Podcasts about Art history

Fluent Fiction - Dutch: Snowy Santorini: Maarten's Artful Journey to Success Find the full episode transcript, vocabulary words, and more:fluentfiction.com/nl/episode/2025-12-27-08-38-20-nl Story Transcript:Nl: De zachte winterlucht van Santorini omhulde de straten met een ijzige bries.En: The soft winter air of Santorini enveloped the streets with an icy breeze.Nl: De sneeuw die zich op de blauwe daken van de eilandhuizen nestelde, gaf een ongewoon gezicht.En: The snow settling on the blue rooftops of the island homes presented an unusual sight.Nl: Maarten, een 22-jarige kunsthistorie student, zat op de rand van zijn bed in zijn kleine kamer.En: Maarten, a 22-year-old art history student, sat on the edge of his bed in his small room.Nl: Voor hem lag een stapel ongeopende boeken.En: In front of him lay a pile of unopened books.Nl: Buiten weerklonk het zachte geluid van kerkklokken, herinneringen aan het naderende kerstfeest dat overal voelbaar was.En: Outside, the gentle sound of church bells resounded, reminding him of the approaching Christmas holidays that were palpable everywhere.Nl: Maarten had zijn tijd goed benut – alleen niet met studeren.En: Maarten had used his time well—just not for studying.Nl: Hij had zich laten meeslepen door de prachtige uitzichten en schilderachtige steegjes van Santorini.En: He had been carried away by the beautiful views and picturesque alleys of Santorini.Nl: De charmante eilandcafés, de wandelingen langs de kliffen en de warme gesprekken met de lokale bewoners.En: The charming island cafes, the walks along the cliffs, and the warm conversations with the local residents.Nl: Allemaal uitvluchten om zijn studieboeken te ontwijken.En: All excuses to avoid his study books.Nl: Maar nu naderde het eindtentamen van zijn kunsthistorie klas.En: But now the final exam for his art history class was approaching.Nl: Het was nu of nooit.En: It was now or never.Nl: Maarten wilde deze reis niet gewoon herinneren als een vakantieavontuur maar als een persoonlijk succes.En: Maarten didn't want to remember this trip merely as a vacation adventure but as a personal success.Nl: Hij moest zichzelf bewijzen dat hij academisch kon slagen.En: He needed to prove to himself that he could succeed academically.Nl: Met stevige overtuiging sloot hij de wereld buiten.En: With firm determination, he shut out the world.Nl: Ondanks de feestelijke lampjes die door zijn raam schenen, hield hij vast aan zijn boeken.En: Despite the festive lights shining through his window, he clung to his books.Nl: Hij nam een besluit – hij zou vragen om hulp.En: He made a decision—he would ask for help.Nl: Sanne en Lieke, zijn klasgenoten en persoonlijke reddingsboeien, waren meer dan bereid om hem bij te staan.En: Sanne and Lieke, his classmates and personal lifelines, were more than willing to support him.Nl: Ze kwamen naar zijn kamer en samen maakten ze hoofdstuk voor hoofdstuk door.En: They came to his room, and together they worked through each chapter.Nl: Sanne, altijd georganiseerd, bracht overzicht.En: Sanne, always organized, brought structure.Nl: Lieke, creatief en fantasierijk, maakte het studeren levendig en spannend.En: Lieke, creative and imaginative, made studying lively and exciting.Nl: Ze maakten flashcards, stelden elkaar vragen en wisselden inzichten uit over de praktijkvoorbeelden die ze op het eiland hadden gezien.En: They made flashcards, quizzed each other, and exchanged insights about the practical examples they had seen on the island.Nl: Toen de examendag aanbrak, voelde Maarten een knoop in zijn maag.En: When exam day dawned, Maarten felt a knot in his stomach.Nl: Een moment van paniek overviel hem, maar beelden van zijn wandeltochten, de gesprekken met Sanne en Lieke en zijn nachtelijke pogingen tot leren, verzachtten zijn angst.En: A moment of panic overwhelmed him, but images of his walks, the conversations with Sanne and Lieke, and his late-night study attempts softened his anxiety.Nl: De examenvragen leken complex, maar langzaam begon het Maarten te dagen.En: The exam questions seemed complex, but slowly it started to dawn on Maarten.Nl: De discussies over de betekenis van kunst en de invloed van de oude Griekse meesters kwamen terug.En: The discussions about the meaning of art and the influence of the ancient Greek masters came back to him.Nl: Hij haalde diep adem, en legde zijn pen op het papier.En: He took a deep breath and placed his pen on the paper.Nl: Elke zin vloeide rustiger dan de vorige, versterkt door herinneringen en kennis.En: Each sentence flowed more calmly than the last, strengthened by memories and knowledge.Nl: Na de laatste vraag te hebben beantwoord, liep Maarten de zaal uit.En: After answering the last question, Maarten walked out of the room.Nl: Zijn hart bonsde, maar hij voelde zich licht.En: His heart pounded, but he felt light.Nl: Verlossing.En: Relief.Nl: De eerste sneeuwvlokken dwarrelden naar beneden toen hij zich bij Sanne en Lieke voegde.En: The first snowflakes fluttered down as he joined Sanne and Lieke.Nl: Ze omarmden hem vol vreugde en sleurden hem mee naar een lokale taverna.En: They embraced him with joy and whisked him away to a local taverna.Nl: Aan de houten tafels van de taverna versierden felgekleurde lampionnen het plafond.En: At the wooden tables of the taverna, brightly colored lanterns decorated the ceiling.Nl: Kerstvieringen vulden de lucht.En: Christmas celebrations filled the air.Nl: Onder het genot van warme moussaka en gezang, realiseerde Maarten zich dat hij niet alleen de kunst van balans had geleerd, maar ook de kracht van samenwerking.En: Enjoying warm moussaka and singing, Maarten realized he had learned not only the art of balance but also the power of collaboration.Nl: Met glimlachende blikken tussen vrienden om zich heen, wist Maarten ook dat deze Kerstmis er een was van persoonlijke groei.En: With smiling glances among friends around him, Maarten knew that this Christmas was one of personal growth.Nl: De winterse avond op Santorini eindigde met een twinkeling in de ogen van iedereen.En: The wintry evening on Santorini ended with a twinkle in everyone's eyes.Nl: En voor Maarten met een nieuwe zekerheid; hij kon meer dan hij ooit had gedacht.En: And for Maarten, it ended with a new certainty; he could accomplish more than he had ever imagined. Vocabulary Words:enveloped: omhuldesettling: nesteldeunusual: ongewoonreminded: herinneringenpalpable: voelbaardetermination: overtuigingfestive: feestelijkeclung: hield vastlifelines: reddingsboeienorganized: georganiseerdlively: levendigimagined: fantasierijkdawned: dag gewordenpanic: paniekanxiety: angstcomplex: complexinfluence: invloedplaced: legdepounded: bonsdefluttered: dwarreldenembraced: omarmdenwhisked: sleurdentaverna: tavernalanterns: lampionnenceiling: plafondenjoying: genotrelief: verlossingbalance: balanscollaboration: samenwerkingtwinkle: twinkeling

Fluent Fiction - French: Winter Whodunit: The Mystery of Versailles' Vanished Medallion Find the full episode transcript, vocabulary words, and more:fluentfiction.com/fr/episode/2025-12-26-08-38-20-fr Story Transcript:Fr: Les flocons de neige tombaient doucement sur le Château de Versailles, ajoutant une touche de magie hivernale aux décorations de Noël étincelantes.En: The snowflakes were falling gently on the Château de Versailles, adding a touch of winter magic to the sparkling Christmas decorations.Fr: Les couloirs opulents du château étaient pleins de visiteurs, tous captivés par les merveilleuses histoires de son passé glorieux.En: The opulent corridors of the château were full of visitors, all captivated by the wonderful stories of its glorious past.Fr: Au milieu de la foule, deux personnes se démarquaient : Luc, un historien de l'art, et Sophie, une guide passionnée.En: In the midst of the crowd, two people stood out: Luc, an art historian, and Sophie, an enthusiastic guide.Fr: Luc était venu pour une raison particulière.En: Luc had come for a particular reason.Fr: Ce Noël, le château abritait une exposition spéciale d'artefacts rares.En: This Christmas, the château was hosting a special exhibition of rare artifacts.Fr: Parmi eux, un médaillon ancien, mystérieux et précieux, venait de disparaître pendant une visite guidée.En: Among them, an ancient, mysterious, and precious medallion had just disappeared during a guided tour.Fr: La nouvelle s'était répandue comme une traînée de poudre, mais sans alarmes pour ne pas gâcher l'atmosphère festive.En: The news spread like wildfire, but there were no alarms so as not to spoil the festive atmosphere.Fr: Sophie, connaissant chaque recoin du château, sentit immédiatement qu'il y avait là l'occasion pour elle de vivre son rêve secret de devenir détective.En: Sophie, knowing every nook of the château, immediately sensed that there was an opportunity for her to live out her secret dream of becoming a detective.Fr: Elle réalisa qu'elle aurait besoin de l'aide de Luc, bien qu'elle se méfia facilement de lui, soupçonnant qu'il pourrait utiliser cette disparition pour écrire son roman.En: She realized she would need Luc's help, although she was easily wary of him, suspecting he might use this disappearance to write his novel.Fr: Luc, de son côté, était intrigué par le mystère, mais il savait que pour avancer, il devait s'allier à Sophie.En: Luc, on his part, was intrigued by the mystery, but he knew that to make progress, he had to team up with Sophie.Fr: Malgré leurs doutes mutuels, ils unirent leurs forces.En: Despite their mutual doubts, they joined forces.Fr: Sophie, dans un élan de confiance, décida de partager un secret rarement connu : les passages secrets du château, des chemins réservés autrefois aux rois et reines.En: Sophie, in a burst of confidence, decided to share a rarely known secret: the château's secret passages, paths once reserved for kings and queens.Fr: Ils traversèrent ensemble ces passages mystérieux, esquivant les touristes joyeux qui admiraient les lumières de Noël dans la Galerie des Glaces.En: They traversed these mysterious passages together, dodging the joyful tourists who were admiring the Christmas lights in the Galerie des Glaces.Fr: C'est là, sous les reflets éblouissants des lustres et des miroirs, qu'ils aperçurent quelque chose de curieux : le médaillon, astucieusement caché sur une statue, parmi les décorations.En: It was there, under the dazzling reflections of the chandeliers and mirrors, that they saw something curious: the medallion, cleverly hidden on a statue, among the decorations.Fr: Ils burent de soulagement.En: They breathed a sigh of relief.Fr: Le médaillon avait été bien en vue tout le temps, caché parmi le somptueux décor que peu de gens savaient vraiment voir.En: The medallion had been in plain sight all along, hidden among the sumptuous decor that few people truly knew how to see.Fr: Ils agirent discrètement pour le récupérer et le remettre en place sans attirer l'attention inutile.En: They acted discreetly to recover it and put it back in place without attracting unnecessary attention.Fr: Ce soir-là, alors que le château replongeait dans le calme après une journée bien remplie, Luc et Sophie se sourirent, satisfaits du devoir accompli.En: That evening, as the château plunged back into calm after a busy day, Luc and Sophie smiled at each other, satisfied with a job well done.Fr: Luc avait découvert une passion pour les énigmes insolubles, bien plus excitante que ses simples livres d'histoire.En: Luc had discovered a passion for unsolvable mysteries, far more exciting than his simple history books.Fr: Quant à Sophie, elle se sentait prête à embrasser un futur au-delà des visites guidées.En: As for Sophie, she felt ready to embrace a future beyond guided tours.Fr: Leurs efforts furent salués, non pas par une annonce publique, mais par la connaissance qu'ils avaient fait quelque chose de bon et de juste.En: Their efforts were celebrated, not by a public announcement, but by the knowledge that they had done something good and right.Fr: À Versailles, sous la lueur douce des décorations de Noël, un mystérieux chapitre de plus avait été écrit dans le silence des palais historiques.En: At Versailles, under the soft glow of Christmas decorations, one more mysterious chapter had been written in the silence of the historic palaces. Vocabulary Words:the snowflake: le flocon de neigethe castle: le châteauopulent: opulentthe corridor: le couloirto captivate: captiverglorious: glorieuxmidst: milieuthe historian: l'historienenthusiastic: passionnéthe exhibition: l'expositionthe artifact: l'artefactthe medallion: le médaillonto disappear: disparaîtreto spread: se répandrethe wildfire: la traînée de poudreto spoil: gâcherto sense: sentirthe nook: le recointhe detective: le détectiveto share: partagerthe passage: le passageto traverse: traverserto dodge: esquiverthe chandelier: le lustrethe mirror: le miroirto sigh: soupirerthe relief: le soulagementsumptuous: somptueuxdiscreetly: discrètementto recover: récupérer

What if paint is the vehicle and you are the medium? We dive deep into Jack Whitten's Notes from the Woodshed with guest host Jamel Wright Sr., tracing how a life shaped by the Jim Crow South, pre-med rigor, and carpentry precision produced a studio practice built on invention. From the famed developer tool to a crow's nest for high vantage points, Whitten redesigned the act of making—choosing systems over spontaneity and treating process like a living experiment.Jamel brings a rich perspective as an Atlanta-based artist and professor whose work spans Georgia red clay, Dutch wax cloth, and large-scale textiles. Together we map the long road to abstraction—Turner's atmospheres, Monet's shadows, Cézanne's form, and the New York School's debates—while centering the Black artists too often written out of the frame. We talk Norman Lewis, Joe Overstreet, Sam Gilliam, and the way community quietly powers discovery, even as art remains a solitary grind. The result is a candid look at research, journaling, and “recipes” that transform failed trials into the first real painting, then the next ten that lock in the language.Along the way, we wrestle with Whitten's audacity—“May the history of Western painting die within me”—and why abstraction can be activism: engineering new tools, removing gesture, and insisting on thought as freedom. If you've ever wondered how to balance materials, memory, and ambition without losing your voice, this conversation offers a field guide. Press play, then tell us what rule you're ready to break. If the episode resonates, follow the show, share it with a friend, and leave a quick review—your support helps more artists find their way.Follow Jamele Wright, Sr. at https://www.instagram.com/artthenewreligion Send us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg Watch the Video Episode on Youtube or Spotify, https://www.youtube.com/@JustMakeArtPodcast

What if taking Mary seriously actually deepens, rather than distracts from, devotion to Jesus? Art historian and theologian Matthew Milliner joins Mark Labberton to explore that possibility through history, theology, and the Incarnation. In a searching conversation about Mary, the meaning of Marian devotion, and the mystery of the Incarnation, they draw from early Christianity, Protestant theology, and global Christianity, as Milliner reframes Mary as a figure who deepens devotion to Christ rather than distracting from it. "I don't see how anyone cannot understand this to be the revolution of revolutions in regards to the way that women are understood." In this episode, they reflect on Mary as presence, witness, and theological key to understanding God's entry into human life. They discuss Marian devotion before the Reformation, excess and restraint in Christian practice, the Incarnation's implications for embodiment and gender, Protestant fears and recoveries, global Marian traditions, grief and discipleship, and why Mary ultimately points beyond herself to Christ. Episode Highlights "I love Jesus so much that I love his mom too. Isn't she great too?" " What relationship do you have in your life where if you knew the parents of the person you're in relationship with, that would damage the relationship? … It's a sign of deep intimacy." "There is no Christianity without Mary. That's how God came into the world." "She is my tutorial in grief." "If it's the real Mary you're dealing with, she will point you to Jesus." "The answer to the abuse is to point to the best use." "She became a presence in the church for me." "I don't see how anyone cannot understand this to be the revolution of revolutions." About Matthew Milliner Matthew J. Milliner is Associate Professor of Art History at Wheaton College, where he specializes in early Christian, Byzantine, and global Christian art. His scholarship explores theology through visual culture, with particular attention to Mary, the Incarnation, and Christian devotion across traditions. Milliner is widely published in academic journals and popular outlets, including Comment Magazine, where he has written extensively on Marian theology and Christian art. He is a frequent speaker and lecturer on Christianity and aesthetics, and his work bridges evangelical theology, Anglican practice, and historic Christian tradition. Milliner is also known for his teaching on icons, pilgrimage, and the relationship between art, doctrine, and discipleship. Helpful Links and Resources Read Matthew Milliner's column, Material Mysticism, for Comment Magazine https://comment.org/columns/material-mysticism/ Matthew Milliner, Mother of the Lamb: The Story of a Global Icon: https://www.amazon.com/Mother-Lamb-Story-Global-Icon/dp/1506478751 Matthew Milliner faculty page: https://www.wheaton.edu/academics/faculty/matthew-milliner/ Stephen Shoemaker, Mary in Early Christian Faith and Devotion: https://yalebooks.yale.edu/book/9780300217216/mary-in-early-christian-faith-and-devotion/ Rosemary Radford Ruether, Goddesses and the Divine Feminine: https://www.ucpress.edu/books/goddesses-and-the-divine-feminine/paper William Johnston, The Wounded Stag: https://www.harvard.com/book/9780823218394 The Angelus Prayer (recited in this conversation): https://www.usccb.org/prayers/angelus Shrine of Our Lady of Walsingham: https://www.walsinghamanglican.org.uk Show Notes Opening prayer invoking Mary's witness, comfort, and example as a way of drawing listeners toward Christ rather than away from him Evangelical identity reclaimed as gospel proclamation rather than political alignment or cultural branding Early Marian devotion emerging "early and often" in Christian history, grounded in Jerusalem rather than later medieval invention "I love Jesus so much that I love his mom too. Isn't she great too?" Honoring Mary without worship, framed through Revelation imagery of the bride and the people of God Archaeological and manuscript discoveries reshaping assumptions about early Christian practice Marian devotion expanding intimacy rather than competing with Christological focus Newman on devotion requiring excess, extravagance, and emotional overflow to be genuinely human "Let the Christian Church let it boil over every once in a while." Reformation dynamics producing extremes: feverish excess on one side and stone-cold rejection on the other Rosemary Radford Ruether, Goddesses and the Divine Feminine Pagan goddess traditions contrasted with Marian imagery and their treatment of women's bodies Aphrodite imagery as endorsement of male desire versus Marian imagery as reverence for God's entry into flesh "Find me an image of Mary that does anything close to that." Incarnation reshaping how Christians see the female body, sexuality, and dignity "This is the body God entered the world through." The angel Gabriel's Annunciation and Mary's consent Annunciation framed as consent rather than coercion, with Luke emphasizing Mary's agency "Nothing happens to her until she consents." Mary as theological answer to pornographic and exploitative religious imaginations "I don't see how anyone cannot understand this to be the revolution of revolutions." Guadalupe as evangelistic bridge for indigenous peoples pointing toward Christ without blood sacrifice Mary's global accessibility across Muslim, Hindu, and non-Christian contexts "She is a real evangelist, Mary." Walsingham pilgrimage as Anglican recovery of Marian devotion Marian attraction functioning as penumbra drawing outsiders toward Christianity "If it's the real Mary you're dealing with, she will point you to Jesus." Abuse of Marian devotion acknowledged alongside historical self-correction within Catholicism "The answer to the abuse is to point to the best use." Matthew Milliner's personal spiritual journey from childhood Catholicism through evangelical conversion Anti-Mary phase followed by rediscovery through art history and theology "She became a presence in the church for me." Mary understood as presence rather than abstract idea, without becoming divine William Johnson's, The Wounded Stag: God is beyond gender Devotional practice as tributary flowing into Trinitarian worship rather than replacing it "There is no Christianity without Mary. That's how God came into the world." Angelus prayer as scriptural meditation culminating in Trinitarian praise "Pour your grace into our hearts, O Lord." Psychological and spiritual healing through Marian presence without theological confusion Mary as guide for grief through images of sorrow and seven swords "She is my tutorial in grief." Black Madonna traditions interpreted through devotion, time, soot, and divine darkness Darkness as sign of overwhelming divine light rather than absence of God #ConversingPodcast #MatthewMilliner #MaryTheology #Incarnation #ChristianTradition #AdventReflections #FaithAndArt Production Credits Conversing is produced and distributed in partnership with Comment Magazine and Fuller Seminary.  

Happy Hannukah!For this episode Back to Bayoulands BONUS episode we're revisiting a conversation with Laura Cochrane about the history of Temple Emanuel from season 5 of Bayoulands. Laura is an Associate Professor and Coordinator of Art History and Visual Arts at Middle Tennessee State University in Murphreesboro who was awarded a fellowship with the Center for History and Culture of Southeast Texas and the Upper Gulf Coast in 2021 to research and document the art and architecture of Temple Emanuel, a place of worship for the Jewish community of southeast Texas since 1923. Thanks for listening!

Episode 222: Tunisian Peinture Sous Verre – A History in Reverse This lecture provides an introduction to reverse glass painting in Tunisia, a predominantly figurative form of Islamic art that is often referred to as a “popular” tradition. As very little archival material and original documentation exists, most of what we know about this painting practice comes from collections, scholarship, and stories told about it from the 1960s and on, over one hundred years after it had already been well established in Tunisia. To highlight this belated epistemology, the presentation follows a reverse chronology of the medium. After briefly introducing the technique and artistic process, it starts from the contemporary moment and moves backwards in time to the post-independence era, the Protectorate period, and earlier. It ends with some speculations about the connections between Tunisian under-glass painting and other historical or regional visual-material practices. Ava Katarina Tabatabai Hess is a PhD candidate in Art History at the University of California Los Angeles (UCLA). Her dissertation focuses on vernacular Islamic art from Tunisia, Algeria, and Morocco, examining the proliferation of reverse glass painting and chromolithography in the late nineteenth and early twentieth centuries as well as their post-independence recuperations. She conducted fieldwork in Tunisia in 2022 with support from an AIMS grant, and from October 2023 to April 2025 as a FLAS research fellow and a Fulbright-Hays fellow, with additional research undertaken in Algeria, Morocco, and France. She earned her BA from Columbia University in Middle Eastern, South Asian, and African Studies, and a master's in Visual, Material, and Museum Anthropology from the University of Oxford. Ava is also a curator, a contributing researcher with the Arabic Design Archive, and currently serves as Arts Editor of Ufahamu: A Journal of African Studies. This podcast was recorded at the Centre d'Études Maghrébines à Tunis (CEMA) on the 4th of November, 2025. We thank Mohammed Boukhoudmi for his interpretation of “Elli Mektoub Mektoub” for the introduction and conclusion of this podcast. Production and editing: Lena Krause, AIMS Development and Digital Resources Liaison.

Send us a textArtificial intelligence is everywhere, but how does it fit into the world of art and arts education? On this episode of Speaking Of…College of Charleston, three faculty members discuss how AI is reshaping creative practice and teaching, from sculpture studios to fundraising classes and art history seminars. Guests include:Bex Ferrell, assistant professor in Arts Management Jarod Charzewski, studio art professor in sculptureMarian Mazzone, professor in Art History They share candid insights on the opportunities and tensions AI brings to the arts, why the creative process still matters and how educators are helping students balance efficiency with authenticity.From fundraising and marketing to sculpture and art history, this conversation dives into the opportunities and tensions AI brings to the arts. In this episode, you'll hear:Real classroom examples of students experimenting with AI toolsHow arts managers gamify AI for fundraising and marketingWhy the creative process is messy and why that mattersInsights on the future of AI art, including major museums collecting AI-generated worksResources and links:Learn more about the College of Charleston's Arts Management, Studio Art and Art and Architectural History programsExplore contemporary AI artists like Refik AnadolLos Angeles' AI Museum Dataland, opening spring 2026Full transcript and additional resources in the episode show notesOr, visit  today.charleston.edu/cofc-podcast for more episodes. 

The outbreak of the First World War shattered the established European art market. Amidst fighting, looting, confiscations, expropriation fears and political and economic upheaval, an integrated marketplace shaped by upper-class patrons broke down entirely. In its place, Maddalena Alvi argues, can be found the origins of a recognizably modern market of nationalized spheres driven by capitalist investment and speculation, yet open to wider social strata. Delving into auction records, memoirs, newspaper articles, financial and legal documents in six languages, Alvi explores these cultural and socio-economic developments across the British, French, and German markets, as well as trade spheres such as Russia and Scandinavia. 1914 marked the end of the European art market and cemented the connection between art and finance.  The European Art Market and the First World War: Art, Capital, and the Decline of the Collecting Class, 1910–1925 (Cambridge University Press, 2025) Maddalena Alvi holds a PhD in History from the University of Cambridge, an MSc in Economic and Social History from the University of Oxford, and an MLitt in Art History from the University of Glasgow. Priya S. Gandhi is a writer and strategist based in New York City. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The outbreak of the First World War shattered the established European art market. Amidst fighting, looting, confiscations, expropriation fears and political and economic upheaval, an integrated marketplace shaped by upper-class patrons broke down entirely. In its place, Maddalena Alvi argues, can be found the origins of a recognizably modern market of nationalized spheres driven by capitalist investment and speculation, yet open to wider social strata. Delving into auction records, memoirs, newspaper articles, financial and legal documents in six languages, Alvi explores these cultural and socio-economic developments across the British, French, and German markets, as well as trade spheres such as Russia and Scandinavia. 1914 marked the end of the European art market and cemented the connection between art and finance.  The European Art Market and the First World War: Art, Capital, and the Decline of the Collecting Class, 1910–1925 (Cambridge University Press, 2025) Maddalena Alvi holds a PhD in History from the University of Cambridge, an MSc in Economic and Social History from the University of Oxford, and an MLitt in Art History from the University of Glasgow. Priya S. Gandhi is a writer and strategist based in New York City. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The outbreak of the First World War shattered the established European art market. Amidst fighting, looting, confiscations, expropriation fears and political and economic upheaval, an integrated marketplace shaped by upper-class patrons broke down entirely. In its place, Maddalena Alvi argues, can be found the origins of a recognizably modern market of nationalized spheres driven by capitalist investment and speculation, yet open to wider social strata. Delving into auction records, memoirs, newspaper articles, financial and legal documents in six languages, Alvi explores these cultural and socio-economic developments across the British, French, and German markets, as well as trade spheres such as Russia and Scandinavia. 1914 marked the end of the European art market and cemented the connection between art and finance.  The European Art Market and the First World War: Art, Capital, and the Decline of the Collecting Class, 1910–1925 (Cambridge University Press, 2025) Maddalena Alvi holds a PhD in History from the University of Cambridge, an MSc in Economic and Social History from the University of Oxford, and an MLitt in Art History from the University of Glasgow. Priya S. Gandhi is a writer and strategist based in New York City. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

In this episode, Creative Guts hosts Becky Barsi and Joe Acone are joined by Kyle Wood, the inventive art educator and creator behind the Who ARTed and Fun Facts Daily podcasts. Throughout our interview, Kyle shares his passion for demystifying art history, engaging students with creative media, and making art accessible and fun for all ages. The conversation spans his journey into podcasting as an educational tool, favorite materials and makers, and how he cultivates creativity for kids and teachers alike. To learn more about Kyle, check out the links below:WhoArtEd on InstagramKyle Wood on YouTubeWho ArtEd WebsiteListen to this episode wherever you listen to podcasts or on our website www.CreativeGutsPodcast.com. Connect with us on Instagram, Facebook, LinkedIn, and Discord. Subscribe to our Substack newsletter at creativegutspod.substack.com. If you love listening, consider making a donation to Creative Guts! Our budget is tiny, so donations of any size make a big difference. Learn more about us and make a tax-deductible donation at www.CreativeGutsPodcast.com. Thank you to our friends at Art Up Front Street Studios and Gallery in Exeter, NH and the Rochester Museum of Fine Arts in Rochester, NH for their support of the show!

The outbreak of the First World War shattered the established European art market. Amidst fighting, looting, confiscations, expropriation fears and political and economic upheaval, an integrated marketplace shaped by upper-class patrons broke down entirely. In its place, Maddalena Alvi argues, can be found the origins of a recognizably modern market of nationalized spheres driven by capitalist investment and speculation, yet open to wider social strata. Delving into auction records, memoirs, newspaper articles, financial and legal documents in six languages, Alvi explores these cultural and socio-economic developments across the British, French, and German markets, as well as trade spheres such as Russia and Scandinavia. 1914 marked the end of the European art market and cemented the connection between art and finance.  The European Art Market and the First World War: Art, Capital, and the Decline of the Collecting Class, 1910–1925 (Cambridge University Press, 2025) Maddalena Alvi holds a PhD in History from the University of Cambridge, an MSc in Economic and Social History from the University of Oxford, and an MLitt in Art History from the University of Glasgow. Priya S. Gandhi is a writer and strategist based in New York City. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The outbreak of the First World War shattered the established European art market. Amidst fighting, looting, confiscations, expropriation fears and political and economic upheaval, an integrated marketplace shaped by upper-class patrons broke down entirely. In its place, Maddalena Alvi argues, can be found the origins of a recognizably modern market of nationalized spheres driven by capitalist investment and speculation, yet open to wider social strata. Delving into auction records, memoirs, newspaper articles, financial and legal documents in six languages, Alvi explores these cultural and socio-economic developments across the British, French, and German markets, as well as trade spheres such as Russia and Scandinavia. 1914 marked the end of the European art market and cemented the connection between art and finance.  The European Art Market and the First World War: Art, Capital, and the Decline of the Collecting Class, 1910–1925 (Cambridge University Press, 2025) Maddalena Alvi holds a PhD in History from the University of Cambridge, an MSc in Economic and Social History from the University of Oxford, and an MLitt in Art History from the University of Glasgow. Priya S. Gandhi is a writer and strategist based in New York City. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

The outbreak of the First World War shattered the established European art market. Amidst fighting, looting, confiscations, expropriation fears and political and economic upheaval, an integrated marketplace shaped by upper-class patrons broke down entirely. In its place, Maddalena Alvi argues, can be found the origins of a recognizably modern market of nationalized spheres driven by capitalist investment and speculation, yet open to wider social strata. Delving into auction records, memoirs, newspaper articles, financial and legal documents in six languages, Alvi explores these cultural and socio-economic developments across the British, French, and German markets, as well as trade spheres such as Russia and Scandinavia. 1914 marked the end of the European art market and cemented the connection between art and finance.  The European Art Market and the First World War: Art, Capital, and the Decline of the Collecting Class, 1910–1925 (Cambridge University Press, 2025) Maddalena Alvi holds a PhD in History from the University of Cambridge, an MSc in Economic and Social History from the University of Oxford, and an MLitt in Art History from the University of Glasgow. Priya S. Gandhi is a writer and strategist based in New York City. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

The outbreak of the First World War shattered the established European art market. Amidst fighting, looting, confiscations, expropriation fears and political and economic upheaval, an integrated marketplace shaped by upper-class patrons broke down entirely. In its place, Maddalena Alvi argues, can be found the origins of a recognizably modern market of nationalized spheres driven by capitalist investment and speculation, yet open to wider social strata. Delving into auction records, memoirs, newspaper articles, financial and legal documents in six languages, Alvi explores these cultural and socio-economic developments across the British, French, and German markets, as well as trade spheres such as Russia and Scandinavia. 1914 marked the end of the European art market and cemented the connection between art and finance.  The European Art Market and the First World War: Art, Capital, and the Decline of the Collecting Class, 1910–1925 (Cambridge University Press, 2025) Maddalena Alvi holds a PhD in History from the University of Cambridge, an MSc in Economic and Social History from the University of Oxford, and an MLitt in Art History from the University of Glasgow. Priya S. Gandhi is a writer and strategist based in New York City. Learn more about your ad choices. Visit megaphone.fm/adchoices

The outbreak of the First World War shattered the established European art market. Amidst fighting, looting, confiscations, expropriation fears and political and economic upheaval, an integrated marketplace shaped by upper-class patrons broke down entirely. In its place, Maddalena Alvi argues, can be found the origins of a recognizably modern market of nationalized spheres driven by capitalist investment and speculation, yet open to wider social strata. Delving into auction records, memoirs, newspaper articles, financial and legal documents in six languages, Alvi explores these cultural and socio-economic developments across the British, French, and German markets, as well as trade spheres such as Russia and Scandinavia. 1914 marked the end of the European art market and cemented the connection between art and finance.  The European Art Market and the First World War: Art, Capital, and the Decline of the Collecting Class, 1910–1925 (Cambridge University Press, 2025) Maddalena Alvi holds a PhD in History from the University of Cambridge, an MSc in Economic and Social History from the University of Oxford, and an MLitt in Art History from the University of Glasgow. Priya S. Gandhi is a writer and strategist based in New York City.

The outbreak of the First World War shattered the established European art market. Amidst fighting, looting, confiscations, expropriation fears and political and economic upheaval, an integrated marketplace shaped by upper-class patrons broke down entirely. In its place, Maddalena Alvi argues, can be found the origins of a recognizably modern market of nationalized spheres driven by capitalist investment and speculation, yet open to wider social strata. Delving into auction records, memoirs, newspaper articles, financial and legal documents in six languages, Alvi explores these cultural and socio-economic developments across the British, French, and German markets, as well as trade spheres such as Russia and Scandinavia. 1914 marked the end of the European art market and cemented the connection between art and finance.  The European Art Market and the First World War: Art, Capital, and the Decline of the Collecting Class, 1910–1925 (Cambridge University Press, 2025) Maddalena Alvi holds a PhD in History from the University of Cambridge, an MSc in Economic and Social History from the University of Oxford, and an MLitt in Art History from the University of Glasgow. Priya S. Gandhi is a writer and strategist based in New York City. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/finance

The outbreak of the First World War shattered the established European art market. Amidst fighting, looting, confiscations, expropriation fears and political and economic upheaval, an integrated marketplace shaped by upper-class patrons broke down entirely. In its place, Maddalena Alvi argues, can be found the origins of a recognizably modern market of nationalized spheres driven by capitalist investment and speculation, yet open to wider social strata. Delving into auction records, memoirs, newspaper articles, financial and legal documents in six languages, Alvi explores these cultural and socio-economic developments across the British, French, and German markets, as well as trade spheres such as Russia and Scandinavia. 1914 marked the end of the European art market and cemented the connection between art and finance.  The European Art Market and the First World War: Art, Capital, and the Decline of the Collecting Class, 1910–1925 (Cambridge University Press, 2025) Maddalena Alvi holds a PhD in History from the University of Cambridge, an MSc in Economic and Social History from the University of Oxford, and an MLitt in Art History from the University of Glasgow. Priya S. Gandhi is a writer and strategist based in New York City. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

The outbreak of the First World War shattered the established European art market. Amidst fighting, looting, confiscations, expropriation fears and political and economic upheaval, an integrated marketplace shaped by upper-class patrons broke down entirely. In its place, Maddalena Alvi argues, can be found the origins of a recognizably modern market of nationalized spheres driven by capitalist investment and speculation, yet open to wider social strata. Delving into auction records, memoirs, newspaper articles, financial and legal documents in six languages, Alvi explores these cultural and socio-economic developments across the British, French, and German markets, as well as trade spheres such as Russia and Scandinavia. 1914 marked the end of the European art market and cemented the connection between art and finance.  The European Art Market and the First World War: Art, Capital, and the Decline of the Collecting Class, 1910–1925 (Cambridge University Press, 2025) Maddalena Alvi holds a PhD in History from the University of Cambridge, an MSc in Economic and Social History from the University of Oxford, and an MLitt in Art History from the University of Glasgow. Priya S. Gandhi is a writer and strategist based in New York City. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

Giuseppe Castellano talks to illustrator, caricaturist, journalist, author, educator, lecturer, and political commentator, Steve Brodner, about the alchemy of illustration; what he looks for in a portrait; who illustrators should really listen to; and more.To learn more about Steve, visit stevebrodner.com.Artists mentioned in this episode include: Peter Kuper, Andrea Arroyo, Brad Holland, Greg Manchess, Yuko Shimizu, Anita Kunz, Herb Block, Al Hirschfeld, Jean-Jacques Sempé, Garry Trudeau, Milton Caniff, Jackson Pollock, Thomas Hart Benton, Camille Pissarro, Paul Cézanne, Guy Billout, James McMullan, Ed Sorel, Gérard DuBois, Victor Juhasz, Joe Ciardiello, Alison Bechdel, Marjane Satrapi, Keith Knight, Mort Drucker, Jack Davis, Richard Williams, Howard Pyle, N.C. Wyeth, Thomas Nast If you find value in this podcast, consider becoming a paid subscriber on Substack, or a supporter on Patreon. On either platform, you will gain access to bonus episodes we call “Extra Credit”—among other perks and benefits. | Visit illustrationdept.com for offerings like mentorships and portfolio reviews, testimonials, our alumni showcase, and more. | Music for the podcast was created by Oatmello. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Artspeak Radio, Wednesday, December 17, 2025, 9am -10am CST, 90.1fm KKFI Kansas City Community Radio, streaming live audio www.kkfi.org Producer/host Maria Vasquez Boyd welcomes Jenny Mendez and Betsabeé Romero. JENNY MENDEZ, Cultural Arts Director Mattie Rhodes Arts Center and Gallery was born and raised in Kansas City, Missouri. Growing up in a neighborhood filled with family and friends on Kansas City's West Side. As a young girl Jenny enjoyed hearing stories from her grandmother, these stories were such an inspiration to Jenny in her love of her culture and heritage. Jenny attended the Kansas City Art Institute majoring in painting, she also studied both printmaking and photography. She was involved in community mural projects as a high school student and into college. She has always given back to her community. She has been employed with the Mattie Rhodes Center for the past twenty- five years and is responsible for all arts programming for the agency as the Cultural Arts Director. Through her work she is able to educate the community on the Latino culture through art. Being able to inspire children through art is what she is most passionate about – giving children and young artists a place to learn, create, express themselves, imagine, and grow in the arts. She has served and participated on many boards and committees through the years advocating for the arts and community. Her most valued appointment was to the board of the National Association of Latino Arts and Culture (NALAC). Most recently in March of 2020 as part of Women's History Month she was awarded the Nuestra Latina Award for the Arts by the Hispanic Chamber of Commerce. Her work in the community is valued and shows her commitment to being a voice for the Latinx artists, students and individuals. Showing her expertise in the creative process and authenticity to arts and culture through her work and partnerships with the Kansas City Museum and the Nelson Atkins Museum of Art. She is very committed to continue to be a voice for the Latinx and arts communities at large. Mattie Rhodes Art and Cultural Center is located at 1701 Jarboe, KCMO www.mattierhodes.org BETSABEÉ ROMERO- Knitting Ties, Project Description: The installation features the creation of two sculptural soccer goals with nets crafted from metal lattices. These lattices will showcase characters that represent both soccer and the pre-Hispanic ball game, creating a bridge between contemporary sports and ancient cultural traditions. The metallic lattices will be interwoven with threads of various fibers, with the characters cut along the length and width of each goal's net. All elements will be handcrafted by migrants and local artisans, emphasizing community collaboration and cultural exchange. Elements of the Sculptural Objective: Metallic Lattices-metal cutouts are interconnected in a lattice configuration, forming modular structures that provide a sculptural foundation for artistic interventions. Community Networks-Fabrics crafted by volunteers and artisans interweave with lattices, forming distinctive patterns that narrate the stories of their communities. Athletic Emblems-Symbolic figures associated with soccer are integrated into the sculptural design, linking artistic expression with the passion for football. Betsabeé Romero; Education: Bachelor's Degree in Communication with a specialization in Participatory Communication, Universidad Iberoamericana (1984) Master's Degree in Visual Arts, Universidad Nacional Autónoma de México (1986) Diploma from l'École Supérieure des Beaux-Arts (1989) Art History Studies at l'École du Louvre (1988-1989) Doctoral studies in Art History, Universidad Nacional Autónoma de México, no degree completed (1990-1993) Exhibitions: Romero has held over 100 solo exhibitions across five continents, with notable shows at the British Museum (2015), Grand Palais (2019), Royal Botanic Gardens Kew (2022), York Avenue in Washington (2018), Place Vieille Bourse in Lille, France (2019), Nevada Museum of Art (2014), Neuberger Museum (2011), Nelson-Atkins Museum of Art (2012), Canberra University Museum (2002), La Recoleta, Buenos Aires (2019), Mexico Pavilion at Expo Dubai 2020 (2021), and Place du Louvre (2021). In 2024, her exhibition "Huellas para Recordar" featured five monumental sculptures on Park Avenue (81st, 82nd, and 83rd Streets) by invitation of NYC Parks & Recreation. Also in 2024, "The Endless Spiral" was featured at the Venice Biennale Official Collateral Event at Galeria Belacqua LaMassa, St. Mark's Square, by invitation of MOLAA. In Mexico, highlights include the Mega Ofrenda at Mexico City's Zócalo (2016), Museo Frida Kahlo (2019, 2013), Museo Anahuacalli (2015), Antiguo Colegio de San Ildefonso (2014), Museo Amparo, Puebla (2008), MARCO, Monterrey (2009), and Museo Carrillo Gil (1999). Collections: Her work is part of major collections including the British Museum, Museum of Contemporary Art Houston, Phoenix Art Museum, Musée des Beaux-Arts de Montréal, Daros Collection (Switzerland), Nelson-Atkins Museum, Nevada Museum of Art, World Bank Collection, LACMA California, FEMSA, Irish Museum of Modern Art, El Museo del Barrio, Museo de Arte Moderno de México, MUAC, and Michigan State University. Biennials: Monterrey Biennial, Tamayo Biennial, inSite (Tijuana-San Diego), La Courneuve Biennial, Puerto Rico Graphics Triennial, Polygráfica Philadelphia, Ljubljana Graphics Biennial, Havana Biennial, Porto Alegre Biennial, Cairo Biennial, Sur Buenos Aires Biennial, Bogotá, and United Arab Emirates. Official selection for collateral projects at the 2024 Venice Biennale with the solo exhibition "Endless Spiral" with MOLAA Museum at the Bellaacqua La Massa Foundation in St. Mark's Square. Awards: Prix Oric'Art, Neuilly-sur-Seine, France, 1988 Grand Acquisition Prize in Installation, Second Monterrey Biennial, Museo de Monterrey, Nuevo León, Mexico, 1994 First Prize, Cairo Biennial, 2006 Millésimé Prize in Visual Arts, 2018 Chevalier des Arts et des Lettres, France, 2020 First Prize in Pavilion Design

This hour, we look at the political erasure of history, and its impacts. Plus, we talk about why artists destroy their own work or the works of others. And, the history and evolution of erasers. GUESTS: Jason Stanley: Bissell-Heyd-Associates Chair in American Studies at the Munk School of Global Affairs & Public Policy at the University of Toronto. His latest book is Erasing History: How Fascists Rewrite the Past to Control the Future Preminda Jacob: Associate Dean of the College of Arts, Humanities, and Social Sciences at the University of Maryland, Baltimore County, where she is also an Associate Professor of Art History and Museum Studies Caroline Weaver: Former shopkeeper at CW Pencil Enterprise, a pencil shop in New York City. She is founder of The Locavore Guide and author of The Pencil Perfect: The Untold Story of a Cultural Icon Join the conversation on Facebook and Twitter. Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode! Colin McEnroe and Dylan Reyes contributed to this show, which originally aired on April 23, 2025.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

In this episode, Anna Campbell chats with Pinterest and SEO consultant Trona Freeman about how jewellers can use Pinterest as a powerful visual search engine - not just another social platform. Trona breaks down how Pinterest users are intentional, slower scrollers, and often ready to shop, making it an ideal place for jewellery businesses.  She shares practical tips on: Optimising your profile and boards for search Creating keyword-rich, high-performing pins Using product shots, lifestyle content, and text pins strategically Leveraging Pinterest Trends and Pinterest Predicts Avoiding common mistakes like broken links and low-quality images If you want long-lasting traffic, more visibility, and a platform where your jewellery can truly shine, this episode is packed with simple, actionable steps to get started. Jewellery Business Academy 2026 If growing your jewellery business is your goal for 2026 then check out the Jewellery Business Academy. A one year comprehensive program designed for jewellers, this externally accredited program is exactly what you need to stay focused an on track. Plus get one to one mentoring on the topic of your choice, accountability through regular small group Zoom meet ups and more.   https://www.jewellersacademy.com/the-jewellery-business-academy   If you'd like to know more, join the live open day on Tuesday 9th December 2025 at 8pm UK time GMT. Here's the link you need to register (and receive the replay via email if you can't join live) https://mailchi.mp/8a09ab0822ce/jba-2026   About Trona Trona Freeman is a Scotland-based Pinterest and SEO consultant who runs her business under the name Aye Lined Digital Marketing. Originally she started out as a beauty and lifestyle blogger, sharing content on fashion, skincare and photography and through that journey she discovered the potential of Pinterest as a powerful driver of traffic. Over time, what began as a hobby and creative outlet evolved into a full-blown service: Trona now helps small businesses , including creatives and makers, to grow online by leveraging Pinterest and smart SEO strategies. Her background as a creator and MA in Art History gives her a unique perspective on how visual artists and artisans (like jewellers) can use visual platforms to reach new audiences. Connect with her: https://services.ayelined.com/ https://www.instagram.com/trona_freeman  

Fluent Fiction - French: Mysteries of the Sky Ship: Love and Legend at Étretat Find the full episode transcript, vocabulary words, and more:fluentfiction.com/fr/episode/2025-12-06-23-34-02-fr Story Transcript:Fr: Dans un hiver rigoureux de Normandie, les Falaises d'Étretat se dressent majestueusement, recouvertes de givre.En: During a harsh winter in Normandie, the Falaises d'Étretat stand majestically, covered in frost.Fr: Le vent froid souffle du large, apportant avec lui des murmures d'histoires anciennes.En: The cold wind blows in from the sea, carrying whispers of ancient stories.Fr: C'est ici, dans ce paysage époustouflant, que commencent nos événements mystérieux.En: It is here, in this breathtaking landscape, that our mysterious events begin.Fr: Étienne, un historien d'art passionné, marche lentement près du bord des falaises.En: Étienne, an art historian with a passion, walks slowly near the edge of the cliffs.Fr: Il pense à Lucille, la talentueuse artiste de la région.En: He thinks of Lucille, the talented local artist.Fr: Il admire ses œuvres, remplies d'émotions et de couleurs, même si beaucoup ne les comprennent pas.En: He admires her works, filled with emotion and color, even though many do not understand them.Fr: Lucille a récemment peint une toile étrange. Un navire navigue dans le ciel, au-dessus des falaises.En: Recently, Lucille painted a strange canvas: a ship sailing in the sky above the cliffs.Fr: Tous se demandent si cela est possible.En: Everyone wonders if this is possible.Fr: Marc, un journaliste toujours en quête de vérité, doute de l'authenticité de ce tableau.En: Marc, a journalist always in search of truth, doubts the authenticity of this painting.Fr: Il pense que c'est un canular.En: He thinks it is a hoax.Fr: Cependant, pour Étienne, cette peinture est plus qu'une simple œuvre.En: However, for Étienne, this painting is more than just a work of art.Fr: Elle est une clé pour découvrir quelque chose de grand et, peut-être, pour se rapprocher de Lucille.En: It is a key to discovering something great and, perhaps, to getting closer to Lucille.Fr: Étienne décide d'enquêter en secret.En: Étienne decides to investigate in secret.Fr: Il commence par rechercher des indices dans d'anciens documents.En: He starts by looking for clues in old documents.Fr: Il rend visite à Lucille dans son atelier, qui donne sur la mer.En: He visits Lucille in her studio, overlooking the sea.Fr: Lucille, intriguée par la fascination d'Étienne, partage ses inspirations.En: Lucille, intrigued by Étienne's fascination, shares her inspirations.Fr: Elle parle d'un rêve étrange, où elle voyait ce navire voler.En: She talks about a strange dream where she saw this ship flying.Fr: Étienne se sent lié à elle plus que jamais auparavant.En: Étienne feels more connected to her than ever before.Fr: Mais Marc n'abandonne pas.En: But Marc does not give up.Fr: Il suit chaque piste, prêt à prouver que tout est faux.En: He follows every lead, ready to prove that it's all false.Fr: Il confronte Étienne, essayant de découvrir ses intentions.En: He confronts Étienne, trying to uncover his intentions.Fr: Étienne doit agir vite mais prudemment.En: Étienne must act quickly but cautiously.Fr: La veille de Noël, toute la communauté se rassemble sur les falaises enneigées pour célébrer.En: On Christmas Eve, the whole community gathers on the snowy cliffs to celebrate.Fr: Un feu de joie éclaire la nuit froide.En: A bonfire lights up the cold night.Fr: Étienne, nerveux mais déterminé, prend la parole.En: Nervous but determined, Étienne speaks.Fr: Il décrit ses découvertes.En: He describes his discoveries.Fr: À travers ses recherches, il lit sur une ancienne légende locale.En: Through his research, he reads about an ancient local legend.Fr: Elle parle d'un capitaine maudit, dont le navire brillait dans les nuages chaque Noël.En: It speaks of a cursed captain, whose ship shone in the clouds every Christmas.Fr: Tout le monde est silencieux.En: Everyone is silent.Fr: Étienne sort une vieille page d'un carnet, prouvant l'existence de ce récit.En: Étienne pulls out an old page from a notebook, proving the existence of this tale.Fr: Marc, impressionné par la profondeur des recherches, reconnaît la véracité du thème de la peinture.En: Marc, impressed by the depth of the research, acknowledges the truth of the painting's theme.Fr: Il décide de raconter l'histoire dans son journal, rendant justice au talent de Lucille.En: He decides to tell the story in his newspaper, doing justice to Lucille's talent.Fr: La magie de Noël rapproche les cœurs.En: The magic of Christmas brings hearts closer.Fr: Étienne, en découvrant l'origine de la peinture, découvre aussi que ses sentiments pour Lucille sont partagés.En: Étienne, in discovering the origin of the painting, also discovers that his feelings for Lucille are mutual.Fr: Ensemble, ils admirent les falaises et rêvent d'autres fabuleuses histoires à partager.En: Together, they admire the cliffs and dream of other fabulous stories to share.Fr: Ainsi, Marc publie un article qui non seulement éclaire la vérité, mais redonne à Lucille la valeur qu'elle mérite.En: Thus, Marc publishes an article that not only sheds light on the truth but also restores the value that Lucille deserves.Fr: Étienne, confiant et heureux, sait que cette aventure n'est que le début d'une belle amitié, ou peut-être quelque chose de plus, avec Lucille.En: Étienne, confident and happy, knows that this adventure is just the beginning of a beautiful friendship, or perhaps something more, with Lucille.Fr: L'histoire du navire céleste devient une légende partagée, renforçant à jamais les liens entre nos trois protagonistes.En: The story of the celestial ship becomes a shared legend, forever strengthening the bonds between our three protagonists. Vocabulary Words:the winter: l'hiverharsh: rigoureuxthe cliffs: les falaisesmajestic: majestueusementthe frost: le givrethe wind: le ventthe whispers: les murmuresbreathtaking: époustouflantthe cliff edge: le bord des falaisesthe artist: l'artistethe canvas: la toilethe ship: le navirethe sky: le ciela hoax: un canularthe authenticity: l'authenticitéthe clues: les indicesthe documents: les documentsthe studio: l'atelierthe dream: le rêveto follow a lead: suivre une pistethe intentions: les intentionscautiously: prudemmentChristmas Eve: la veille de Noëlthe bonfire: le feu de joiethe captain: le capitainethe clouds: les nuagesthe silence: le silencethe notebook: le carnetdepth: la profondeurthe article: l'article

Giuseppe Castellano talks to award-winning illustrator, artist, designer, and writer, Maira Kalman, about navigating life's inconsistencies; how we can stay centered and grounded creatively; what the most important thing is about being an illustrator; and more.To learn more about Maira, visit mairakalman.com.Artists mentioned in this episode include: Beatrix Potter, Remy Charlip, Maurice Sendak, Edward Gorey If you find value in this podcast, consider becoming a paid subscriber on Substack, or a supporter on Patreon. On either platform, you will gain access to bonus episodes we call “Extra Credit”—among other perks and benefits. | Visit illustrationdept.com for offerings like mentorships and portfolio reviews, testimonials, our alumni showcase, and more. | Music for the podcast was created by Oatmello. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Fluent Fiction - Norwegian: Mystery in the Snow: A Statue's Secret Revealed in Oslo Find the full episode transcript, vocabulary words, and more:fluentfiction.com/no/episode/2025-12-02-08-38-20-no Story Transcript:No: Det var en rolig desembermorgen i Oslo.En: It was a calm December morning in Oslo.No: Vigeland Sculpture Park lå stille, dekket av et lag med ny, glitrende snø.En: Vigeland Sculpture Park lay peacefully, covered by a layer of fresh, glistening snow.No: På stiene mellom de majestetiske skulpturene vandret Sindre, en ivrig kunsthistorie-student.En: On the paths between the majestic sculptures wandered Sindre, an eager art history student.No: Han var fascinert av Gustav Vigeland og alle hans verk.En: He was fascinated by Gustav Vigeland and all his works.No: Dette var hans fristed.En: This was his sanctuary.No: Hans kusine, Maren, hadde nettopp ankommet Oslo for å feire jul.En: His cousin, Maren, had just arrived in Oslo to celebrate Christmas.No: Maren delte ikke Sindre's lidenskap for kunst, hun mente han var litt for opphengt i det hele.En: Maren did not share Sindre's passion for art; she thought he was a bit too obsessed with it all.No: "Å, Sindre," sukket hun, da hun fulgte etter ham i den kalde vinterluften, "hva er det med disse steinfigurene som fascinerer deg sånn?En: "Oh, Sindre," she sighed as she followed him in the cold winter air, "what is it about these stone figures that fascinates you so much?"No: "Sindre smilte, men før han rakk å svare, oppdaget han noe sjokkerende.En: Sindre smiled, but before he could answer, he discovered something shocking.No: En av de verdifulle statuene manglet.En: One of the valuable statues was missing.No: Den var borte!En: It was gone!No: Panikken grep ham.En: Panic gripped him.No: Han visste hvor viktige disse verkene var for Vigelands arv og straks følte han en sterk trang til å finne den savnede statuen.En: He knew how important these works were to Vigeland's legacy and immediately felt a strong urge to find the missing statue.No: Mens Sindre lette febrilsk etter svar, møtte han Odin, en mystisk kunstner i parken.En: As Sindre frantically searched for answers, he met Odin, a mysterious artist in the park.No: Odin hadde alltid vært en gåtefull figur.En: Odin had always been an enigmatic figure.No: Ryktene sa at han visste mer om Vigelands skulpturer enn noen andre.En: Rumor had it that he knew more about Vigeland's sculptures than anyone else.No: "Hva har skjedd med statuen, Odin?En: "What happened to the statue, Odin?"No: " spurte Sindre frustrert.En: Sindre asked frustratedly.No: Odin svarte med en kryptisk gåte: "Noen ganger skjuler snøen mer enn man tror.En: Odin replied with a cryptic riddle: "Sometimes the snow conceals more than you think."No: " Sindre grublet over Odins ord.En: Sindre pondered Odin's words.No: Maren, som nå var nysgjerrig, ble med på jakten.En: Maren, now curious, joined the search.No: Men været gjorde det vanskelig.En: But the weather made it difficult.No: En kraftig snøstorm var på vei.En: A strong snowstorm was approaching.No: Likevel følte Sindre seg drevet.En: Still, Sindre felt driven.No: Han måtte finne ut av dette selv om Maren begynte å fryse.En: He had to figure this out even though Maren was beginning to freeze.No: "Kom igjen, Sindre," klaget hun, "vi må komme oss i ly før stormen.En: "Come on, Sindre," she complained, "we need to find shelter before the storm."No: "Men Sindre ga ikke opp.En: But Sindre did not give up.No: Han gransket parken med et skarpt blikk.En: He scrutinized the park with a sharp eye.No: Så, blant de snødekte trærne, oppdaget han et merkelig spor i snøen.En: Then, among the snow-covered trees, he discovered a strange trail in the snow.No: Et illeluktende malingsslag som førte dem til et privat studio like utenfor parken.En: A foul-smelling trace of paint led them to a private studio just outside the park.No: Inne i studioet, møtte de Odin igjen.En: Inside the studio, they met Odin again.No: Han sto ved siden av statuen, nå malt i livlige farger.En: He stood next to the statue, now painted in vibrant colors.No: "Det er en del av min nye installasjon," forklarte han.En: "It's part of my new installation," he explained.No: "Jeg ønsket å feire Vigeland, ikke stjele ham.En: "I wanted to celebrate Vigeland, not steal him."No: "Sindre ristet på hodet, lettet, men litt forvirret.En: Sindre shook his head, relieved but a bit confused.No: Men etter hvert innså han at kunst kan uttrykkes på mange måter.En: But eventually, he realized that art can be expressed in many ways.No: Han begynte å forstå Odins visjon og respekterte den.En: He began to understand Odin's vision and respected it.No: Maren, som hadde sett alvoret i Sindre's blikk, begynte å se kunsten med nye øyne.En: Maren, who had seen the seriousness in Sindre's gaze, started to see art with new eyes.No: Stormen raste utenfor, men inne i studioet sto de tre, i varme omgivelser, og diskuterte kunstens betydning.En: The storm raged outside, but inside the studio, the three stood in warm surroundings, discussing the meaning of art.No: Vigelands arv var trygg, men også beriket med en nyfortolkning.En: Vigeland's legacy was safe, but also enriched with a reinterpretation.No: Sindre hadde lært å omfavne det ukonvensjonelle, og Maren?En: Sindre had learned to embrace the unconventional, and Maren?No: Hun var nå nysgjerrig på hvilken historie hver statue kunne fortelle.En: She was now curious about what story each statue could tell.No: Kanskje julen hadde vist dem begge kunsten å åpne sine sinn.En: Perhaps Christmas had shown them both the art of opening their minds. Vocabulary Words:calm: roliglayer: lagglistening: glitrendemajestic: majestetiskesanctuary: fristedpassion: lidenskapwandered: vandretfascinated: fascinertobsessed: opphengtlegacy: arvmysterious: mystiskenigmatic: gåtefullcryptic: kryptiskconceals: skjulerpondered: grubletfoul-smelling: illeluktendetrace: sporinstallation: installasjonrelieved: lettetinterpreted: nyfortolkningsurroundings: omgivelserembrace: omfavneunconventional: ukonvensjonellestorm: snøstormdriven: drevetshelter: lyscrutinized: gransketvibrant: livligediscussing: diskutertevision: visjon

In this episode of The Compendium, we dive into the wild, beautiful, and often brutal life of Frida Kahlo. Frida Kahlo is the artist who turned her pain into power. From the accident that shattered her spine to the politics, love affairs, and Diego Rivera drama that filled her world, Frida painted every heartbreak straight onto the canvas. And today I'm going to tell Adam all about it as we explore her bold self-portraits, her surrealism before it had a name, and how a woman once dismissed as “Diego's wife” became a global symbol of art, rebellion, and self-expression, from La Casa Azul to the Tate Modern. We give you just the Compendium, but if you want more, here are our resources: Frida (2002) – Directed by Julie Taymor Frida: A Biography of Frida Kahlo – by Hayden Herrera Complete Works – Frida Kahlo – Frida Kahlo Foundation Frida: The Making of an Icon – Exhibition at Tate Modern Host & Show Info Hosts: Kyle Risi & Adam Cox Topic Suggested by: Samantha Bingley Intro Music: Alice in dark Wonderland by Aleksey Chistilin Trailer Music: Stealy Move by Soundroll Community & Calls to Action  Review & follow on: Spotify & Apple Podcasts  Follow us on Instagram: @theCompendiumPodcast  Visit us at: TheCompendiumPodcast.com ️ Early access episodes: Patreon  Share this episode with a friend! If you enjoyed it, tag us on social media and let us know your favorite takeaway. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Dr. Lori Bidwell was raised on a farm in Grand Rapids, Michigan. She earned a BFA in Art History, then returned home and started working at a veterinary clinic and decided to pursue veterinary medicine as a career.She earned her DVM from Michigan State University in 2001, then did an Internship at Rood and Riddle Equine Hospital, followed by a Residency in Anesthesia at Michigan State University, becoming Board Certified in Anesthesia and Analgesia in 2008.She then returned to Rood and Riddle to become Head of Anesthesia. Afterwards, she was on faculty at Ross University School of Veterinary Medicine. She returned to Kentucky to work in anesthesia in both equine and small animal practice. At this time she became certified in Acupuncture and Tui Na from Chi University.After returning to Michigan State University to work in Anesthesia and Equine Lameness and Sports Medicine, she Co-Founded her current business, East West Equine Sports Medicine, where she provides sports medicine services and equine anesthesia consultation and training for equine surgical facilities.Please enjoy this conversation with Dr. Lori Bidwell as we discuss her education, clinical practice, holistic training, and participation in organized veterinary medicine.

Dr. Lori Bidwell was raised on a farm in Grand Rapids, Michigan. She earned a BFA in Art History, then returned home and started working at a veterinary clinic and decided to pursue veterinary medicine as a career.She earned her DVM from Michigan State University in 2001, then did an Internship at Rood and Riddle Equine Hospital, followed by a Residency in Anesthesia at Michigan State University, becoming Board Certified in Anesthesia and Analgesia in 2008.She then returned to Rood and Riddle to become Head of Anesthesia. Afterwards, she was on faculty at Ross University School of Veterinary Medicine. She returned to Kentucky to work in anesthesia in both equine and small animal practice. At this time she became certified in Acupuncture and Tui Na from Chi University.After returning to Michigan State University to work in Anesthesia and Equine Lameness and Sports Medicine, she Co-Founded her current business, East West Equine Sports Medicine, where she provides sports medicine services and equine anesthesia consultation and training for equine surgical facilities.Please enjoy this conversation with Dr. Lori Bidwell as we discuss her education, clinical practice, holistic training, and participation in organized veterinary medicine.

If you want a college that encourages you to explore your interests, there's no place better than Sarah Lawrence. In this episode, learn how a class with Jerri Dodds transformed Tyler Holm into an art history student, and how Tyler's conference projects have shaped Jerri's teaching. Just two amazing people, talking about the things they love. Enjoy!You can watch this episode on sarahlawrence.edu/slctr.

Episode: 3344 That Rare Find, Rachel Ruysch.  Today, we talk diversity in art and nature.

Curator of "Niyū Yūrk: Middle Eastern and North African Lives in the City", Hiba Abid, joins us to talk about the exhibition, housed at the New York Public Library's iconic 42nd Street building, which challenges dominant narratives by presenting New York as a city deeply intertwined with Middle Eastern and North African history and culture. Abid delves into the diverse stories of immigration, the often-overlooked North African presence, and the revolution in Arabic publishing in New York. Through fascinating primary documents and personal stories, the discussion explores everything from the surprising origins of the Statue of Liberty to early 20th-century American citizenship guides published in Arabic, revealing the long, complex, and vibrant history of Arab and Middle Eastern communities in New York. The exhibition remains until March 8, 2026. On December 5, is a Middle Eastern/North African take over of the flagship building of the NYPL that's not to be missed

There is no better way to explore the art and politics of the Sforza court in Milan than through the eyes of Leonardo da Vinci. Leonardo spent most of his early career employed by Ludovico il Moro, the regent and eventual Duke of Milan. This episode ties together the drama and intrigue of Sforza court politics with the work Leonardo did during his First Milanese Period (1482-1499). Some of Leonardo's most innovative painting arrived in this period. Beyond his Last Supper, the Renaissance master also worked on court portraits. Looking at both Lady with an Ermine and La Belle Ferronniere, we unpack the history of the ladies of the Sforza court and the complex social structures in Leonardo's Milan. Additionally, we explore the sophistication of Leonardo's style and ingenuity, especially as precursors to his Mona Lisa. This conversation ultimately ties the complicated threads that unite art, court culture, politics, gender, and romance in Renaissance Milan. Support/Watch/Follow: https://linktr.ee/italian_renaissance_podcastWorks Discussed: Leonardo da Vinci, Genevra de' Benci, ca. 1478 https://www.nga.gov/artworks/50724-ginevra-de-benci-obverseLeonardo da Vinci, Lady with an Ermine, ca. 1490 https://artsandculture.google.com/asset/lady-with-an-ermine-leonardo-da-vinci/HwHUpggDy_HxNQ?hl=en-GBLeonardo da Vinci and workshop, La Belle Ferronniere, ca. 1497 https://collections.louvre.fr/en/ark:/53355/cl010062372Salai, Head of Christ the Redeemer, 1511 https://ambrosiana.it/opere/testa-di-cristo-redentore/Get additional content by becoming a Patron: patreon.com/TheItalianRenaissancePodcast Support the show

We are excited to answer your art questions! In this episode we will discuss: how do you keep your practice thriving while navigating space, money, and access? We dig in with honest, field-tested advice and personal stories from two working artists who've built momentum in imperfect conditions.We start with the studio question everyone wrestles with: home vs separate space. You'll hear why a “setup” beats square footage, how to protect focus if interruptions tank your flow, and scrappy ways to work larger without taking on a lease you can't sustain. From there, we lay out a gallery game plan: what a strong approach package looks like (10–15 works with depth behind them), what “consistency” really means, and how to get on the radar through open calls, smart social presence, and showing up at the right level.International showing gets a reality check. Culture changes the conversation, but logistics can make or break it. We walk through shipping options, customs surprises, and how to avoid vanity traps with contracts that shift costs onto artists. We also talk residencies, including why many invite-only programs pull from boards and alumni, and how relationships can open doors when applications can't.Collectors and sustainability round out the heart of the episode. We share favorite delivery stories, why early-stage artists should sell to keep making, and how ideal collectors help build careers over time. For anyone staring down a short financial runway, we offer practical steps: emergency grant resources, low-cost materials that keep you prolific, and the mindset shift that treats bridge income as a patron rather than a detour.If you found value here, follow the show, share it with an artist friend, and leave a review so more creatives can find these conversations. Got a question for part two? Send it our way—your prompts shape the next round.Send us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg Watch the Video Episode on Youtube or Spotify, https://www.youtube.com/@JustMakeArtPodcast

In this episode of Sew & So we welcome costume designer and wardrobe freelancer Jessica Cronin, whose work spans film, television, theater, and fashion. Raised across the U.S., Singapore, and England, Jessica brings a globally shaped perspective to the way clothing communicates who we are. With a BA in Art History from Drew University and an MFA in Costume Design from Carnegie Mellon University, she has built a dynamic career designing, styling, and crafting for productions including Gotham Knights, Dead to Me, A League of Their Own (2022), and Gossip Girl. Her experience ranges from large-scale studio work to theatrical design to commercial styling, and she moves fluidly between New York City, Atlanta, Pittsburgh, and Los Angeles.In this episode, Jessica shares the origins of her sewing journey, how global experiences shaped her artistic lens, the truth about fast fashion, the realities of costume work, and the deeper meaning of how we present ourselves through what we wear.Episode Notes:(1:49) When did Jessica begin to sew and who was her inspiration?(3:18) Jessica explains historical sewing and its techniques.(4:00) Why did Jessica's childhood take her to Singapore and England? How did living in these countries affect her perceptions of life and her work?(5:45) She started dancing at the age of three…then had to have Harrington Rod surgery for scoliosis of the spine. She takes us through this experience and how she dealt with the major changes in her life both in activity and mentally.(11:04) Jessica calls fast fashion “horrendous”? She explains why.(14:00) How do you handle the recycling in things like undergarments, socks and hard to recycle clothing items?(15:30) “Costume design isn't just pretty dreams and pretty people…” It's so very much more. Jessica takes us inside the craft.(19:54) Of all the different types of work Jessica has done…what's her favorite?(21:42) She talks about the difference in working with professional actors vs. amateur background actors.(23:45) Hear special stories about some of her costume jobs.(27:10) Jessica worked with Jennifer May Nickel Sew & So Podcast Episode #92 she talks about how they met and have worked together.(28:25) Hear about the 50,000-year-old sewing needle and how this information affects Jessica in her work.(30:36) Jessica loves to study how people communicate through clothing. Learn what she's discovered. Also learn why the color purple is associated with royalty.(33:32) Why does she think the younger generations aren't picking up these crafts or techniques?(36:30) Why is Jessica so mobile?(37:36) What does she like to do in her spare time?(38:10) What is she working on now and what is a Surrealist Ball?(40:00) What's next for her and what's her dream?(42:15) What didn't we ask?(43:06) Want to contact Jessica? @jesscronindesigns Be sure to subscribe to, review and rate this podcast on your favorite platform…and visit our website sewandsopodcast.com for more information about today's and all of our Guests.

ACC Head G Lane joins the team today, and he checks out the disturbing painting "Capitulation"... which was painted by his old Art History teacher. Plus we rake over the coals of Jerry's F Bomb during the radio show. Did you know we do a radio show as well?See omnystudio.com/listener for privacy information.

In today's episode, we will be discussing the history of women's domestic devotion in the early Afro-Iberian Atlantic world. Joining me is Nathalie Miraval. Nathalie is a PhD Candidate in Art History at Yale University. She studies the spiritual expressive cultures of the early modern Afro-Iberian Atlantic, with a focus on gender and race. Her work has been supported by the Casa de Velázquez (Madrid), the Renaissance Society of America, the Huntington Library, the John Carter Brown Library, and a U.S. Fulbright to Mexico. Before Yale, Nathalie served as Public Programming and Outreach Fellow at Dumbarton Oaks Research Library and Collection in Washington, DC, where she designed and implemented the institution's first educational programs. In 2014, she earned a BA in History of Art and Architecture with a secondary in Ethnicity, Migration and Rights from Harvard.

The curator Thelma Golden is a major presence in New York City's cultural life, having mounted era-defining exhibitions such as “Black Male” and “Freestyle” early on in her career. Golden is the Ford Foundation director and chief curator of the Studio Museum in Harlem, an institution, founded in 1968, that is dedicated to contemporary artists of the African diaspora. But, for a significant portion of her tenure, this singular institution has been closed to the public. Golden led the initiative to create a new, purpose-built home—requiring the demolition of an old building and reconstruction on the same site. To mark its reopening, David Remnick tours the new space with Golden, discussing some key works and the museum's mission. He notes that this triumphant moment for the Studio Museum comes during a time of broad attacks on cultural institutions, particularly on expressions of identity politics. “I take a lot of inspiration from our founders, who opened up in a complicated moment,” Golden reflects. “My own career began in the midst of the culture wars of [the nineteen-nineties]. Understanding museums as a place that should be, can be, must be where we engage deeply in ideas. In this moment, that has to offer some hope as we consider a future.”New episodes of The New Yorker Radio Hour drop every Tuesday and Friday. Join host David Remnick as he discusses the latest in politics, news, and current events in conversation with political leaders, newsmakers, innovators, New Yorker staff writers, authors, actors, and musicians.

Giuseppe Castellano talks to illustrator and fine artist, Michael Deas, about his early years as an illustrator; how he created “The Torch Lady” for Columbia Pictures; why he doesn't look back on his long career; and more.To learn more about Michael, visit michaeldeas.com.Artists mentioned in this episode include: Ted Lewin, Betsy Lewin, Herbert Tauss If you find value in this podcast, consider becoming a paid subscriber on Substack, or a supporter on Patreon. On either platform, you will gain access to bonus episodes we call “Extra Credit”—among other perks and benefits. | Visit illustrationdept.com for offerings like mentorships and portfolio reviews, testimonials, our alumni showcase, and more. | Music for the podcast was created by Oatmello. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

It's been over 30 years since Bob Ross's The Joy of Painting went off the air, but the painter is still a household name. This hour: a look at the undying force for permed hair and puffy little clouds and happy little trees that is Bob Ross. Plus: Could we do a show about Bob Ross without also talking Thomas Kinkade? No we could not. And so no we do not. GUESTS: Nathan Badley: Cohost of the Nothing But a Bob Thang podcast Alexis Boylan: Professor of Art History at UConn and the editor of Thomas Kinkade, The Artist in the Mall Justin Croft: Cohost of the Nothing But a Bob Thang podcast Emily Rhyne: Cinematographer at The New York Times Join the conversation on Facebook and Twitter. Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode! Colin McEnroe and Chion Wolf contributed to this show, which originally aired September 26, 2019.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

AP correspondent Haya Panjwani reports on the next costume exhibit at the Met.

Join Annie Sargent and Elyse Rivin as they dive deep into the tragic and brilliant life of Vincent van Gogh. This episode isn't just about his iconic paintings—it's about the man behind the masterpieces. Elyse, with her deep knowledge of art history and her gift for storytelling, guides us through Van Gogh's tumultuous journey. From his early struggles in the Netherlands to his transformative years in France, we explore how his experiences shaped his art—and how his art, in turn, shaped the world. Listen to this episode ad-free Van Gogh's life was marked by failure, rejection, and mental health struggles. Elyse explains how these challenges fueled his creativity. As a young man, he tried—and failed—at careers as an art dealer, a preacher, and even a Bible translator. His family didn't know what to do with him, and his father even considered sending him to a mental hospital. But it was his brother, Theo, who became his lifeline. Theo provided financial and emotional support, allowing Vincent to focus on painting. This support gave him the freedom to experiment, leading to the bold, vibrant style we associate with him today. Paris was a turning point for Van Gogh. Elyse paints a vivid picture of his time there, living in Montmartre, meeting artists like Toulouse-Lautrec and Pissarro, and discovering new techniques. He hated the city at first, but over time, he began to embrace its energy. His move to Arles was another pivotal moment. He dreamed of creating an artists' colony there, but his relationship with Gauguin ended in disaster. Despite the chaos, this period was incredibly productive. He painted masterpieces like Starry Night Over the Rhône and Sunflowers. After his breakdown in Arles, Van Gogh was committed to an asylum in Saint-Rémy-de-Provence. Elyse's account of this time is heartbreaking yet inspiring. He continued to paint, creating some of his most famous works, including Wheat Fields and more versions of Starry Night. His final days in Auvers-sur-Oise were marked by relentless painting and a tragic end. This episode isn't just about art—it's about humanity, perseverance, and the cost of genius. If you love stories that move you, this is a must-listen. Subscribe to Join Us in France on your favorite podcast app so you never miss an episode. And if you're planning a trip to France, don't forget to check out Elyse's Toulouse Guided Walks for an unforgettable experience.  Table of Contents for this Episode [00:00:15] Introduction [00:00:31] Today on the podcast [00:01:03] Podcast supporters [00:01:33] Bootcamp 2026 [00:01:47] Magazine segment [00:02:25] Vincent Van Gogh with Elyse [00:03:38] Van Gogh's Life in France [00:04:57] The Universal Appeal of Van Gogh's Art [00:05:53] Why do people love his work? [00:09:30] Early Life and Family Background [00:13:49] Struggles with Mental Health and Career Choices [00:14:20] Moving to The Hague [00:16:09] Moving to London [00:21:06] Moving to Paris [00:23:26] Back to England [00:28:04] Returning home [00:28:55] The Decision to Become an Artist [00:29:24] Early Artistic Endeavors and Family Support [00:37:18] Van Gogh's Time in Paris [00:38:38] Van Gogh's Literary Influences [00:39:23] Return to Holland and Artistic Evolution [00:40:28] Personal Struggles and Relationships [00:42:06] Paris and Artistic Friendships [00:45:02] The Move to Arles [00:47:24] The Yellow House and Artistic Breakthrough [00:52:53] Mental Health Struggles and Saint-Rémy [00:59:11] Final Days in Auvers-sur-Oise [01:04:27] Legacy and Impact [01:09:40] Copyright More episodes about art in France #VanGogh, #VincentVanGogh, #ArtHistory, #StarryNight, #Sunflowers, #PostImpressionism, #FrenchArt, #ArtLovers, #ArtistsLife, #TragicGenius, #JoinUsInFrance, #FrancePodcast, #TravelFrance, #FrenchCulture, #ExploreFrance, #DiscoverFrance, #FranceTravelTips, #RealFrance, #Francophile, #FranceAdventures

In this episode of PhotoWork with Sasha Wolf, April Watson, Senior Curator of Photography at The Nelson-Atkins Museum of Art in Kansas City, Missouri, joins Sasha to discuss her upcoming exhibition, American Prospects and Landscape Photography, 1839 to Today. The two dive into an insider's conversation about how acquisitions—whether through donations or direct purchases—shape curatorial decisions. April speaks about the importance of honoring donor gifts through thoughtful exhibitions, and about working closely with museum education staff to shape exhibition language to engage audiences who may not have an art-historical background. She then turns the tables, inviting Sasha to share her perspective on the current state of the photographic art market and how it has evolved or devolved over time. https://nelson-atkins.org/art/exhibitions/american-prospects-and-landscape-photography-1839-to-today/ https://www.instagram.com/nama_photographs/ April M. Watson is Senior Curator of Photography at The Nelson-Atkins Museum of Art in Kansas City, Missouri. During her eighteen-year tenure at the museum, Watson has curated over 20 exhibitions that span the history of photography. These include: American Prospects and Landscape Photography, 1839 to the Present (forthcoming 2026); Strange and Familiar Places (2025); Evelyn Hofer: Eyes on the City (2023, with the High Museum of Art); Jim Dow: Signs (2022); Gordon Parks X Muhammad Ali: The Image of a Champion, 1966/1970 (2020, with the Gordon Parks Foundation); Eugene Richards: The Run-On of Time (2018, with the George Eastman Museum); Impressionist France: Visions of Nation from Le Gray to Monet (2013); and Heartland: The Photographs of Terry Evans (2012). Prior to the Nelson-Atkins, Watson held curatorial research positions at the National Gallery of Art, Washington D.C., and the Center for Creative Photography, Tucson. She holds an MA in Art History from the University of New Mexico and a Ph.D. in Art History from the University of Kansas. She is currently at work on a major exhibition for 2027 that explores the relationship between early photography the antislavery movement. The exhibition will also feature major contemporary works inspired by this history.

Join our next BoldBrush LIVE! Webinar by signing up here:register.boldbrush.com/live-guestOrder your exclusive da Vinci BoldBrush paintbrush set!brushoffer.com/collections/allLearn the magic of marketing  with us here at BoldBrush!boldbrushshow.comGet over 50% off your first year on your artist website with FASO:FASO.com/podcast---On today's episode, we sat down with Shanna Kunz, a seasoned landscape artist based in Ogden, Utah, with more than 30 years of painting experience. Her early love for art was nurtured by a family immersed in the outdoors, which deeply influenced her connection to landscapes. After studying at Utah State University, Shanna transitioned from figure painting and creative pursuits like seamstressing into watercolor and later, oil painting, developing a distinctive, atmospheric style. Throughout the conversation, she emphasizes the importance of continuous learning, experimentation, and reminds artists to never give up and always show up at the easel. Shanna also highlights the therapeutic and reflective nature of painting, encouraging both herself and her students to embrace failure, self-discovery, and community. Dedicated to nurturing others, she mentors artists in her Mindful Art Mentoring program, champions lifelong growth, and advises perseverance as the foundation for a fulfilling creative career. Finally, Shanna tells us about all of her upcoming shows!Shanna's FASO site:shannakunz.comMentorship with Shanna:mindfulartmentoring.com/Shanna's Social Media:instagram.com/shannakunz/facebook.com/shanna.allen.kunz.hernandez

Giuseppe Castellano talks to award-winning illustrator, and distinguished educator, Robert Hunt, about why illustrators should embrace “woodshedding”; how he created the DreamWorks logo; what the great Kazuhiko Sano meant to him, and to the illustration world at large; and more.To learn more about Robert, visit roberthuntstudio.com.Artists mentioned in this episode include: John Singer Sargent, London Ladd, Bruce Wolfe, David Grove, Andrew Loomis, George Bridgman, Robert Henri, Brian Stauffer, Marc Burckhardt, Bernie Fuchs, Bob Peak, Mark English, Thomas Blackshear  If you find value in this podcast, consider becoming a paid subscriber on Substack, or a supporter on Patreon. On either platform, you will gain access to bonus episodes we call “Extra Credit”—among other perks and benefits. | Visit illustrationdept.com for offerings like mentorships and portfolio reviews, testimonials, our alumni showcase, and more. | Music for the podcast was created by Oatmello. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

How do you make ancient art exciting for kids? In this episode of Art Ed Radio, Zoe Goldman, podcast producer at the Getty Museum, joins Tim to share the behind-the-scenes story of If Objects Could Talk—a delightful, sound-rich podcast where ancient artifacts speak for themselves. Zoe explains how her team transforms visual art into immersive audio stories, working with curators, writers, and sound designers to help young listeners connect with history in meaningful ways. From creative collaboration to museum accessibility, she offers practical ideas for art teachers on how to bring art history to life in the classroom. Resources and Links Join the Art of Ed Community See the Elementary and Secondary Art History PRO Packs Check out all kinds of Art History resources from AOE See all of the Getty Museum's podcasts Find all kinds of teacher resources from the Getty Museum  

Giuseppe Castellano talks to Amanda Burdan, Senior Curator at The Brandywine Museum of Art, about N.C. Wyeth's early life; what led to the restoration and permanent exhibition of Wyeth's The Apotheosis of the Family; what today's illustrators can do for tomorrow's curators; and more.To learn more about the Brandywine, visit brandywine.org. For tours and the mural experience, visit brandywine.org/mural.Artists mentioned in this episode include: Howard Pyle, Jamie Wyeth, Norman Rockwell, J.C. Leyendecker, Stanley Arthurs, Harvey Dunn, Clifford Ashley, Violet Oakley, Thomas Hart Benton, George Bellows, Marsden HartleyPhotograph credit: N.C. Wyeth in Chadds Ford studio with central panel of Apotheosis mural, undated. Photograph by Earl C. Roper, Philadelphia, PA. E. Coe Kerr Collection, Walter & Leonore Annenberg Research Center, Brandywine Museum of Art. Gift of Betsy Wyeth, 2004.  If you find value in this podcast, you can support it by subscribing to our best-selling publication, Notes On Illustration, on Substack. Among other benefits, you will gain access to bonus episodes we call “Extra Credit”. | Visit illustrationdept.com for offerings like mentorships and portfolio reviews, testimonials, our alumni showcase, and more. | Music for the podcast was created by Oatmello. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Narrator: Thomas Jones

Have you ever noticed how conversations about the American Revolution often center on great battles, founding documents, and famous statesmen? What if, instead, we explored that world through the eyes—and the hands—of everyday people who shaped it through art? Zara Anishanslin, Associate Professor of History and Art History at the University of Delaware and Director of its Museum Studies and Public Engagement Program, joins us to uncover the hidden world of artists, artisans, and makers who painted, stitched, and crafted the Revolution into being. Drawing from her book The Painter's Fire: A Forgotten History of the Artists Who Championed the American Revolution, Zara helps us see how creativity and craftsmanship tell a fuller—and more human—story of America's founding. Zara's Website | Book | Show Notes: https://www.benfranklinsworld.com/423 EPISODE OUTLINE 00:00:00 Introduction 00:41.79 Welcome & Episode Overview 00:02:59 Meet Our Guest 00:07:11 The Transatlantic Network of Revolutionary Artists 00:11:28 Why Revolutionary Artwork Didn't Survive 00:14:13 Prince Demah & His Mother Daphny 00:21:21 How Art Patronage Worked in the 18th Century 00:24:01 Finding Prince Demah a Teacher in London 00:27:40 Life as a Black Artist in London 00:41:22 Prince Demah's Life in Revolutionary Boston 00:49:24 Robert Edge Pine: The English Artist Who Supported America 00:59:24 How Revolutionary Art Differs from Later Commemorative Art 01:04:55 What Artists Reveal About the Revolution 01:07:29 Closing Thoughts & Resources RECOMMENDED NEXT EPISODES

Have you ever noticed how conversations about the American Revolution often center on great battles, founding documents, and famous statesmen? What if, instead, we explored that world through the eyes—and the hands—of everyday people who shaped it through art? Zara Anishanslin, Associate Professor of History and Art History at the University of Delaware and Director of its Museum Studies and Public Engagement Program, joins us to uncover the hidden world of artists, artisans, and makers who painted, stitched, and crafted the Revolution into being. Drawing from her book The Painter's Fire: A Forgotten History of the Artists Who Championed the American Revolution, Zara helps us see how creativity and craftsmanship tell a fuller—and more human—story of America's founding.Zara's Website | Book |Show Notes: https://www.benfranklinsworld.com/423  EPISODE OUTLINE 00:00:00  Introduction 00:41.79  Welcome & Episode Overview 00:02:59  Meet Our Guest 00:07:11  The Transatlantic Network of Revolutionary Artists 00:11:28  Why Revolutionary Artwork Didn't Survive 00:14:13  Prince Demah & His Mother Daphny 00:21:21  How Art Patronage Worked in the 18th Century 00:24:01  Finding Prince Demah a Teacher in London 00:27:40  Life as a Black Artist in London 00:41:22  Prince Demah's Life in Revolutionary Boston 00:49:24  Robert Edge Pine: The English Artist Who Supported America 00:59:24  How Revolutionary Art Differs from Later Commemorative Art 01:04:55  What Artists Reveal About the Revolution 01:07:29  Closing Thoughts & Resources RECOMMENDED NEXT EPISODES