Podcasts about european art

Misha Glenny and guests discuss the French portrait painter Élisabeth Vigée Le Brun (1755 - 1842). From her teens she delighted her high society subjects in and around Paris, notably Marie Antoinette who she painted around 30 times, and she invariably found ways to show her sitters at their best. Some critics were affronted that she, a young woman, dared paint at all and, when they saw how good her portraits were, some spread a rumour that surely this could not really be her work and she must have had a secret male lover finishing her portraits in a studio. The French Revolution forced Vigée Le Brun out of France and so she set off from one European court to another to find more success from Naples to Vienna to St Petersburg and to London, eventually settling back in France. Today her works are on show in major galleries around the world.WithRosalind Polly Blakesley Master of Pembroke College and Professor of Russian and European Art at the University of CambridgeRobert Wenley Deputy Director of Collections and Research at the Barber Institute of Fine Arts, University of BirminghamAnd Francesca Whitlum-Cooper Curator of Later Italian, Spanish and French Paintings at The National Gallery, London.Producer: Simon TillotsonReading list:Joseph Baillio, Katharine Baetjer and Paul Lang (eds), Vigée Le Brun (exhibition catalogue in English, Metropolitan Museum of Art, 2016)Joseph Baillio et al., Elisabeth Louise Vigée Le Brun: 1755-1842 (exhibition catalogue in French, Grand Palais, Paris, 2015/16)Rosalind P. Blakesley, Women Artists in the Reign of Catherine the Great (Lund Humphries Publishers Ltd, 2023), especially chapter 8 ‘The Triumphant Refugee'Lucy Davies, Vigée Le Brun: Self Portrait in a Straw Hat (National Gallery Global, 2025)Angelica Goodden, The Sweetness of Life: A Biography of Elisabeth Louise Vigée Le Brun (Andre Deutsch Ltd, 1997)Franny Moyle, Mrs Kauffman and Madame Le Brun: The Entwined Lives of Two Great Eighteenth-Century Women Artists (Apollo, 2025)Jordana Pomeroy, Daring: The Life and Art of Elisabeth Vigée Le Brun (Getty Publications, 2025)Mary D. Sheriff, The Exceptional Woman: Elisabeth Vigée-Lebrun and the Cultural Politics of Art (University of Chicago Press, 1997)Paris Spies-Gans, A Revolution on Canvas: The Rise of Women Artists in Britain and France, 1760-1830 (Paul Mellon Centre, Yale University Press London, 2022)Elisabeth Vigee Le Brun (trans. Sian Evans), The Memoirs of Elisabeth Vigee Le Brun (Camden Press, 1989)Louise-Elisabeth Vigée-Lebrun, Souvenirs de Madame Louise-Élisabeth Vigée-Lebrun (first published 1869; Tredition Classics, 2012)In Our Time is a BBC Studios productionSpanning history, religion, culture, science and philosophy, In Our Time from BBC Radio 4 is essential listening for the intellectually curious. In each episode, host Misha Glenny and expert guests explore the characters, events and discoveries that have shaped our world.

The main reason I think I love art so much is because it's full of mystery. I've long had a soft spot for the unusual. Somewhere between Are You Afraid of the Dark? and Lemony Snicket's A Series of Unfortunate Events, I realized my fascination with the unexplained, and I've been chasing that feeling ever since. It was only a matter of time before that curiosity led me to the art world. After all, every great mystery leaves clues. So does every great work of art.Art rewards those willing to think like a detective. Understanding a work of art means leaning into that mystery, and following its scent down a long trail of clues, symbols, and intentions. Why are certain objects illuminated while others recede into darkness? What's the difference between an open palm and a closed fist? Why does one figure meet your gaze while another looks away? It all means something, if you're willing to look closely enough.Of course, when I learned about Jane! at Cantor Arts Center at Stanford University, I had to speak with its curator. Jane! explores the enigmatic life, and even more mysterious death, of Jane Stanford, founder and matriarch of Stanford University. An advocate of the arts, a collector of oddities, a spiritualist, and the steward of the Cantor, Jane was a remarkably complex woman of the Gilded Age. After surviving one apparent poisoning attempt, Jane died just weeks later under circumstances that remain as mysterious today as they were in 1905. Perhaps it's no wonder that her final resting place lies in a mausoleum just steps from the museum she built. What may be even more mysterious are the numerous staff and students who claim to have seen a woman eerily similar to her portrait wandering Stanford's grounds.On this episode of Unibrow Radio, I speak with Patrick R. Crowley, Associate Curator of European Art at the Cantor, about why it's time for everyone to know Jane, (and her ghost,) a little better. No Ouija board needed. –– Shaquille HeathJane! Life, Vision, and Legacy of Jane Stanford is on view at the Cantor Arts Center at Stanford University through May 18, 2028.

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

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

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Ep. 248 Adrienne L. Childs is an independent scholar, art historian, and curator. She is Senior Consulting Curator at The Phillips Collection. Her current book is an exploration of Black figures in European decorative arts entitled Ornamental Blackness: The Black Figure in European Decorative Arts, published by Yale University Press. She is currently co-curator of Vivian Browne: My Kind of Protest for The Phillips Collection. She recently co-curated The Colour of Anxiety: Race, Sexuality and Disorder in Victorian Sculpture at The Henry Moore Institute in Leeds, England. She was the guest curator of Riffs and Relations: African American Artists and the European Modernist Tradition at The Phillips Collection in Washington DC, 2020. In April 2022 The High Museum of Art awarded Childs the 2022 Driskell Prize in recognition of her contribution to African American art and art history. Childs co-curated The Black Figure in the European Imaginary at The Cornell Fine Arts Museum at Rollins College in 2017. She is co-editor of the volume essays Blacks and Blackness in European Art of the Long Nineteenth Century, Routledge. She also contributed an essay on art and activism to Volume V, part II of The Image of the Black in Western Art edited by Henry Louis Gates, Jr. and David Bindman. As former curator at the David C. Driskell Center at the University of Maryland she curated many exhibitions including Her Story: Lithographs by Margo Humphrey; Arabesque: The Art of Stephanie Pogue; Creative Spirit: The Art of David C. Driskell and Tradition Redefined: The Larry and Brenda Thompson Collection of African American Art. Childs holds a BA from Georgetown University, an MBA from Howard University and a PhD in the History of Art from the University of Maryland. Photocredit: Rodrigo Salido Moulinié  Website https://www.adriennelchilds.com/ Phillips Collection  Vivian Browne: My Kind of Protest |The Phillips Collection https://www.phillipscollection.org/sites/default/files/2025-04/phillips-collection-presents-vivian-browne-my-kind-of-protest-press-release.pdf  https://www.phillipscollection.org/press/phillips-collection-presents-multiplicity-blackness-contemporary-american-collage https://www.phillipscollection.org/event/2020-02-28-riffs-and-relations-african-american-artists-and-european-modernist-tradition Ornamental Blackness https://www.ornamentalblackness.com/ The Driskell Center https://driskellcenter.umd.edu/news/former-driskell-center-curator-adrienne-childs-phd-wins-2022-driskell-prize High Museum https://high.org/driskell-prize/adrienne-l-childs/ The Clark https://www.clarkart.edu/fellow/detail/adrienne-childs-(1) Courtauld https://courtauld.ac.uk/whats-on/reconsidering-riffs-and-relations/ Columbia University https://abolitionism.universityseminars.columbia.edu/people/adrienne-l-childs The Wadsworth https://www.thewadsworth.org/event/public-lecture-pearl-drops-and-blackamoors-the-black-body-and-pearlescent-adornment-in-european-art-with-adrienne-l-childs/ ARTnews https://www.artnews.com/art-news/news/adrienne-l-childs-david-c-driskell-prize-high-museum-1234620561/ Culture Type https://www.culturetype.com/tag/adrienne-l-childs/Enfilade  https://enfilade18thc.com/2024/09/20/lecture-adrienne-childs-on-pearl-drops-and-blackamoors/ MontclairArt Museum https://www.montclairartmuseum.org/press/press-room/montclair-art-museum-presents-landmark-exhibition-century-100-years-black-art-mam Portland Museum https://www.portlandmuseum.org/eventscalendar/2021-bernard-osher-lecture Journal Panorama https://journalpanorama.org/article/riffs-and-relations/ AHNCA https://ahnca.org/event/the-colour-of-anxiety-race-sexuality-and-disorder-in-victorian-sculpture/

Ted speaks with Alexander Rokoff of Rokoff Studio who shares his artistic journey, influenced by his family's artistic background and his father's legacy. He discusses his transition from cartooning to fine art, the impact of European art on his perspective, and the challenges he faced pursuing art as a career. Alexander emphasizes the importance of passion in art, the role of travel in shaping his work, and his current ventures in Hawaii, highlighting the significance of reinventing oneself as an artist. and the pride he takes in his work.  TOPICS DISCUSSED01:10 Introduction to Alexander Rokoff and His Artistic Journey02:05 The Influence of Family and Early Artistic Development05:05 Transitioning from Cartooning to Fine Art07:25 Finding Success in Jewelry and Art11:00 The Impact of European Art on Alexander's Perspective15:10 Reinventing Oneself as an Artist17:35 Overcoming Adversity: The 2008 Economic Crisis19:20 Rediscovering Passion and Purpose in Art21:30 The Role of Travel and Cultural Exposure in Art26:15 Current Ventures and Future Aspirations in Hawaii27:30 Artistic Influences and Limited Palettes29:00 Life in Hawaii: A New Artistic Journey30:40 The Beauty of the Big Island's Landscapes34:30 Personal Reflections: Art and Family Legacy36:30 Creating Art with Pride and Purpose36:35 Participatory Art: Engaging Clients in the Process47:30 Buying Art: Trusting Your Instincts50:15 Future Aspirations: Large-Scale Projects in Hawaii CONNECT WITH GUESTAlexander RokoffWebsiteFacebookInstagramKEY QUOTES FROM EPISODE"Art is an addiction.""I never left the easel.""What would you do if nobody paid you?"

Partiendo de una realidad política que es, al mismo tiempo, artística y cultural, el libro Ars Hasburgica revisa el concepto historiográfico del Renacimiento. Hasta hace unos años, este periodo se entendía desde una perspectiva geográficamente italocéntrica, muy próxima al lenguaje clásico y políticamente centrada en la idea de las "artes nacionales" y las "escuelas regionales". Sin embargo, los últimos estudios certifican que el Renacimiento es un fenómeno global y complejo. Esta publicación ofrece una visión del arte que estudia el papel desempeñado por la dinastía de los Habsburgo y sus diversas cortes, intentando verificar si, al aplicar otros modelos historiográficos y al tener como enfoque el arte de la Casa de Austria, las ideas tradicionales pueden defenderse ante la comprensión del pasado en el siglo XXI. Los editores mencionan el llamado "paradigma de Vasari" que, en gran medida, es el fundamento para la historia del arte del siglo XVI escrita a lo largo de los últimos siglos. La publicación también busca definiciones de los fenómenos artísticos, no tanto en torno a naciones e identidades de las artes, sino planteando estos temas a través de ideas relacionadas con la Corte como esfera política, artística y cultural, partiendo de los estudios de Norbert Elias, Amedeo Quondam o Carlo Ossola.  Miguel Ángel Zalama es Catedrático y director del Departamento de Historia del Arte en la Universidad de Valladolid (España), así como director del Centro Tordesillas para las Relaciones con América Latina. Tras concluir la tesis doctoral. realizó estancias tanto en el Institute of Fine Arts de la Universidad de Nueva York, donde trabajó con Jonathan Brown, así como en la Universidad de La Sapienza en Roma, en la Université Catholique de l'Ouest, Angers (Francia), y en la Universidad de Monterrey (México).  Fernando Checa, es Catedrático de Historia del Arte en la Universidad Complutense de Madrid. Ha sido Director del Museo Nacional del Prado (1996-2001), y Premio Nacional de Historia de España (1993). Ha comisariado exposiciones sobre la Casa de Austria en Madrid, Viena, París, Gante, Bruselas, Toledo o Puebla de los Ángeles (México). También ha sido Senior Fellow Paul Mellon en CASVA (Washington) y Profesor Visitante en la Université de Genève (Suiza) y en la Universidad Estatal de Oklahoma.  CINTER (Corte, Imagen, Nobleza y Territorio) es un grupo de investigación de la Universidad Rey Juan Carlos (https://www.proyectocinter.com/). La entrevista sobre la publicación Ars Habsburgica se realiza con Miguel Ángel Zalama, editor de la publicación, y Jesús Pascual Molina, autor de uno de los capítulos de la misma. Presenta Oskar J. Rojewski, profesor de Historia del Arte con especialización en el Arte Flamenco de la Baja Edad Media y el Renacimiento. Se le puede encontrar en X.com como @oscarro90 Learn more about your ad choices. Visit megaphone.fm/adchoices

Partiendo de una realidad política que es, al mismo tiempo, artística y cultural, el libro Ars Hasburgica revisa el concepto historiográfico del Renacimiento. Hasta hace unos años, este periodo se entendía desde una perspectiva geográficamente italocéntrica, muy próxima al lenguaje clásico y políticamente centrada en la idea de las "artes nacionales" y las "escuelas regionales". Sin embargo, los últimos estudios certifican que el Renacimiento es un fenómeno global y complejo. Esta publicación ofrece una visión del arte que estudia el papel desempeñado por la dinastía de los Habsburgo y sus diversas cortes, intentando verificar si, al aplicar otros modelos historiográficos y al tener como enfoque el arte de la Casa de Austria, las ideas tradicionales pueden defenderse ante la comprensión del pasado en el siglo XXI. Los editores mencionan el llamado "paradigma de Vasari" que, en gran medida, es el fundamento para la historia del arte del siglo XVI escrita a lo largo de los últimos siglos. La publicación también busca definiciones de los fenómenos artísticos, no tanto en torno a naciones e identidades de las artes, sino planteando estos temas a través de ideas relacionadas con la Corte como esfera política, artística y cultural, partiendo de los estudios de Norbert Elias, Amedeo Quondam o Carlo Ossola.  Miguel Ángel Zalama es Catedrático y director del Departamento de Historia del Arte en la Universidad de Valladolid (España), así como director del Centro Tordesillas para las Relaciones con América Latina. Tras concluir la tesis doctoral. realizó estancias tanto en el Institute of Fine Arts de la Universidad de Nueva York, donde trabajó con Jonathan Brown, así como en la Universidad de La Sapienza en Roma, en la Université Catholique de l'Ouest, Angers (Francia), y en la Universidad de Monterrey (México).  Fernando Checa, es Catedrático de Historia del Arte en la Universidad Complutense de Madrid. Ha sido Director del Museo Nacional del Prado (1996-2001), y Premio Nacional de Historia de España (1993). Ha comisariado exposiciones sobre la Casa de Austria en Madrid, Viena, París, Gante, Bruselas, Toledo o Puebla de los Ángeles (México). También ha sido Senior Fellow Paul Mellon en CASVA (Washington) y Profesor Visitante en la Université de Genève (Suiza) y en la Universidad Estatal de Oklahoma.  CINTER (Corte, Imagen, Nobleza y Territorio) es un grupo de investigación de la Universidad Rey Juan Carlos (https://www.proyectocinter.com/). La entrevista sobre la publicación Ars Habsburgica se realiza con Miguel Ángel Zalama, editor de la publicación, y Jesús Pascual Molina, autor de uno de los capítulos de la misma. Presenta Oskar J. Rojewski, profesor de Historia del Arte con especialización en el Arte Flamenco de la Baja Edad Media y el Renacimiento. Se le puede encontrar en X.com como @oscarro90 Learn more about your ad choices. Visit megaphone.fm/adchoices

Partiendo de una realidad política que es, al mismo tiempo, artística y cultural, el libro Ars Hasburgica revisa el concepto historiográfico del Renacimiento. Hasta hace unos años, este periodo se entendía desde una perspectiva geográficamente italocéntrica, muy próxima al lenguaje clásico y políticamente centrada en la idea de las "artes nacionales" y las "escuelas regionales". Sin embargo, los últimos estudios certifican que el Renacimiento es un fenómeno global y complejo. Esta publicación ofrece una visión del arte que estudia el papel desempeñado por la dinastía de los Habsburgo y sus diversas cortes, intentando verificar si, al aplicar otros modelos historiográficos y al tener como enfoque el arte de la Casa de Austria, las ideas tradicionales pueden defenderse ante la comprensión del pasado en el siglo XXI. Los editores mencionan el llamado "paradigma de Vasari" que, en gran medida, es el fundamento para la historia del arte del siglo XVI escrita a lo largo de los últimos siglos. La publicación también busca definiciones de los fenómenos artísticos, no tanto en torno a naciones e identidades de las artes, sino planteando estos temas a través de ideas relacionadas con la Corte como esfera política, artística y cultural, partiendo de los estudios de Norbert Elias, Amedeo Quondam o Carlo Ossola.  Miguel Ángel Zalama es Catedrático y director del Departamento de Historia del Arte en la Universidad de Valladolid (España), así como director del Centro Tordesillas para las Relaciones con América Latina. Tras concluir la tesis doctoral. realizó estancias tanto en el Institute of Fine Arts de la Universidad de Nueva York, donde trabajó con Jonathan Brown, así como en la Universidad de La Sapienza en Roma, en la Université Catholique de l'Ouest, Angers (Francia), y en la Universidad de Monterrey (México).  Fernando Checa, es Catedrático de Historia del Arte en la Universidad Complutense de Madrid. Ha sido Director del Museo Nacional del Prado (1996-2001), y Premio Nacional de Historia de España (1993). Ha comisariado exposiciones sobre la Casa de Austria en Madrid, Viena, París, Gante, Bruselas, Toledo o Puebla de los Ángeles (México). También ha sido Senior Fellow Paul Mellon en CASVA (Washington) y Profesor Visitante en la Université de Genève (Suiza) y en la Universidad Estatal de Oklahoma.  CINTER (Corte, Imagen, Nobleza y Territorio) es un grupo de investigación de la Universidad Rey Juan Carlos (https://www.proyectocinter.com/). La entrevista sobre la publicación Ars Habsburgica se realiza con Miguel Ángel Zalama, editor de la publicación, y Jesús Pascual Molina, autor de uno de los capítulos de la misma. Presenta Oskar J. Rojewski, profesor de Historia del Arte con especialización en el Arte Flamenco de la Baja Edad Media y el Renacimiento. Se le puede encontrar en X.com como @oscarro90 Learn more about your ad choices. Visit megaphone.fm/adchoices

Claudia Einecke, the High Museum's Curator of European Art discusses their new exhibition, “Dutch Art in a Global Age,” which is on view through July 14. Plus, Emma Burke takes the spotlight for our series, “Speaking of Dance,” and we learn how art organizations can apply for the new grants from the Community Foundation of Greater Atlanta.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

First, Senior Curator of European Art to 1800, Saint Louis Art Museum, Judith Mann talks about her lecture, Artemisia Gentileschi: New Understandings, at Santa Barbara Museum of Art on Thursday, ... The post Judith Mann and Comic Potential appeared first on Elizabeth Appraisals.

Justin Holcomb sits down with Lloyd DeWitt to discuss how the church has historically thought of sacred space and architecture, what we can learn from categories and trends that have impacted church architecture, and what we miss when we replace steeples, pulpits, and cathedrals with many eclectic, modern designs. Dr. DeWitt is the Chief Curator and Irene Leache Curator of European Art at the Chrysler Museum of Art in Norfolk, Virginia. He holds a Ph.D. in Art History from the University of Maryland, College Park, where he specialized in Northern Baroque and Northern Renaissance Art and his interests range broadly, from African art to 20th-century Canadian art. CHECK OUT THIS MONTH'S OFFERS: Sign up to receive an original art print for this series at whitehorseinn.org/offers Subscribe to Modern Reformation magazine, and don't miss this month's issue, “The Arts.” Become a Partner to support the work of White Horse Inn as we apply the riches of the Reformation to the modern church. For more information, visit us at whitehorseinn.org or email us at info@whitehorseinn.org

Judith W. Mann, the senior curator of European art to 1800. Since joining the museum in 1988, she has reinstalled the collections of Medieval, Renaissance, Baroque, and 18th-century European painting and sculpture three times, and organized two major international exhibitions. In 2022, the museum will organize a major, international exhibition curated by Mann that examines the art of painting on stone, a practice that flourished in Europe—particularly Italy—in the 16th and 17th centuries. In 2015, the Association of Art Museum Curators and the American Academy in Rome awarded Mann the Samuel H. Kress Foundation AAMC Affiliated Fellowship in order to allow her to continue her research into painting on stone in Rome.——- Mann curated “Orazio and Artemisia Gentileschi: Father and Daughter Painters in Baroque Italy,” which opened at Rome's Palazzo Venezia and later was seen at the Metropolitan Museum of Art and the Saint Louis Art Museum, as well as the 2012 exhibition “Federico Barocci: Renaissance Master,” which was presented at the Saint Louis Art Museum and the National Gallery, London. In recognition for her scholarship relating to the Barocci exhibition and catalogue, Mann received the Association of Art Museum Curators' Outstanding Monographic Exhibition Award. She holds a graduate degree and doctorate from Washington University.

This week: the New York auctions. Tim Schneider, The Art Newspaper's acting art market editor, joins us to discuss two weeks of major sales in New York and whether they have calmed a jittery art market. Multiple Realities: Experimental Art in the Eastern Bloc, 1960s–1980s, an exhibition exploring radical art made in six countries under communist rule in Central Eastern Europe, has just opened at the Walker Art Center in Minneapolis, US, before travelling to Phoenix, Arizona and Vancouver. We talk to the curator in Minneapolis, Pavel Pyś. And this episode's Work of the Week is Terry Adkins's Last Trumpet (1995). This sculptural installation is included in the latest edition of Artist's Choice, a regular series of shows exploring the collection of the Museum of Modern Art in New York, selected by notable figures outside the museum. This latest iteration, Spirit Movers, has been chosen by the fashion designer Grace Wales Bonner. We talk to Michelle Kuo, a curator of painting and sculpture at the museum, who has worked with Wales Bonner on the show.Multiple Realities: Experimental Art in the Eastern Bloc, 1960s–1980s is at the Walker Art Center, Minneapolis, until 10 March 2024, it then travels to the Phoenix Art Museum, Arizona, US, 17 April-29 September 2024 and then the Vancouver Art Gallery, Canada, 2 November 2024-23 March 2025.Artist's Choice: Grace Wales Bonner—Spirit Movers, Museum of Modern Art, New York, 18 November-7 April 2024 Hosted on Acast. See acast.com/privacy for more information.

[IAMCOOPER's Links]FB-  https://www.facebook.com/drew.cooper.5076IG- https://www.instagram.com/p/Cj2-_TvLy3y/?hl=enMaddox Gallery- https://maddoxgallery.com/artists/272-cooper/overview/[Description]This week Brian is joined by Wes from The Wally Opus Podcast while Thomas is out of town. Collectively the two interview Evansville's standout artist, IAMCOOPER. This is Cooper's second time through the TDG experience and boy it was a good one. We focus pretty heavily on his recent trip to London where his did his first Solo Gallery. So, get the f*** in here and learn about Evansville's most hidden secret, IAMCOOPER.Stay beautiful Evansville,The Days Grimm Podcast(TDG) [The Death of The Week]https://darwinawards.com/darwin/darwin2017-14.htmlhttps://www.youtube.com/watch?v=9Jpsk5DklzM[The Days Grimm Podcast Links]- YouTube: https://www.youtube.com/c/TheDaysGrimm - Facebook: https://www.facebook.com/thedaysgrimm - IG: https://www.instagram.com/thedaysgrimm/ - Our link tree: linktr.ee/Thedaysgrimm - GoFundMe account for The Days Grimm: https://gofund.me/02527e7c [The Days Grimm is brought to you by]Corndog Development - Official Sponsor: https://www.etsy.com/shop/corndogdevelopment?load_webview=1&bid=kPeHK706dANJKYpAqaGqxFbnPLSk Buzzsprout: https://www.buzzsprout.com "The easiest way to start your own podcast"

This week, we're delighted to welcome American travel guru Rick Steves back to the show. Rick is a radio host, the owner of a tour company, and the author of dozens of guidebooks, but he considers his latest project -- a six-episode TV series about European art -- to be his "opus magnum."  In this episode, Rick describes how we can all have more rewarding travel experiences by taking some time to learn about the art of the places we visit. He also talks about what he learned while filming the series and shares some of his favorite stories of personal encounters with art in Europe.  Thanks so much for listening!  Links and things Stream Rick's six-episode series, Art of Europe, for free: ricksteves.com/watch-read-listen/video/tv-show/art Sam Anderson's NYT Magazine profile of Rick: https://nyti.ms/37Se3i7  Paige's Q&A with Rick for the NYT (unlocked link): https://nyti.ms/3UaUqdI More about Rick and his work: ricksteves.com Listen to Rick's first appearance on The Better Travel Podcast: https://apple.co/3FuXqxu

Travel expert Rick Steves discusses his new TV series about European art history

On Friday's show: Pockets of the Houston region, particularly in the city's northern suburbs, are sinking at a substantial rate according to a University of Houston analysis on subsidence conducted over a four-year period. MORE: Surface Deformation Study Also this hour: From the Texans allowing fans to trade in their Deshaun Watson jerseys (and those of other former players) for discounts on new team merchandise, to Astros manager Dusty Baker making a huge deli purchase for his players right before his team mounted a huge comeback victory, we discuss The Good, The Bad, and The Ugly of the week. And acclaimed travel host Rick Steves tells us about his new six-part series, Rick Steves Art of Europe, debuting Oct. 24 at 9 p.m. on Houston Public Media, TV 8.

On this episode of Seay the Future, I had the great pleasure of hosting The Barbara Thomas Lemmon Senior Curator of European Art for the Dallas Museum of Art, Dr. Nicole Myers, and Emma Ward, Co-Founder and CEO, Ward-Moretti. We discussed their esteemed careers, how their interest in art was sparked, and more. We even chatted about their perspective on the relationship millennials and Gen-Z have with art. A fun conversation. Don't miss their unique insight into the art world. 

Bruce Peterson is the Founder & Executive Chairman at Grande Experiences and THE LUME. Responsible for immersive multi-sensory experiences such as ‘Van Gogh alive', ‘Monet & Friends Alive' and many more.Get all links mentioned here: bit.ly/268-Bruce SKIP THROUGHT THE EPSISODE:00:00 – Welcome to Uncommon00:46 – Last time in Rome?03:50 – Earliest memory06:10 – Valuable lessons from parents08:50 – Generational difference 12:00 – Australia relying on other countries 17:40 – 1986 to 2005 26:00 - Leonardo da Vinci30:10 – Creating da Vinci exhibitions  33:50 – Creating LUME38:30 - Melbourne's lack of cultural facilities 41:10 - Choosing a location45:15 - Ticket prices46:40 - LUME Producing team48:00 - Integrating art with brands52:45 -  Rapid fire questions

In this clip, Bruce Peterson explains how he came up with the idea for LUME and how context is key for true appreciation of art.  Get all links mentioned here: bit.ly/268-Bruce

Art hot takes from a covid fever dream. Western culture historically understands time to be linear, fixed, and unmovable. I explore the ways this impacted European portrait painting and how West African art changed it See acast.com/privacy for privacy and opt-out information.

Rainer Gross in his studio - photo by David Benthal Rainer Gross was born in Cologne, Germany in 1951. In 1973 he left Cologne to come to New York City, where he continued his art career at a time when many proclaimed the “end of painting.” Gross' reaction to this proclamation was to draw on his connection to the painterly heritage of traditional European Art and its usage of iconography, and to establish a vocabulary capable of taking these historical traditions into the present. The dense and weathered surfaces of his paintings, realized through layers of pressed pigments, do just this. He has exhibited his works in numerous solo exhibitions nationally and internationally at venues such as the Ludwig Museum (Koblenz, Germany), Musée cantonal des Beaux-Arts (Lausanne, Switzerland), Krannert Art museum (Champaign, Illinois) and many others. Gross' paintings are in numerous public collections, including the AT&T Corporate Art Collection, the Cohen Family Collection, the UBS Union B­­ank of Switzerland,  Hirshhorn Museum in Washington, D.C., and the Lowe Art Museum amongst others. His works have been reviewed by The Paris Review, The New York Times, Art in America, The Boston Globe, ArtNews, The Brooklyn Rail, and many more. The book he is reading now is The History of Jazz by Ted Gioia, Double Twins X -Münstereifel, 2021, 54x132” in four parts, oil and pigments on canvas Double Take - NoFo X 2022, 24x16", 61x41cm, framed 26x18", 66x46cm Archival pigment high-quality giclée print on Photo Rag Ultra Smooth Matte FineArt Paper from Hahnemuhle, mounted on wood panel.

Dr. Judy Mann, Senior Curator or European Art to 1800 for the St. Louis Art Museum, stopped by to talk to Nancy about the exhibition, Paintings on Stone: Science and the Sacred 1530–1800. About the Exhibition: In 2000 the Saint Louis Art Museum purchased Cavaliere d'Arpino's Perseus Rescuing Andromeda, an exceptional painting on lapis lazuli. The acquisition of the small, stunning work of art spurred extensive research that culminates in Paintings on Stone: Science and the Sacred 1530–1800, the first systematic examination of the pan-European practice of this unusual and little-studied artistic tradition. ——— By 1530 Italian artists had begun to paint portraits and sacred images on stone. At first artists used slate and marble. By the last decades of the 16th century, the repertoire expanded, eventually including alabaster, lapis lazuli, onyx, jasper, agate, and amethyst. In addition to demonstrating the beauty of these works, Paintings on Stone explains why artists began using stone supports and the role that stone played in the meaning of these endeavors. ——— Bringing together more than 70 examples by 58 artists, Paintings on Stone represents major centers of stone painting and features 21 different stones. ——— Judith W. Mann, the senior curator of European art to 1800. Since joining the museum in 1988, she has reinstalled the collections of Medieval, Renaissance, Baroque, and 18th-century European painting and sculpture three times, and organized two major international exhibitions. In 2022, the museum will organize a major, international exhibition curated by Mann that examines the art of painting on stone, a practice that flourished in Europe—particularly Italy—in the 16th and 17th centuries. In 2015, the Association of Art Museum Curators and the American Academy in Rome awarded Mann the Samuel H. Kress Foundation AAMC Affiliated Fellowship in order to allow her to continue her research into painting on stone in Rome.——- Mann curated “Orazio and Artemisia Gentileschi: Father and Daughter Painters in Baroque Italy,” which opened at Rome's Palazzo Venezia and later was seen at the Metropolitan Museum of Art and the Saint Louis Art Museum, as well as the 2012 exhibition “Federico Barocci: Renaissance Master,” which was presented at the Saint Louis Art Museum and the National Gallery, London. In recognition for her scholarship relating to the Barocci exhibition and catalogue, Mann received the Association of Art Museum Curators' Outstanding Monographic Exhibition Award. She holds a graduate degree and doctorate from Washington University. ———  

Art is a very unique way for a person to express their feelings and their experiences but also to represent their region and their cultural background. However, it seems like that in the art world some regions are more looked at than others, unfortunately. My guest for today wants to change that. She has founded Victory art, that strongly focuses on central and eastern european contemporary art. In this episode, Viktória Pikovská talks about the impact the Sowjet Union had on eastern european art, female artists being objectified and an inspriring project called Majak. AmsterDames Instagram: https://www.instagram.com/amsterdamespodcast/ AmsterDames Facebook: https://www.facebook.com/AmsterDamesPodcast/ Victory Art Website: https://www.victoryart.eu/ Victory Art Instagram: https://www.instagram.com/victoryart.eu/ Project Majak: https://www.victoryart.eu/majak.xhtml

This episode is also available as a blog post: https://thecitylife.org/2022/01/06/the-brooklyn-museum-presents-monet-to-morisot-the-real-and-imagined-in-european-art/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

Professor Catherine Whistler discusses with Ivan six things which she thinks should be better known. An art historian and curator, Catherine Whistler is Keeper of Western Art at the Ashmolean Museum, Fellow of St John's College, and a Professor of the History of European Art, University of Oxford. Born in Dublin, where she studied History of Art at UCD, she maintains strong links with Ireland and with Italy - especially Venice where she lived in the early 1980s. She has researched and written about Italian art, and has curated exhibitions at the Ashmolean on a variety of topics from Brazilian Baroque art to Raphael. She enjoyed working with artist Jenny Saville on exhibitions in 2015, especially in thinking about the expressive power of drawing. At St John's College, Catherine has been involved with the artist-in-residence programme since it started in 2000. She is delighted to have spent most of her career at Britain's first public museum - the Ashmolean opened in 1683 - which is also a leading University museum with endlessly intriguing collections. John McCormack singing The Meeting of the Waters www.youtube.com/watch?v=ctIhzYKvVa0 Chioggia https://www.italyheaven.co.uk/veneto/chioggia.html Diana Mantuano https://collections.ashmolean.org/collection/search/per_page/25/offset/0/sort_by/relevance/object/179647 Remembering Ahanagran: Storytelling in a Family's Past by Richard White https://www.h-net.org/reviews/showrev.php?id=2185 Painted foot https://collections.ashmolean.org/collection/search/per_page/25/offset/0/sort_by/relevance/object/126978 Aston's Eyot https://friendsofastonseyot.org/ This podcast is powered by ZenCast.fm

Reference Document: https://docs.google.com/document/d/1_ukksVRRyYCZpgDqK2myH8ZnGWwgyNeFsWLPpI6Z8mM/edit?usp=sharing

Reference Document: https://docs.google.com/document/d/1_ukksVRRyYCZpgDqK2myH8ZnGWwgyNeFsWLPpI6Z8mM/edit?usp=sharing

A rising start in European Art, independent curator and art historian Róna Kopeczky talks with MAP's Janeil Engelstad about the importance of caregiving and how that is central to her curation, feminism in the former communist bloc countries, the expanding notion of the print and more.

"Jack and Yaya" is a new documentary that looks at the loving friendship between Jack, a transman, and Yaya, a transwoman. City Lights producer Summer Evans speaks with Yaya and the film's creator and co-director, Mary Hewey.Plus, we'll hear from Claudia Einecke, the Curator of European Art at Atlanta's High Museum. The new Piccaso- Calder exhibit is on view through September 19th. Privacy Policy and California Privacy Notice.

Join Mallica Kumbera Landrus, the Keeper of Eastern Art, as she introduces us to a tiny drawing made by a child genius. This scrap of paper tells a story of cultures embracing each other across vast distances and the curiosity of one exceptional 13 year old boy in Mughal India, 421 years ago. Christ on the Cross, Albrecht Dürer, 1511 - Find out moreSaint John the Evangelist, Abu l'-Hasan, 1600–1601 - Find out moreIf you want to take a closer look at the objects in this episode, you can view them at the links above, or visit the podcast page on the Ashmolean website: ashmolean.org/museum-secretsProducer: Lucie DawkinsEpisode Presenter: Mallica Kumbera LandrusAbout Museum Secrets: Welcome to season 2 of Museum Secrets. Every week Lucie Dawkins will  take you behind the scenes at the University of Oxford's Ashmolean Museum. There are a million objects here in the Museum, each with its own hidden story. Come on in, as we track down the weird and wonderful among them, to give us a bitesized pick-me-up in these challenging times. Join us every week for a daily dose of cheer.

In this segment of Today in YGK, Alexandra sits down with Shannon Brown (Program Coordinator) and Charlotte Gagnier (Program Assisstant) of the Agnes Etherington Art Centre to discuss the Isabel and Alfred Bader Lecture in European Art, the Deep Looking Exhibitions and the Art Camp at Home program for kids. For more information and to […]

“Schlosser could be described as the least-known famous art historian.” In the 16th and 17th centuries, Central European nobles gathered and displayed art and natural wonders side by side in spaces known as art and curiosity cabinets, or kunst- und Wunderkammer. Viewers were awed by the spectacle of traditional fine artworks alongside objects like ostrich … Continue reading "The Legacy of European Art and Curiosity Cabinets"

#8 Tanzy Ward is the author of Hidden Legacies: African Presence in European Antiques, an antique dealer, and an appraiser. She is also the founder of Zanathia Jewelry, which specializes in preserving rare antique and vintage accessories from eras gone by.  Tanzy is a PACC certified appraiser and graduate of the Asheford Institute of Antiques. In addition, she is a proud member of the Asheford Associate Membership Program & The American Society of Jewelry Historians. In today's episode, you'll learn about: The “hidden legacy” of the abundant yet not widely known presence of Africans and individuals of African descent in European art How the absence of these depictions of individuals of African descent in traditional education has damaged our collective understanding of our shared heritage Recommendations for how listeners can continue to expand their knowledge about African presence in European art And much more! Find all the links and show notes at theartelevator.com/blog.

The following is a link to the Mosse Art Restitution Project. To view rewards for supporting the podcast, please visit Warfare's Patreon page.Show Notes:9:30 - Berlin art dealer Karl Haberstock11:30 - Lepke and Union auctions13:30 - Berliner Tageblatt23:50 - Washington Principles27:30 - Three Dancing Maidens fountain, Berg Schlitz51:00 - German museums, Museum Island1:02:00 - http://www.lostart.de1:06:00 - https://www.mari-portal.de1:11:00 - restitution of Winter or Skaters from Arkell Museum1:15:00 - restitution efforts within Poland1:17:00 - restitution efforts within Israel1:21:00 - Germany's holding of Karl Blechen's Scholastica 1:25:00 - restitution efforts within Russia 1:31:00 - restitution efforts within Israel1:40:00 - restitution efforts within the NetherlandsTo leave questions or comments about this or other episodes of the podcast, please call 1.929.260.4942 or email Stephanie@warfareofartandlaw.com. © Stephanie Drawdy [2021]

African sculptures, Oceanic ritual masks, Japanese woodblock prints…Today, you can turn to Google to see thousands of pieces of artwork from around the world. However, in the late 19th and early 20th centuries, non-Western art just started to make its way to Europe. Works from abroad fascinated European artists with their beautiful aesthetics, subtle color palettes, unique perspectives, and non-traditional subject matters. Their influence was so significant that one could feasibly argue that 20th-century Modernism would not exist without them. In this episode, let's find out how Non-Western art manifested itself in the works of avant-garde European artists: Claude Monet, Edgar Degas, Vincent van Gogh, Paul Gauguin, Amedeo Modigliani, Henri Matisse, Pablo Picasso. #AvantGarde #Art #CuriousMuse

To view rewards for supporting the podcast, please visit Warfare's Patreon page.© Stephanie Drawdy [2021]

Cover art: 1922 painting by David Friedmann.To learn more about David Friedmann and his artwork:www.davidfriedmann.orghttps://www.yadvashem.org/yv/en/exhibitions/last_portrait/friedmann.asphttps://www.visitnorman.com/events/testimony-the-life-and-work-of-david-friedmanhttps://www.jewishgen.org/austriaczech/wall-of-fame/friedmann.htmlhttps://blog.nli.org.il/en/lbh_friedmann/?fbclid=IwAR3xrdcUEDhSyMckJDFBEXIPmWAsS8ALOGmtOPdCkMX8uX2nM175CnQ6p9https://www.youtube.com/watch?v=kQFh748qS5Y&fbclid=IwAR18E_o43rumDGLs02G8S6__K-Ocj8ij0JYdoIZs5r9stRajVzHNpgatQOsTo view rewards for supporting the podcast, please visit Warfare's Patreon page.Show Notes:1:45 Studied with German painter/printmaker Lovis Corinth and German Etcher Hermann Struck 2:40 Chess portraits; press artist of celebrities, artists, political figures, etc.2:50 Lodz Ghetto then Auschwitz5:00 Haval River painting11:20  Lodz Ghetto Chronicle header - Friedmann's sketch of Lodz Ghetto Bridge12:30 Austrian Writer Oskar Rosenfeld wrote about Friedmann13:40 Jewish Museum in Prague14:00 Auschwitz Museum donation  of Polish prisoner portrait18:40 Berlin's Centrum Judaicum Synagogue exhibited  Polish Prisoner sketch 20:30 1943 sketches of hat factory survived23:00 Researcher Eva Wiater located album with 33 colorized drawings at  Jewish Historical Institute 37:00 Artwork surfaced in France marked with number that indicates  auction  38:50 Buffalo, New York gallery  gifted Friedman works  44:00 Friedmann claimed 800 missing works in restitution claims, but later indicates 2,000 works went missing48:00 Friedmann rebuilt  life in  U.S. and created billboards; retired to paint Holocaust works49:00 During Czech exhibition in  1946, Friedmann met  second wife, Hildegard Taussig 52:52 Friedmann  created Holocaust paintings in 1945-1946 after  liberation; Palestine office purchased some of these works, which toured in Palestine in 194753:15 During D.C. Jewish Holocaust Survivior's Conference in 1983, Miriam learned seven  are held by Yad Vashem and three are at Holocaust History Museum55:00 Etching by Friedmann dedicated to his violin teacher located 1:04:00 Long Island chess player's heirs donated some of Friedmann's chess portraits to  Cleveland Public Library1:05:00 2009 Holocaust Era Assets Conference Panel in Prague 1:07:30 Friedmann's two series of Holocaust paintings1:10:00 Sudeten Germans in Western Bohemia  required to visit Friedmann's Holocaust series and pay entry to receive food ration cards1:19:00 After  1962 retirement, Friedmann returned to the Holocaust paintings 1:27:00 Drawings of  Prague Jewish Community leaders survived; donated to Yad Vashem1:29:00 Album of portraits exchanged between friends/ col

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