Podcasts about George Bellows

Det har varit tyst kring oss, för just nu håller vi febrilt på att förbereda två distanskurser om den italienska renässanskonsten och den amerikanska konsten på 1900-talet. Så vi samtalar lite om dessa två konsthistoriska perioder, men också om våra gemensamma resor och exkursioner som student till platserna vi nuförtiden pratar om i föreläsningar. Vi pratar om Florens och Venedig, om den amerikanska Ashcan-skolan, om George Bellows' raka målningar av boxningsmatcher, om kreativiteten i att skapa föreläsningar om konst och om våra favoritmuseer och de som vi gillar mindre mycket. Och Herlitz kommer inte ihåg vad hon heter…! Support till showen http://supporter.acast.com/konsthistoriepodden. Hosted on Acast. See acast.com/privacy for more information.

After years of personal and professional turmoil, things are finally looking up for Columbus, Ohio, private eye Andy Hayes. As Sick to Death opens, Andy is relishing his new gig: a drama-free, family-friendly stint as a guard at the Columbus Museum of Art. What could be better than regular hours, a steady paycheck, and an attractive coworker who may be just as interested in him as he is in her? Right on schedule, Andy's newfound equilibrium comes crashing down when he interrupts the theft of a painting by famed Ashcan school realist George Bellows—and is promptly fired for breaking museum protocols. Helping him thwart the robbers is a young woman whom Andy has caught staring at him several times at the museum. To his shock, she reveals she's an adult daughter he never knew he had, the result of a one-night stand during his misspent youth a quarter century earlier. But Alex Rutledge, about to enter the Columbus Police Academy, isn't looking for family time. She wants to hire her newly discovered father to find the driver who killed her mother, Kate, five months earlier in a still unsolved hit-skip accident. Even as Andy reels from this personal development, he uncovers troubling details about Kate's death that increasingly point toward murder and an angry anti-vax sentiment roiling below the surface at the hospital where she worked. Complicating Andy's case, he finds himself in the crosshairs of an FBI investigation into the attempted art theft. With time running out and his and Alex's lives on the line, Andy rushes to defend his reputation as a private eye and find Kate's killer.Support this show http://supporter.acast.com/houseofmysteryradio. Become a member at https://plus.acast.com/s/houseofmysteryradio. Hosted on Acast. See acast.com/privacy for more information.

An annual tradition for many students and teachers is looking for summer employment. During the 1940s, these jobs were becoming easier to find, with a recovering American economy and the war overseas. Jane Martin, former missionary in East Africa, lists a few of the summer jobs that she held in the 1940s to pay her way through Mars Hill College in North Carolina: "I worked for the government at the Department of Interior, and I worked for the Department of Navy." Interviewer: "In Washington, DC, those things are possible." "You know, but you don't say that I—you were sorting mail and things like that. (both laugh) You weren't—yes. I worked one summer for a community program for underprivileged children. I worked for a department store, but I wasn't working in the store; I was in the warehouse. And to my amazement, they came to me one day, and I thought, Oh my, have I done something wrong? They said, Come with us. We want to talk to you about something. And they put me on the loading dock, as a fourteen-year-old, to receive the trucks as they came in. Their concern was—I had a—I was sitting in a little enclosed room. Their concern was that the language would be pretty bad. But when the truckers arrived bringing in the goods for the department store, they see this young teenager, (both laugh) and they—they minded their language." Dr. Eugene Jud, former executive director of Caritas in Waco, remembers an encounter he had while teaching in Corpus Christi: "At the end of that year, we had a big PTA meeting on the end of the year. A man came up, was a big old guy; name was George Bellows. He said he just wanted to meet the teacher that helped his son become a public speaker. I accepted his comments, and that was fine." Jud describes how that meeting helped him in the summer of 1941, when he was looking for a temporary job: "Teachers always do a little moonlighting. So I went out to the naval air station. Just everybody would be going out there from all over the country; they—they were applying. So we'd go to the personnel department, and I sat there a long time waiting for my turn. And one of the guys who came in, I said, ‘Who are you waiting for?' And he said, ‘I come—I'm waiting to see George Bellows.' And I said, ‘Who's he?' He said, (laughs) ‘Oh, he's the guy [who] runs this place.' I said, ‘Is he George Bellow Jr.'s dad?' He said, ‘Yeah—that's'—and said, ‘I'm George's good friend.' So I—that gave me an idea. So instead of going and seeing a personnel man or filling out all the forms, well, I went in to see George Bellows. (laughter) "I introduced—he remembered me. And he asked what I wanted, and I told him I wanted a summer job. And he just said—he buzzed his little buzzer and called for his personnel director. And he says, ‘Put this man on.' (laughter) The personnel director was very smart. He asked me a question or two, and he said, 'I'll tell you what: you report here tomorrow, and you report in my department. You'll be one of the personnel.' So I became one of the members of the personnel staff." As long as a college education is not free and educators are underpaid, many students and teachers will continue to seek out temporary jobs during the summer months. Sorting mail in the 1940s. Learn more about your ad choices. Visit megaphone.fm/adchoices

The 91st Anniversary Woodstock Library Fair on July 23 is a home-town small-town party in celebration of Woodstock, and in homage to George Bellows's iconic painting, “The Picnic.”The fair takes place Saturday, July 23, from 10 a.m. to 4 p.m. on the library lawn, featuring music and dancing, a book sale, rummage sale, food trucks with delicious and varied treats for the family, the raffle, childrens' area with bouncy house, children's parade and maypole, and much more.We welcome The Friends of the Woodstock Library President, Michael Hunt.

Maria Schneider composed “Bulería, Soleá y Rumba” in the wake of a cancer diagnosis. Inspired by American artists such as Robert Henri and George Bellows, Schneider discusses “art for life's sake” that tells a story of people—like the evocative figures in Bellows's The Lone Tenement. Find full transcripts and more information about this episode at https://www.nga.gov/music-programs/podcasts/maria-schneider-george-bellows-lone-tenement.html Subscribe directly to Sound Thoughts on Art from the National Gallery of Art on Apple Podcasts, Google Podcasts, Spotify, Stitcher, or your favorite podcast app https://feeds.megaphone.fm/NGAT6207729686.  Image credit: George Bellows, "The Lone Tenement," (detail) 1909, oil on canvas, National Gallery of Art, Washington, Chester Dale Collection, 1963.10.83   Still haven't subscribed to our YouTube channels? National Gallery of Art ►►https://www.youtube.com/NationalGalleryofArtUS  National Gallery of Art | Talks ►►https://www.youtube.com/NationalGalleryofArtTalks      ABOUT THE NATIONAL GALLERY OF ART  The National Gallery of Art serves the nation by welcoming all people to explore and experience art, creativity, and our shared humanity.  More National Gallery of Art Content:  Facebook: https://www.facebook.com/nationalgalleryofart   Twitter: https://twitter.com/ngadc  Instagram: https://www.instagram.com/ngadc/  Pinterest: https://www.pinterest.com/ngadc/_created/

Maria Schneider composed “Bulería, Soleá y Rumba” in the wake of a cancer diagnosis. Inspired by American artists such as Robert Henri and George Bellows, Schneider discusses “art for life's sake” that tells a story of people—like the evocative figures in Bellows's The Lone Tenement. Still haven't subscribed to our YouTube channels? National Gallery of Art ►►https://www.youtube.com/NationalGalleryofArtUS National Gallery of Art | Talks ►►https://www.youtube.com/NationalGalleryofArtTalks

Maria Schneider composed “Bulería, Soleá y Rumba” in the wake of a cancer diagnosis. Inspired by American artists such as Robert Henri and George Bellows, Schneider discusses “art for life's sake” that tells a story of people—like the evocative figures in Bellows's The Lone Tenement. Still haven't subscribed to our YouTube channels? National Gallery of Art ►►https://www.youtube.com/NationalGalleryofArtUS National Gallery of Art | Talks ►►https://www.youtube.com/NationalGalleryofArtTalks

Robert Henri's book The Art Spirit inevitably makes it in any artist's top ten artbook recommendations. As passionate students of Art, we know Robert Henri. His paintings make up an extraordinary body of work. He is considered the "father" of the Ashcan School - a loose alliance of artists whose approach to painting had more in common with journalism than stuffy, academic Traditionalism. Henri taught in many art schools. By some estimates, he taught more than a thousand students – including Edward Hopper and George Bellows. He was universally beloved as a teacher by his students. Today we continue to benefit from his teaching preserved in the pages of The Art Spirit. We have one of Henri's students to thank for preserving Henri's teaching: Margery Ryerson. She compiled a collection of his lecture notes, letters, and commentary together into the inspirational book The Art Spirit. It continues to be a valuable source of instruction and inspiration nearly 100 years after it was first published in 1923. The original text entered the public domain in 2019. What a remarkable gift! We all certainly know Robert Henri. Or, do we? Links: Robert Henri Museum and Art Gallery https://www.roberthenrimuseum.org/ Robert Henri Museum YouTube Channel https://www.youtube.com/channel/UCcjVC7KzIBQWa4jeMHTaPpA Nebraska Committee for the Humanities Betty McKeone | May 2, 1985 – The Rebirth of the Cozad Revelation and The History of the Hendee Hotel in Cozad, Nebraska https://2ba173f2-e500-4d32-bb26-643eaf56c0f3.filesusr.com/ugd/289a72_b5a0bd664c13485e911b93b93dfcedd8.pdf Mari Sandoz Book: Son of the Gamblin' Man: The Youth of an Artisthttps://amzn.to/3cu9PBX (paid link) The Story Catcher (PDF download): https://2ba173f2-e500-4d32-bb26-643eaf56c0f3.filesusr.com/ugd/289a72_b5a0bd664c13485e911b93b93dfcedd8.pdf The Lexington Clipper-Herald Print Olive: A man who lived by the gun, died by the gun, by Danny Gruber https://lexch.com/news/local/print-olive-a-man-who-lived-by-the-gun-died-by-the-gun/article_1250904d-d8ca-5720-86d3-53ab80d74908.html About the Artful Painter: Website: https://theartfulpainter.com/ YouTube: https://www.youtube.com/c/CarlOlsonArt This page may contain affiliate links from which I earn a small commission. When you click on links to various merchants on this site and make a purchase, this can result in this site earning a commission. As an Amazon Associate, I earn from qualifying purchases.

Melissa Wolfe, Curator of American art at the St. Louis Art Museum, stopped by to talk about the new exhibition, Art Along the Rivers, which runs October 3rd, 2021 until January 9th, 2022.  Other happenings at the museum are also discussed. Melissa Wolfe joined the Art Museum in 2015 as curator and head of the Department of American Art. She oversaw an extensive reinterpretation of the museum's American art galleries that opened in 2016. Melissa Wolfe Melissa previously was curator of American art at the Columbus Museum of Art, where she has worked for 14 years on a succession of important exhibitions, catalogues and collection development. Her projects “George Bellows and the American Experience” (2013), “George Tooker: A Retrospective” (2008) and “In Monet's Garden: The Lure of Giverny” (2007) were awarded significant funding from the National Endowment for the Arts, the Henry Luce Foundation and Terra Foundation for American Art. Wolfe received undergraduate degrees from Stephens College in Columbia, Mo., and a master's degree and doctorate in the history of art at The Ohio State University, where she also served as adjunct professor. In conjunction with the 200th anniversary of Missouri's statehood, Art Along the Rivers: A Bicentennial Celebration explores the remarkable artwork produced and collected over 1,000 years in the region surrounding St. Louis. The exhibition presents more than 150 objects from Missouri as far north as Hannibal, west to Hermann, and south through the Old Mines area. It also encompasses the Illinois region along the eastern bank of the Mississippi River, from Cairo north through Carbondale and Alton. Although the region that has shaped the exhibition's objects is small, it has played an outsize role in the history of North America due to the confluence of powerful rivers and major trails and routes within its borders. Art Along the Rivers includes a surprising range of objects that vary widely in medium, function, and the prominence of their makers. For example, it brings together Mississippian sculpture, Osage textiles, architectural drawings for iconic landmarks, musical instruments, German and Creole furniture, African American decorative arts, prize-winning paintings from the 1904 St. Louis World's Fair, and contemporary artists' responses to these historic objects. While at first these works might appear to have few connections, the exhibition arranges them by theme rather than by culture or chronology to establish dialogues around the region's geography, raw materials, and pressing social issues. The exhibition is curated by Melissa Wolfe, curator of American art, and Amy Torbert, the Andrew W. Mellon Foundation Assistant Curator of American Art. Joe Jones 1909-1963 We Demand, 1934 Oil on Canvas 48x36 Attributed to Anna Jane Parker, American, c.1841–1918; “Quilt Top, Pieced Log Cabin”, 1875-1900   Podcast Curator and Editor: Jon Valley with Technical Support by Mid Coast Media

John Maynard Keynes i Friedrich Hayek són dos economistes imprescindibles del segle XX i defensaven mesures diferents per sortir de la crisi de postguerra, «És el que ara torna a venir: els que creuen que hi ha d'haver barra oberta a la despesa i els que creuen que s'ha de controlar el dèficit, escriu l'exdiputat Esteve Vilanova a l'article publicat a «El Punt Avui» el 20 de maig de 2020. La locució és de l'actriu, periodista i educadora Carme Canet. La caràtula és l'oli «Stag at Sharkey's», 1909, de George Bellows.

Art Fight Podcast VERSUS 1: Edson Barboza vs. George Bellows Judging Criteria - effective use of creative tools - effective prolificity - art era control How will Barboza's creativity and leg kicks stand up to the Ashcan style of George Bellows? --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/artfightpodcast/message Support this podcast: https://anchor.fm/artfightpodcast/support

George Inness painted this scene of a train chugging through a bucolic landscape for the Delaware, Lackawanna and Western Railroad to commemorate the opening of their big, new train roundhouse in Scranton PA. This hub would allow them to expand service from the Great Lakes to Hoboken NJ, right across the Hudson River from New York City. We'll find out how George fell in love with painting and how his wife's wisdom prevailed against his artistic pride! By the way, the Hoboken terminus played a role in another episode, Blue Morning by George Bellows. SHOW NOTES (TRANSCRIPT) “A Long Look” theme is “Ascension” by Ron Gelinas youtu.be/jGEdNSNkZoo Episode theme is “Over The Water, Humans Gather” by Doctor Turtle https://doctorturtle.bandcamp.com/album/free-turtle-archive-everything-cc-by-by-turtle Artwork information https://www.nga.gov/collection/art-object-page.30776.html Cikovsky, Nicolai, Jr. “George Inness and the Hudson River School: The Lackawanna Valley.” The American Art Journal 2 (Fall 1970): 36-57, repro. George Inness information “George Inness Artist Overview and Analysis”. [Internet]. 2020. TheArtStory.org Content compiled and written by Sarah Ingram. Edited and revised, with Synopsis and Key Ideas added by Greg Thomas. Available from: https://www.theartstory.org/artist/inness-george/life-and-legacy/ First published on 30 Nov 2019. Updated and modified regularly [Accessed 02 Apr 2020] Inness, George. Life, Art, and Letters of George Inness. The Century Co., 1917. http://hdl.handle.net/2027/nyp.33433066280367. Delaware, Lackawanna and Western Railroad information https://en.wikipedia.org/wiki/Delaware,_Lackawanna_and_Western_Railroad Slow Art Day http://www.slowartday.com The post The Lackawanna Valley by George Inness appeared first on A Long Look.

Cabot Lyman, Founder and Owner of Lyman-Morse Boatbuilding, discusses the George Bellows painting "The Teamster". In addition to founding Lyman-Morse, he has completed more than 150,000 miles of offshore voyages, including three years spent circumnavigating the world with his wife Heidi and their three sons, Alex, Drew, and Zach, on their 49-foot sailboat built at the yard.

Get your tickets out, because this week we're taking a WILD ride with Jordan McGirk. We're talkin Michelangelo, George Bellows, karaoke, Carrot Top, concerts, idolatry, youth culture, the Circle Jerks, that weird thing where Hollister and Hot Topic played the same music, a desire for power, and McGirk's ability to use humor and history as vehicles to take ownership of and deconstruct problematic aspects of masculinity, gender, identity, and performance in his gorgeous, grand, whimsical paintings. Check out his work on insta @jordanmcgirkart or www.jordanmcgirk.com

In this podcast, I tell the story of my encounter with George Bellows’, The White Horse, located in the Worcester Arm Museum during the spring of 2018.

Today, I'll be looking at “Blue Morning” by George Bellows. Bellows lived and worked in New York at the turn of the 20th century and studied under artist Robert Henri (pronounced Hen-rye). His classmates included John Sloan and Edward Hopper. “Blue Morning” may have been inspired by Henri's call for his students to paint the world around them instead of more genteel academic scenes. We'll find out how Bellows is connected to Mary Cassatt and how New Jersey inspired one of the greatest technological achievements of the 20th century. And we'll see how an artist who's so highly regarded for realism bent the rules a little here! See the artwork at https://alonglookpodcast.com/05-blue-morning-bellows/ SHOW NOTES “A Long Look” theme is “Ascension” by Ron Gelinas youtu.be/jGEdNSNkZoo Episode theme is “Frog Legs Rag,” courtesy of WFMU's Free Music Archive http://freemusicarchive.org/music/James_Scott/Frog_Legs_Ragtime_Era_Favorites/01_-_james_scott_-_frog_legs_rag Blue Morning Robert Torchia, “George Bellows/Blue Morning/1909,” American Paintings, 1900–1945, NGA Online Editions, https://purl.org/nga/collection/artobject/46557 (accessed January 11, 2018). “The Rise & Fall of Penn Station” http://www.pbs.org/wgbh/americanexperience/films/penn/ Slow Art Day http://www.slowartday.com The post 05 Blue Morning – Bellows appeared first on A Long Look.

Sports! Violence! Talking smack! As a prelude to the much anticipated Mayweather v. McGregor fight, the Babes discuss the Roman Colosseum, abstract expressionism via boxing gloves, the spectacle of violence, crowd mentality, and the artistry of MMA. Artists discussed: George Bellows, Ushio Shinohara, Meryl Streep Learn more about your ad choices. Visit podcastchoices.com/adchoices

Professor David Lubin gives his third Terra Lecture in American Art on painter George Bellows. David M. Lubin is the Terra Foundation for American Art Visiting Professor 2016-17 at Oxford University, as well as the Charlotte C. Weber Professor of Art at Wake Forest University in Winston-Salem, North Carolina. Professor Lubin is the author of Act of Portrayal (Yale, 1985), Picturing a Nation (Yale, 1994), Titanic (BFI, 1999), and Shooting Kennedy (California, 2003), which was awarded the Smithsonian American Art Museum's Eldredge Prize for distinguished scholarship in American art. His most recent book is Grand Illusions: American Art and the First World War (Oxford, 2016). He also co-edited World War I and American Art (Princeton, 2016), the exhibition catalogue for a blockbuster show at the Pennsylvania Academy of Fine Arts and later the New-York Historical Society.

Professor David Lubin gives his third Terra Lecture in American Art on painter George Bellows. David M. Lubin is the Terra Foundation for American Art Visiting Professor 2016-17 at Oxford University, as well as the Charlotte C. Weber Professor of Art at Wake Forest University in Winston-Salem, North Carolina. Professor Lubin is the author of Act of Portrayal (Yale, 1985), Picturing a Nation (Yale, 1994), Titanic (BFI, 1999), and Shooting Kennedy (California, 2003), which was awarded the Smithsonian American Art Museum’s Eldredge Prize for distinguished scholarship in American art. His most recent book is Grand Illusions: American Art and the First World War (Oxford, 2016). He also co-edited World War I and American Art (Princeton, 2016), the exhibition catalogue for a blockbuster show at the Pennsylvania Academy of Fine Arts and later the New-York Historical Society.

Professor David Lubin gives his third Terra Lecture in American Art on painter George Bellows. David M. Lubin is the Terra Foundation for American Art Visiting Professor 2016-17 at Oxford University, as well as the Charlotte C. Weber Professor of Art at Wake Forest University in Winston-Salem, North Carolina. Professor Lubin is the author of Act of Portrayal (Yale, 1985), Picturing a Nation (Yale, 1994), Titanic (BFI, 1999), and Shooting Kennedy (California, 2003), which was awarded the Smithsonian American Art Museum’s Eldredge Prize for distinguished scholarship in American art. His most recent book is Grand Illusions: American Art and the First World War (Oxford, 2016). He also co-edited World War I and American Art (Princeton, 2016), the exhibition catalogue for a blockbuster show at the Pennsylvania Academy of Fine Arts and later the New-York Historical Society.

Ken Loach talks to Philip Dodd about his new documentary Spirit of '45, which celebrates the hopes of democratic socialism in post-war Britain. As the first UK retrospective of works by George Bellows opens, Night Waves sends the American poet Eva Salzman to take a look. Geoff Mulgan lays out his vision for a new breed of capitalism when he discusses his book The Locust and the Bee. And Keith Laws, Professor of Cognitive Neuropsychology discusses with Rupert Read, a philosopher of science whether psychologists should do more to act like scientists.

With Mark Lawson. Edmund de Waal, author of the bestselling memoir The Hare with the Amber Eyes, reflects on finding novels written by his grandmother, Elisabeth. She grew up in Vienna, and escaped when Hitler's troops marched into Austria on 12 March 1938, 75 years ago today. Her novel The Exiles Return examines the stories of five exiles returning to Vienna after World War II, and is now being published for the very first time. The Paperboy is the latest film from Lee Daniels, the director of the award-winning Precious. It caused a sensation amongst critics at last year's Cannes festival, thanks to a notorious scene involving Nicole Kidman, Zac Efron and a well-known antidote for a jellyfish sting. Larushka Ivan-Zadeh considers whether this swampy Southern melodrama has any real bite. The first major UK retrospective of the American realist painter George Bellows opens this week. At the time of his death in 1925, at the age of just 42, Bellows was considered one of the greatest artists America had ever produced. He left 600 paintings of urban New York, boxing matches, social scenes and portraits, making him a chronicler of early 20th Century New York life. Sarah Churchwell reviews. A leading bookshop chain is offering an exclusive edition of the new paperback by Joanne Harris, featuring an epilogue unavailable elsewhere. Philip Jones, editor of The Bookseller, considers this latest move in the fierce battle between traditional shops and online retailers. Producer Dymphna Flynn.

Portrait of Mrs. Robert Henri August 1914 Size: 24 in. x 20 in. (60.9 cm x 50.8 cm) Gift of Mrs. George Heyneman, 1959:7 Robert Henri, 1865–1929 Robert Henri studied at both the Académie Julian and the École des Beaux-Arts in Paris and at the Pennsylvania Academy of Fine Arts. Though Thomas Eakins was no longer teaching at the Academy when Henri arrived, Eakins was immensely influential for Henri, who regarded him as the superior portrait painter in the United States and followed Eakins’s bluntly realist style. This painting of Robert Henri’s second wife, Marjorie Organ Henri, was given by the artist to Alice Klauber, who studied with Henri in Spain in 1907. Klauber invited Henri to San Diego in 1914, and he assisted her with the organization of an exhibition of American painting for the 1915 Panama-California Exposition, which was held in what became Balboa Park. The exhibition brought the work of George Bellows, William Glackens, Childe Hassam, John Sloan, and Henri to San Diego.

Scripture: Luke 7 Slides from today's sermon: Hagia Sophia, Istanbul The Red Vine, Matinicus Island, Maine by George Bellows

When I was a kid, I used to pore over an illustrated history of American sports that I had received as a birthday gift. The oversized, hardcover book featured some of the iconic images of 20th-century sports: Lou Gehrig standing humbly at home plate on his day of tribute, teammates present and past encircling him, the packed bleachers and Bronx cityscape in the background; an exhausted and bloodied Y.A. Tittle kneeling on the gridiron grass on an afternoon of defeat; young Wilt Chamberlain, still in his uniform after the game, displaying a sheet of paper scrawled with “100”; Jesse Owens exploding into a sprint at the Berlin Games. But the image in the book that most captivated me was not a photograph. Instead, it was a painting: George Bellows’ 1924 oil of Luis Firpo knocking Jack Dempsey through the ropes in the first round of their fight at the Polo Grounds. I remember studying the colors, the scramble in the ringside seats, the passive expression of Firpo as he follows through his punch, and the unbelievable scene of Dempsey (who would then–even more unbelievably–go on the win the fight) falling from the ring. The painting remains for me an example of how art can capture the drama, the sounds, and the power of a sporting moment. Allen Guttmann offers many examples of the crossing of art and sport in Sports and American Art from Benjamin West to Andy Warhol (University of Massachusetts Press, 2011): pastoral scenes of hunters and fishermen in the early republic, the accomplished paintings of Winslow Homer and Thomas Eakins in the mid-19thcentury, and the pop art portraits of celebrity-athletes in the 1970s. But the book is not simply about sports in art. Instead, Allen looks at the parallel histories of these two forms of cultural expression. The similarities are surprising. As Allen points out at the start, both art and sports have no utilitarian value to society: “They serve no practical purpose.” Allen’s work is built on decades of writing about sports history, and a career of teaching American cultural history. You get a glimpse of his expertise and insight from the interview. But you don’t get to see the pictures. For that, you have to get the book. Learn more about your ad choices. Visit megaphone.fm/adchoices

When I was a kid, I used to pore over an illustrated history of American sports that I had received as a birthday gift. The oversized, hardcover book featured some of the iconic images of 20th-century sports: Lou Gehrig standing humbly at home plate on his day of tribute, teammates present and past encircling him, the packed bleachers and Bronx cityscape in the background; an exhausted and bloodied Y.A. Tittle kneeling on the gridiron grass on an afternoon of defeat; young Wilt Chamberlain, still in his uniform after the game, displaying a sheet of paper scrawled with “100”; Jesse Owens exploding into a sprint at the Berlin Games. But the image in the book that most captivated me was not a photograph. Instead, it was a painting: George Bellows’ 1924 oil of Luis Firpo knocking Jack Dempsey through the ropes in the first round of their fight at the Polo Grounds. I remember studying the colors, the scramble in the ringside seats, the passive expression of Firpo as he follows through his punch, and the unbelievable scene of Dempsey (who would then–even more unbelievably–go on the win the fight) falling from the ring. The painting remains for me an example of how art can capture the drama, the sounds, and the power of a sporting moment. Allen Guttmann offers many examples of the crossing of art and sport in Sports and American Art from Benjamin West to Andy Warhol (University of Massachusetts Press, 2011): pastoral scenes of hunters and fishermen in the early republic, the accomplished paintings of Winslow Homer and Thomas Eakins in the mid-19thcentury, and the pop art portraits of celebrity-athletes in the 1970s. But the book is not simply about sports in art. Instead, Allen looks at the parallel histories of these two forms of cultural expression. The similarities are surprising. As Allen points out at the start, both art and sports have no utilitarian value to society: “They serve no practical purpose.” Allen’s work is built on decades of writing about sports history, and a career of teaching American cultural history. You get a glimpse of his expertise and insight from the interview. But you don’t get to see the pictures. For that, you have to get the book. Learn more about your ad choices. Visit megaphone.fm/adchoices

When I was a kid, I used to pore over an illustrated history of American sports that I had received as a birthday gift. The oversized, hardcover book featured some of the iconic images of 20th-century sports: Lou Gehrig standing humbly at home plate on his day of tribute, teammates present and past encircling him, the packed bleachers and Bronx cityscape in the background; an exhausted and bloodied Y.A. Tittle kneeling on the gridiron grass on an afternoon of defeat; young Wilt Chamberlain, still in his uniform after the game, displaying a sheet of paper scrawled with “100”; Jesse Owens exploding into a sprint at the Berlin Games. But the image in the book that most captivated me was not a photograph. Instead, it was a painting: George Bellows’ 1924 oil of Luis Firpo knocking Jack Dempsey through the ropes in the first round of their fight at the Polo Grounds. I remember studying the colors, the scramble in the ringside seats, the passive expression of Firpo as he follows through his punch, and the unbelievable scene of Dempsey (who would then–even more unbelievably–go on the win the fight) falling from the ring. The painting remains for me an example of how art can capture the drama, the sounds, and the power of a sporting moment. Allen Guttmann offers many examples of the crossing of art and sport in Sports and American Art from Benjamin West to Andy Warhol (University of Massachusetts Press, 2011): pastoral scenes of hunters and fishermen in the early republic, the accomplished paintings of Winslow Homer and Thomas Eakins in the mid-19thcentury, and the pop art portraits of celebrity-athletes in the 1970s. But the book is not simply about sports in art. Instead, Allen looks at the parallel histories of these two forms of cultural expression. The similarities are surprising. As Allen points out at the start, both art and sports have no utilitarian value to society: “They serve no practical purpose.” Allen’s work is built on decades of writing about sports history, and a career of teaching American cultural history. You get a glimpse of his expertise and insight from the interview. But you don’t get to see the pictures. For that, you have to get the book. Learn more about your ad choices. Visit megaphone.fm/adchoices