, incluindo episódios, gráficos e descrições de podcast, é carregado e fornecido diretamente por Anton Fessler and Kunst Museum Winterthur ou por seu parceiro de plataforma de podcast. Se você acredita que alguém está usando seu trabalho protegido por direitos autorais sem sua permissão, siga o processo descrito aqui https://pt.player.fm/legal.
Discover the Masterpieces at Kunst Museum Winterthur: From the Golden Age of Dutch Painting to Contemporary Art.
Conteúdo fornecido por Anton Fessler and Kunst Museum Winterthur. Todo o conteúdo do podcast, incluindo episódios, gráficos e descrições de podcast, é carregado e fornecido diretamente por Anton Fessler and Kunst Museum Winterthur ou por seu parceiro de plataforma de podcast. Se você acredita que alguém está usando seu trabalho protegido por direitos autorais sem sua permissão, siga o processo descrito aqui https://pt.player.fm/legal.
Discover the Masterpieces at Kunst Museum Winterthur: From the Golden Age of Dutch Painting to Contemporary Art.
Alberto Giacometti was in Geneva during the Second World War. In 1945 he returned to Paris. His old studio was still intact and he could have simply continued working.
The Alsace artist, Hans Arp, had already played a central role as artist and poet in the Dadaist movements in Zürich and Paris. Humour and irony also characterised his later work, especially the reliefs.
In 1926 Alexander Calder left America and went to Paris where the most important new artists of the time were working. His encounter with the Dutchman Piet Mondrian was groundbreaking.
The Italian Giorgio de Chirico painted his mysterious pictures in Paris before the First World War. He called his art “Pittura metafisica,” a style that had great influence on European painting.
The presence of Cubist paintings by Picasso and Braque was exceptionally strong even before the First World War. The Spaniard Juan Gris discovered the foundations of his work within them, but nevertheless developed his own, quite individual style, which led him to a strictly classical pictorial design.…
Fernand Léger was not a painter of finely nuanced colour tones like Robert Delaunay, and he also wasn’t a strict Cubist like Braque and Picasso. Léger was a painter of expressive contrasts: colour, line and form come into direct conflict in his pictures.
Alongside Edouard Vuillard, Pierre Bonnard became the leading painter of intimate interiors at the beginning of the 20th century. They had a mutual interest in the refined use of colour in the rooms.
All his life Edouard Vuillard’s studio was in the apartment that he shared with his mother. Life and painting were closely related and his choice of models was no exception.
In around 1890 some young painters came together under the name of the “Nabis,” among them were, Pierre Bonnard, Maurice Denis, Félix Vallotton and Edouard Vuillard. They sought new ideas for the art of painting.
In around 1900 the sculpture underwent profound changes; both material and space were treated in a new way. One of the great innovators in this was Auguste Rodin.
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