Podcasts about european paintings

Join Nicole and Isabella Lores-Chavez, the Associate Curator of European Paintings at the Legion of Honor, as they walk around and discuss the “Legion At 100” exhibit commemorating the museum's centennial anniversary!

El panorama es sombrío, tormentoso, deprimente. Los nubarrones que cubren la ciudad están a punto de agrietarse y desencadenar una tormenta. Los edificios y el paisaje dan la impresión de estar en movimiento, conscientes de lo que se avecina. Algo está por suceder, y no augura nada bueno. Es así como El Greco, más allá de entregarnos un panorama, nos deja una marcada impresión de la ciudad española en que él se estableció en 1577, cumplidos ya treinta y seis años de edad, y donde vivió hasta su muerte en 1614. No se preocupa tanto por reproducirla cabalmente como por hacernos sentirla emocionalmente. Se trata de la «Ciudad Histórica de Toledo», inscrita en la lista del Patrimonio Mundial de la Humanidad en 1986, casi cuatro siglos después de que el Greco la plasmara en un lienzo.1 El cuadro se titula simplemente «Vista de Toledo», aunque también se le ha llamado «Toledo en una tormenta». Es uno de los primeros paisajes de la historia de la pintura, y tal vez el más famoso de todos. Y por esa «Vista de Toledo», a el Greco, a pesar de provenir de la isla de Creta, se le considera como el primer paisajista en la historia del arte español.2 Una de las preguntas acerca del paisaje es si el cielo presagia que va a llover, tal como han dado por sentado algunos escritores. Es posible que el oscuro trasfondo del cielo y el esparcimiento de las nubes sólo tengan la intención de representar un ambiente del todo impresionante. Pero como en esa época a la lluvia se le consideraba un regalo de Dios, pudiera ser que el Greco la estuviera presagiando como tal.3 Durante las décadas en que él vivió en Toledo, hubo muchas sequías que dieron como resultado cosechas pésimas, comenzando con las que sufrió la ciudad en sus primeros dos años de vivir allí. Eso explica la frecuencia de las ceremonias que se celebraron en la catedral para pedirle a Dios que mandara la lluvia.4 De modo que lo que pudiera interpretarse como un paisaje urbano sombrío y deprimente también puede considerarse como una respuesta de Dios a la oración.   Tarde o temprano, algo parecido sucede en el marco de la vida de cada uno de nosotros. Lo que al principio nos parece adverso, como una mala noticia sin nada que se vislumbre de bueno, puede a la postre resultar favorable. Tanto es así que hay varios dichos y refranes que lo afirman con relación al tema del mal tiempo atmosférico, entre ellos los siguientes: «Al mal tiempo, buena cara», «Tras la tormenta viene la calma» y «En cada nube hay un rayo de esperanza». Más vale que si estamos pasando por lo que al parecer es una verdadera tormenta, incluso una prueba que juzguemos insuperable, no se la atribuyamos necesariamente a Dios, sobre todo como si fuera un castigo. Veámosla más bien como lluvia en el pronóstico de nuestra vida que podemos interpretar a través del lente del pasaje bíblico que dice que «si amamos a Dios, Él hace que todo lo que nos suceda sea para nuestro bien».5 Pero primero asegurémonos de amarlo de todo corazón. Carlos ReyUn Mensaje a la Concienciawww.conciencia.net 1 «Declaración de Toledo como Patrimonio de la Humanidad», Ayuntamiento de Toledo En línea 30 octubre 2018. 2 Wikipedia, s.v. «Vista de Toledo» En línea 31 octubre 2018. 3 Walter Liedtke (Curator, Department of European Paintings, The Metropolitan Museum of Art, 1980–2015), «Three Paintings by El Greco: A View of Toledo, ca. 1599-1600)» En línea 30 octubre 2018. 4 John Huxtable Elliot, The Count-Duke of Olivares: The Statesman in an Age of Decline (New Haven: Yale University Press, 1986); y Fernando Domínguez-Castro, Juan I. Santisteban, Mariano Barriendos y Rosa Mediavilla, «Reconstruction of Drought Episodes for Central Spain from Rogation Ceremonies Recorded at the Toledo Cathedral from 1506 to 1900: A Methodological Approach», Global and Planetary Change 63, nos. 2–3 (Septiembre), pp. 230–42; citados en Liedtke, «A View of Toledo». 5 Ro 8:28 (NBV)

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“Manet/Degas”au Musée d'Orsay, Parisdu 28 mars au 23 juillet 2023Interview de Stéphane Guégan, Conseiller scientifique auprès du Président des musées d'Orsay et de l'Orangerie, et co-commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 24 mars 2023, durée 29'28.© FranceFineArt.https://francefineart.com/2023/03/26/3410_manet-degas_musee-d-orsay/Communiqué de presseCommissaire générale : Laurence des Cars, Présidente-Directrice du musée du Louvre Commissaires : Isolde Pludermacher, Conservatrice générale peinture au musée d'Orsay Stéphane Guégan, Conseiller scientifique auprès du Président des musées d'Orsay et de l'Orangerie Stephan Wolohojian, John Pope-Hennessy Curator in Charge, Department of European Paintings, The Metropolitan Museum of Art, New York Ashley E. Dunn, Associate Curator, Department of Drawings and Prints, The Metropolitan Museum of Art, New YorkCette exposition est organisée par les musées d'Orsay et de l'Orangerie et le Metropolitan Museum of Art, New York où elle sera présentée de septembre 2023 à janvier 2024.Rapprocher des artistes aussi cruciaux que Manet (1832-1883) et Degas (1834-1917) ne peut se borner au repérage des ressemblances qu'offrent leurs corpus respectifs. Certes, chez ces acteurs essentiels de la nouvelle peinture des années 1860-80, les analogies ne manquent pas concernant les sujets qu'ils imposèrent (des courses de chevaux aux scènes de café, de la prostitution au tub), les genres qu'ils réinventèrent, le réalisme qu'ils ouvrirent à d'autres potentialités formelles et narratives, le marché et les collectionneurs qu'ils parvinrent à apprivoiser, les lieux (cafés, salles de spectacle) et les cercles, familiaux (Morisot) ou amicaux, où ils se croisèrent.Avant et après la naissance de l'impressionnisme, sur laquelle l'exposition pose un regard nouveau, ce qui les différencia ou les opposa est plus criant encore. De formations et de tempéraments dissemblables, ils ne partagent pas les mêmes goûts en littérature et en musique. Leurs choix divergents en matière d'exposition et de carrière refroidissent, dès 1873-1874, l'amitié naissante qui les lie, amitié qu'a renforcée leur expérience commune de la guerre de 1870 et des lendemains de la Commune. On ne saurait comparer la quête de reconnaissance du premier et le refus obstiné du second à emprunter les canaux officiels de légitimation. Et si l'on considère la sphère privée, une fois les années de jeunesse révolues, tout les sépare. A la sociabilité de Manet, très ouverte, et vite assez brillante, à ses choix domestiques, répondent l'existence secrète de Degas et son entourage restreint.Dans Degas Danse Dessin, où il est beaucoup question de Manet, Paul Valéry parle de ces « coexistences merveilleuses » qui confinent aux accords dissonants. Parce qu'elle réunit Manet et Degas dans la lumière de leurs contrastes, et montre combien ils se définissent en se distinguant, cette exposition, riche de chefs-d'oeuvre jamais réunis et d'un partenariat sans précédent, oblige à porter un nouveau regard sur l'éphémère complicité et la durable rivalité de deux géants. Le parcours rend aussi plus saillant ce que la modernité picturale, en son point d'émergence, puis d'essor et de succès, eut de conflictuel, d'hétérogène, d'imprévu. Il donne enfin toute sa valeur à la collection de Degas où, après le décès de Manet, ce dernier prit une place de plus en plus impérieuse. La mort les avait réconciliés.#Publication Manet-Degas – Catalogue de l'exposition, Coédition musée d'Orsay-Gallimard. #ManetDegas Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

How does the pandemic change our interpretation of art? Since lockdown, staff members at The Met have discovered that familiar artworks now appear different in profound and personal ways. For Alison Hokanson, assistant curator in the Department of European Paintings, a painting by Edvard Munch speaks to her need for quiet introspection after so much time isolated indoors with her husband and three children. For Abraham Thomas, Daniel Brodsky Curator of Modern Architecture, Design, and Decorative Arts, a Finnish lounge chair designed to support recovery from tuberculosis reminds him how integral design can be to healing. And for Margaret Golden, a Met docent and retired physician, a medieval Islamic mortar connects directly to the efforts of frontline medical workers saving lives today. Guests: Alison Hokanson, assistant Curator, European Paintings, The Metropolitan Museum of Art Abraham Thomas, Daniel Brodsky Curator, Modern Architecture, Design and Decorative Arts, The Metropolitan Museum of Art Margaret Golden, retired physician and Met docent Objects mentioned in this episode: Edvard Munch (Norwegian, 1863–1944). Night in Saint-Cloud, 1893. Oil on canvas, 27 1/2 x 22 1/4 in. (70 x 56.7 cm). The Metropolitan Museum of Art, New York, Private collection (L.2018.2) Alvar Aalto (Finnish, 1898–1976). “Model No. 41” Lounge Chair, 1931–32. Laminated Birch, 26 1/2 x 24 x 36 in. (67.3 x 61 x 91.4 cm). The Metropolitan Museum of Art, New York, Purchase, Friends of Twentieth Century Decorative Arts Gifts, by exchange, 2000 (2000.3750) © 2022 Artists Rights Society (ARS), New York Mortar and Pestle made for Abu Bakr ‘Ali Malikzad al-Tabrizi, late twelfth–early thirteenth century. Attributed to Iran. Bronze; inlaid with silver and black compound, Mortar: H. 4 1/2 in. (11.4 cm), Diam. 5 3/4 in. (14.6 cm); Pestle: H. 10 1/2 in. (26.7 cm), Diam. 2 3/8 in (6 cm).The Metropolitan Museum of Art, New York, Edward C. Moore Collection, Bequest of Edward C. Moore, 1891 (91.1.527a, b) www.metmuseum.org/frameofmind #FrameofMind

Xavier F. Salomon is the Frick's Deputy Director and Peter Jay Sharp Chief Curator. A noted scholar of Paolo Veronese, he curated the monographic exhibition on the artist at the National Gallery, London (2014). Previously, Salomon was Curator in the Department of European Paintings at the Metropolitan Museum of Art and, before that, the Arturo and Holly Melosi Chief Curator at Dulwich Picture Gallery, where he curated Van Dyck in Sicily, 1624–25: Painting and the Plague (2012) and collaborated with Nicholas Cullinan on Twombly and Poussin: Arcadian Painters (2011). As an Andrew W. Mellon Curatorial Fellow at the Frick (2004–6), he curated Veronese's Allegories: Virtue, Love, and Exploration in Renaissance Venice (2006). Salomon's other exhibitions for the Frick include Cagnacci's Repentant Magdalene: An Italian Baroque Masterpiece from the Norton Simon Museum (2016–17), Veronese in Murano: Two Venetian Renaissance Masterpieces Restored (2017–18), Murillo: The Self-Portraits (2017–18), Canova's George Washington (2018), Tiepolo in Milan: The Lost Frescoes of Palazzo Archinto (2019), and (with Aimee Ng and Alexander Noelle) Bertoldo di Giovanni: The Renaissance of Sculpture in Medici Florence (2019–20). Salomon received his Ph.D. on the patronage of Cardinal Pietro Aldobrandini from the Courtauld Institute of Art. He has published in Apollo, The Burlington Magazine, Master Drawings, The Medal, The Art Newspaper, Journal of the History of Collections, and The Metropolitan Museum of Art Journal. Salomon also wrote (with Maira Kalman) the latest volume in the Frick Diptych series, Rembrandt's Polish Rider (2019). He is a trustee and a member of the Projects Committee of Save Venice. In 2018, Italy named Salomon Cavaliere dell'Ordine della Stella d'Italia. Follow us on Twitter and Instagram.

In this episode, Film Forum Presents a Q&A with Oeke Hoogendijk, filmmaker of the new documentary MY REMBRANDT, moderated by Adam Eaker, Assistant Curator, European Paintings at the Metropolitan Museum of Art. MY REMBRANDT provides a rare glimpse inside the small and eccentric world of private Rembrandt owners – and gives a fascinating account of the passion and controversy the Dutch master continues to inspire nearly four hundred years after his death.  The film is currently available for rental in Film Forum’s Virtual Cinema at www.filmforum.org. Photo courtesy of Strand Releasing.

In this episode, called “Light and Luxe,” we take a look at the connections between Dutch painting, trade, and luxury during the so-called “Dutch Golden Age” of painting. We will focus on post-1650 genre painting as well as a new form of still life painting called Pronkstilleven (loosely translated as “ostentatious” or “sumptuous” still life) that emerged around the mid-17th century. Artists covered include Vermeer, Gerard ter Borch, and Willem Kalf.   Sources + further reading:   All episodes of this podcast, along with transcripts, are archived in the Brock University Digital Repository: https://dr.library.brocku.ca/handle/10464/14905   “Complete Catalogue of the Painting of Johannes Vermeer.” Accessed October 19, 2020. http://www.essentialvermeer.com/vermeer_painting_part_one.html.   Denny, Walter. “Islamic Carpets in European Paintings.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.  https://www.metmuseum.org/toah/hd/isca/hd_isca.htm.   Franits, Wayne. "Genre Painting in Seventeenth-Century Europe." In Blackwell Companions to Art History: A Companion to Renaissance and Baroque Art, by Babette Bohn, and James M. Saslow. Wiley, 2013.   Kalf, Willem. Still Life with a Chinese Bowl, Nautilus Cup and Other Objects. 1662. Museo Nacional Thyssen-Bornemisza.  https://www.museothyssen.org/en/collection/artists/kalf-willem/still-life-chinese-bowl-nautilus-cup-and-other-objects.   Liedtke, Walter. “Johannes Vermeer (1632–1675) and The Milkmaid.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/milk/hd_milk.htm   Ter Borch, Gerard. Lady at Her Toilette. 1660. Detroit Institute of Arts. https://www.dia.org/art/collection/object/lady-her-toilette-63323.   The Metropolitan Museum of Art. “Nautilus Cup. Dutch, Utrecht.” https://www.metmuseum.org/art/collection/search/193582.   Tokumitsu, Miya. “The Currencies of Naturalism in Dutch Pronk Still-Life Painting: Luxury, Craft, Envisioned Affluence.” RACAR : Revue d'art Canadienne / Canadian Art Review 41, no. 2 (2016): 30–43. https://doi.org/10.7202/1038070ar.   Vermeer, Johannes. The Milkmaid. C. 1660. Rijksmuseum. Accessed October 14, 2020. https://www.rijksmuseum.nl/en/collection/SK-A-2344.   Vermeer, Johannes. Lady at the Virginals with a Gentleman aka The Music Lesson. Early 1660s. Royal Collection Trust. Accessed October 14, 2020. https://www.rct.uk/collection/405346/lady-at-the-virginals-with-a-gentleman.   Vermeer, Johannes. The Lacemaker. Louvre. 1669-70.  Museum. https://www.louvre.fr/en/oeuvre-notices/lacemaker.   “Vermeer and the Masters of Genre Painting: Inspiration and Rivalry.” Exhibition at the National Gallery of Art, USA. https://www.nga.gov/exhibitions/2017/vermeer-and-the-masters-of-genre-painting.html.   Wieseman, Marjorie E., Wayne Franits, and H. Perry Chapman. Vermeer's Women: Secrets and Silence. New Haven and Cambridge: Fitzwilliam Museum, in association with Yale University Press, 2011.   Credits Unboxing the Canon is hosted and produced by Linda Steer for her course “Introduction to the History of Western Art” in the Department of Visual Arts at Brock University. Brock University is located on the traditional lands of the Haudenosaunee and Anishinaabe peoples. Our sound designer and editor is Devin Dempsey, who is also reading these credits. Our logo was created by Cherie Michels. The music for this podcast has been adapted from “Night in Venice” and “Inspired” by Kevin MacLeod. Both are licensed under Creative Commons Attribution International 4.0. Additional music in this episode is from Bach, “The Well Tempered Clavier,” Book I, BWV 846-869, musicians unknown. We are grateful to Alison Innes from the Faculty of Humanities for her sharing her podcasting wisdom and offering support. This podcast is funded by the Humanities Research Institute at Brock University.    

This episode has us bouncing from Harvard to Washington to the Netherlands to Mali, led there by Dr. Cynthia Schneider, Distinguished Professor in the Practice of Diplomacy at Georgetown University. She began her career with a PhD from Harvard in Dutch art, serving as Assistant Curator of European Paintings at the Museum of Fine Arts, Boston, then a professor of art history at Georgetown University for two decades, during which she was appointed Ambassador to the Kingdom of the Netherlands by President Clinton, followed by her appointment as a Distinguished Professor at Georgetown's School of Foreign Service. In addition to her teaching duties there, she is Co-Director of three endeavors: the Laboratory for Global Performance and Politics at Georgetown University, MOST Resource; and Timbuktu Renaissance. Her recent and very candid assessments of the Trump administration's diplomatic blunders are required reading.

This episode has us bouncing from Harvard to Washington to the Netherlands to Mali, led there by Dr. Cynthia Schneider, Distinguished Professor in the Practice of Diplomacy at Georgetown University. She began her career with a PhD from Harvard in Dutch art, serving as Assistant Curator of European Paintings at the Museum of Fine Arts, Boston, then a professor of art history at Georgetown University for two decades, during which she was appointed Ambassador to the Kingdom of the Netherlands by President Clinton, followed by her appointment as a Distinguished Professor at Georgetown’s School of Foreign Service. In addition to her teaching duties there, she is Co-Director of three endeavors: the Laboratory for Global Performance and Politics at Georgetown University, MOST Resource; and Timbuktu Renaissance. Her recent and very candid assessments of the Trump administration’s diplomatic blunders are required reading.

Meet Peter Jonathan Bell, our new Associate Curator of European Paintings, Sculpture and Drawings as we discuss what it means to be a curator and the age-old battle of paintings versus sculpture. Hosted by Russell Ihrig. Theme song: Offrande Musicale by Bacalao For more info and other programs, visit: www.cincinnatiartmuseum.org

Today, we will be talking about:•How an assistant professor from Madrid reinvented himself to become the director of the Detroit Institute of Arts•The secret to creating dynamic exhibitions like, Fakes, Forgeries and Mysteries•What it takes to run one of the top art museums in the worldSalvador Salort-Pons, a Madrid native, became DIA director in October 2015 and was curator of European Paintings from 2008 to 2015. Prior to coming to Detroit, he was senior curator at the Meadows Museum at Southern Methodist University in Dallas, assistant professor at the University of Madrid and exhibition curator at the Memmo Foundation/Palazzo Ruspoli in Rome.Salort-Pons organized the DIA exhibitions Fakes, Forgeries and Mysteries, Five Spanish Masterpieces and was the in-house curator for Rembrandt and the Face of Jesus. He holds a master’s in geography and history, a master’s in business administration and a doctorate in the history of art.To learn more about Salvador Salort-Pons go to dia.org

We are at The Metropolitan Museum of Art in New York at The Met Breuer, where the exhibition "Unfinished: Thoughts Left Visible", is a springboard to explore the notion of things unfinished or incomplete. The concept of a work of art that is unfinished, the so called 'non finito' style, has been with us since the Renaissance. But it has taken on new meaning in modern art of the 20th and 21st Century. So how should we respond to a work which is unfinished whether it is a painting, a book, a piece of music, a film or a building? And, how does the idea of ‘unfinished' translate into an ever-changing historical and political context? Presenter Bridget Kendall is joined by Andrea Bayer, Jayne Wrightsman, Curator in The Met's Department of European Paintings and co-curator of "Unfinished: Thoughts Left Visible" at The Met Breuer; Negin Farsad, a celebrated stand-up comedian, actor and film-maker of Iranian heritage; Kerry James Marshall, the internationally renowned American artist whose work will be the subject of a major exhibition at The Met Breuer this October 2016; Andrew Solomon, professor of Clinical Psychology at Columbia University in New York, and an award-winning writer who is also president of PEN American Center. (Photo: The Met Breuer in New York. Credit: Ed Lederman)

The Total Tutor Neil Haley will interview award winning author Stephen Maitland-Lewis. He is the author of BOTTICELLI'S BASTARD (Glyd-Evans Press/August 11, 2014). It is the new mystery novel from , award winning author Stephen Maitland-Lewis, which deals with the bizarre relationship between a fine art restorer, Giovanni Fabrizzi, and an old master portrait by an unidentified artist of the 16th Century.  Obsessed to learn the truth of the painting's origin, Giovanni becomes increasingly convinced the painting could be the work of one of history's great artists – Botticelli - which if true, would catapult its value. In learning the painting's past, Giovanni believes the portrait was stolen during the greatest art heist in history – the Nazi plunder of European artwork. As Giovanni persists in his quest of discovery, he exposes far more truth than he ever wanted to know. There is a strong element of magical realism that runs throughout the novel, which has received much advance praise from such notables as: Sir Ronald Harwood, Oscar winning writer of THE PIANIST;  Arnold Kopelson, Academy Award winning producer;  Walter Liedtke, Curator of European Paintings, Metropolitan Museum of Art, New York; J. Patrice Marandel, Chief Curator of European Paintings & Sculpture, Los Angeles County Museum of Art; and authors M.J. Rose, Gully Wells and Stephen Jay Schwartz. Stephen's last novel, AMBITION, received numerous accolades and was a Finalist in the 2013 USA Best Book Awards and the 2014 International Book Awards. AMBITION also garnered the 2013 Rebecca Reads Reader's Choice Award for Best General Fiction. Stephen's earlier book, EMERALDS NEVER FADE, won the 2012 Benjamin Franklin Award for Best Historical Fiction and the 2011 Written Arts Award for Best Fiction.

Martin welcomes a new co-host, Thelema Dietler.  She and Martin speak with Robin S. R. Starr, Director of American & European Paintings & Prints at Skinner Auction House. Listen as they discuss Skinner’s growth and successes, including the sale of …

Keith Christiansen, Jayne Wrightsman Curator of European Paintings, Metropolitan Museum of Art, Nueva York

European Paintings, 17th-Century Dutch Paintings

European Paintings

Conservation, Science, European Paintings, Veronese

European Paintings, Sculpture, Impressionism