Podcast appearances and mentions of Hans Holbein

Welcome to another captivating episode of Talking Tudors, hosted by Natalie Grueninger. In this episode, Natalie is joined by renowned historian and author Professor Tracy Borman to discuss her latest book, 'Holbein: The Ambassadors.' Together, they delve into the mysteries and historical significance of Hans Holbein's famous painting, "The Ambassadors," created in the pivotal year of 1533. Tracy shares her insights about the French diplomats portrayed in the painting, Jean de Dinteville and Georges de Selve, and explores the rich symbolism hidden within the artwork. Discover the tumultuous backdrop of Tudor England, marked by Henry VIII's dramatic break with the Catholic Church, and learn how Holbein masterfully navigated the religious and political divides of his time. Join Natalie and Tracy as they unravel the many secrets held within "The Ambassadors," offering listeners a fascinating glimpse into the life and legacy of Holbein and the vibrant, dangerous world of the Tudor dynasty. Whether you're a seasoned Tudor enthusiast or new to the era, this conversation promises to ignite your curiosity and enhance your understanding of this extraordinary period in history. Enjoy! Visit Professor Tracy Borman's official website https://www.tracyborman.co.uk/ Find out more about your host at https://www.nataliegrueninger.com Join me for '365 Days with Katherine of Aragon'!  https://onthetudortrail.com/Blog/2025/04/05/365-days-with-katherine-of-aragon-2/ Support Talking Tudors on Patreon

This week Kim and Alice have been locked in the cupboard with the Christmas decorations to bring you Tudor drama series, Wolf Hall. We're talking about Hans Holbein: portrait artist / historical catfisher and Henry VIII never getting to just enjoy a joust. Also kittens!Sound Engineer: Keith NagleEditor: Helen Hamilton / Keith NagleProducer: Helen Hamilton Hosted on Acast. See acast.com/privacy for more information.

There's this awesome painting from the 1500s. It was made by a German artist called Hans Holbein.If you find benefit from these devotions we'd encourage you to support our ministry. You can donate by visiting: https://peacedevotions.com/donateConnect with us on social media:Facebook: https://www.facebook.com/PeaceDevotions/Website: https://peacedevotions.com/YouTube: https://www.youtube.com/channel/UC2pFo5lJV46gKmztGwnT3vATwitter: https://twitter.com/peacedevotionsInstagram: https://www.instagram.com/peace_devotions/Email List: https://peacedevotions.com/email

In dieser Folge von MediäWat drohte es einsam zu werden – doch zum Glück bekam Toni Verstärkung! Gemeinsam mit der neuen Moderatorin Annemarie begrüßt sie die ersten Gäste der Folgen zur Studierendentagung Narrating Truth 2024. Brian und Larissa haben weite Reisen nach Bochum hinter sich und trotz ihrer Müdigkeit beeindruckende Vorträge gehalten. Bevor es in die Themen geht, erfahrt ihr, warum Vögel und Flugzeuge sich nicht vertragen und was Mealprep mit der Uni Bern zu tun hat. Danach erklärt Larissa, warum Hochzeitsporträts im Mittelalter nicht immer gut ankamen, wie geschickt Maler wie Hans Holbein der Jüngere im „Photoshop“ waren und welche Rolle der Überbringer der Porträts für deren Wahrheitsgehalt spielte. Brian nimmt uns mit in die Welt der Tätowierungen: Wer war im Mittelalter tätowiert, welche Motive gab es und warum ließ man sich stechen? Er zeigt uns, welche „Hautgeschichten“ Tattoos erzählen und wie sie die Wahrheit über ihre Träger formen konnten. Und eine Erkenntnis ist sicher: Wir können alle dankbar für die heutige Hygiene in Tattoostudios sein!

Emanuele Ronco, aka REMS 182, è co-founder dei Truly Design, un collettivo artistico di successo con base a Torino. Insieme abbiamo affrontato vari temi:il percorso dei Truly dal graffiti writing nelle fabbriche abbandonate alle collaborazioni con i grandi brandcome l'anamorfismo di Hans Holbein ha ispirato un nuovo capitolo del loro lavorol'importanza di lavorare sulla propria identità artistica e su un portfolio coerente per collaborare con i brand i nuovi progetti by Truly Design.Puoi scoprire di più su Truly Design sul loro sito web e su Instagram!Art&Chips è un podcast nato da Travel On Art e reFactory communication. 

 Uncover the shocking secrets of classic works of art by da Vinci, Holbein, van Eyck, and others! Hidden symbols and surprises are revealed in famous artworks that will amaze you.

Hans Holbein der Ältere gehörte um 1500 zu den beliebtesten Malern in Augsburg. Seine Werkstatt war ein Magnet für reiche Auftraggeber und Malergesellen. Vor 500 Jahren ist der Künstler der Renaissance gestorben. Reinhardt, Anja www.deutschlandfunk.de, Kalenderblatt

Henrik VIII lät halshugga två av sina fruar och flera av sina närmaste medhjälpare när han tröttnade på dem. För många historieintresserade i hela världen är han urtypen för en tyrann som det var bäst att hålla sig på långt avstånd från. Samtidigt står det klart att Henrik var en härskare som gjorde stor skillnad: han stärkte den engelska statsmakten på ett avgörande sätt och kapade banden till påvekyrkan. Vem var han egentligen?Henrik VIII var mycket mer än en livsfarlig hustrudödare och radikal kyrkopolitiker. Han var ett barn av renässansen och hade stora kulturella intressen, vilka imponerande på omgivningen. Som exempel kan nämnas hans musikalitet: han var en skicklig tonsättare, och hans verk spelas fortfarande. Han älskade vildmarksliv och torneringar, skrev teologiska traktater på latin och hävdade sitt lands intressen på kontinenten med kraft.I mångt och mycket var Henrik VIII – och är fortfarande – en imponerande gestalt. Men det vilade en mörk skugga över hans levnad och hans regering. Oförmågan att få en manlig arvtagare som kunde garantera att dynastin Tudor inte dog ut gjorde Henrik rastlös och farlig, och sviterna av en torneringsskada gav honom hälsoproblem som aldrig löstes. Kort sagt, berättelsen om Henrik VIII rymmer både glänsande och tragiska element. I detta avsnitt av podden Harrisons dramatiska historia samtalar Dick Harrison, professor i historia vid Lunds universitet, och fackboksförfattaren Katarina Harrison Lindbergh om den engelske kungen Henrik VIII, en av den europeiska historiens mest mytomspunna gestalter.Musik: Henry VIII Pastime with Good Company, performed by the dws Chorale. Wikimedia Commons, Creative Commons Attribution-Share Alike 3.0 Unported.Bild: Henrik VIII av England blev med tiden blev tämligen kraftig: Porträtt av Hans Holbein den yngre från 1540. Galleria Nazionale d'Arte Antica. Wikipedia. Public Domain.Klippare: Emanuel LehtonenProducent: Urban Lindstedt Hosted on Acast. See acast.com/privacy for more information.

As a novelist, Jonathan Lethem is basically a genre all his own. His books mash up literary fiction and pulp into disorienting but engaging combinations, for which he's won both a MacArthur Grant and the National Book Award. Since the success of Motherless Brooklyn in 1999, he's published many very well received novels—including The Fortress of Solitude in 2003 and Brooklyn Crime Novel, from last year—as well as many more short stories and essays for places including the New Yorker, Harper's and Rolling Stone. And it turns out he's written a lot about art too—enough in fact, to fill an entire volume. Cellophane Bricks: A Life in Visual Culture, published this summer by ZE Books, is its own type of unexpected hybrid of writing. It spans genres, containing short stories, essays, and criticism, as well as types of art, its essays hopping between his reverence for a Hans Holbein at the Frick and respect for the “scratchiti” artist Pray. Part of the joy of the book is Lethem's determinedly eclectic and personal taste, giving his attention to both names you know and obscure children's book authors or indie comics artists. Among other things, Cellophane Bricks offers Lethem's personal recollections of growing up around artists, including his father, painter Richard Lethem, in the grassroots alternative art world rooted in the collective spaces of a pre-gentrified Brooklyn. He also writes of the ethos of the graffiti-art world around his brother, Blake "KEO" Lethem. Aside from a spirit of unconventionality, the biographical material may seem to come from another world from the delirious and sometimes fantastic short fictions in the volume, mostly written for artist catalogues for the likes of Nan Goldin, Jim Shaw, and Fred Tomaselli and gathered here for the first time. However, these also embody an ethos that clearly relates to the communal creative scenes of his youth: Lethem insists on only offering short stories as catalogue contributions, paying with his art, while accepting only artworks in return as payment. There's more still to Cellophane Bricks: essays on what it means to live with art, and varied reflections on what art and literature, word and image, bring to each other. Introducing Lethem at an event recently at the Brooklyn Public Library, the art critic Dan Fox said that, as a novelist, Lethem had left the same kind of indelible mark on how people see Brooklyn that Warhol had on Manhattan. With Cellophane Bricks, he is leaving his imprint on the art world. A footnote for the future: The book is nicely illustrated with pictures of the eclectic work it describes, and next year, the art from Cellophane Bricks the basis for a show that will be at the Benton Museum of Art at Pomona College in Southern California. “Jonathan Lethem's Parallel Play: Contemporary Art and Art Writing” is described as “a chronicle of an author who roams among visual artists,” and ill feature art by Gregory Crewdson, Rosalyn Drexler, Charles Long, and others. Look out for it.

As a novelist, Jonathan Lethem is basically a genre all his own. His books mash up literary fiction and pulp into disorienting but engaging combinations, for which he's won both a MacArthur Grant and the National Book Award. Since the success of Motherless Brooklyn in 1999, he's published many very well received novels—including The Fortress of Solitude in 2003 and Brooklyn Crime Novel, from last year—as well as many more short stories and essays for places including the New Yorker, Harper's and Rolling Stone. And it turns out he's written a lot about art too—enough in fact, to fill an entire volume. Cellophane Bricks: A Life in Visual Culture, published this summer by ZE Books, is its own type of unexpected hybrid of writing. It spans genres, containing short stories, essays, and criticism, as well as types of art, its essays hopping between his reverence for a Hans Holbein at the Frick and respect for the “scratchiti” artist Pray. Part of the joy of the book is Lethem's determinedly eclectic and personal taste, giving his attention to both names you know and obscure children's book authors or indie comics artists. Among other things, Cellophane Bricks offers Lethem's personal recollections of growing up around artists, including his father, painter Richard Lethem, in the grassroots alternative art world rooted in the collective spaces of a pre-gentrified Brooklyn. He also writes of the ethos of the graffiti-art world around his brother, Blake "KEO" Lethem. Aside from a spirit of unconventionality, the biographical material may seem to come from another world from the delirious and sometimes fantastic short fictions in the volume, mostly written for artist catalogues for the likes of Nan Goldin, Jim Shaw, and Fred Tomaselli and gathered here for the first time. However, these also embody an ethos that clearly relates to the communal creative scenes of his youth: Lethem insists on only offering short stories as catalogue contributions, paying with his art, while accepting only artworks in return as payment. There's more still to Cellophane Bricks: essays on what it means to live with art, and varied reflections on what art and literature, word and image, bring to each other. Introducing Lethem at an event recently at the Brooklyn Public Library, the art critic Dan Fox said that, as a novelist, Lethem had left the same kind of indelible mark on how people see Brooklyn that Warhol had on Manhattan. With Cellophane Bricks, he is leaving his imprint on the art world. A footnote for the future: The book is nicely illustrated with pictures of the eclectic work it describes, and next year, the art from Cellophane Bricks the basis for a show that will be at the Benton Museum of Art at Pomona College in Southern California. “Jonathan Lethem's Parallel Play: Contemporary Art and Art Writing” is described as “a chronicle of an author who roams among visual artists,” and ill feature art by Gregory Crewdson, Rosalyn Drexler, Charles Long, and others. Look out for it.

Leister, Judith www.deutschlandfunk.de, Kultur heute

I dive into an intriguing Tudor mystery sparked by a question from Chris Celsie about a ring supposedly given to Anne Boleyn by Henry VIII. This diamond ring was displayed at an exhibition in Toronto in 1994 as Anne's engagement ring. But did such a ring really exist? What We Know: - Exhibition Clue: The Toronto Star article mentioned an engagement ring given to Anne Boleyn by Henry VIII. - Historical Records: Engagement rings weren't a common tradition in Tudor times. - Jewels for Anne: Henry VIII lavished jewels on Anne, with documented purchases and gifts. Historical Findings: - Eric Ives' Biography: Details on Anne's jewellery, including pieces set with diamonds and rubies. - Holbein Designs: Jewellery designs by Hans Holbein the Younger featuring Anne and Henry's intertwined initials. - Inventory Lists: Items from Henry VIII's inventory featuring the “HA” motif. Digging Deeper: - Books and Research: No direct mention of a diamond engagement ring for Anne Boleyn. - Lost Treasures: Many jewels given to Anne are now lost, including rings with the “HA” initials. Uncover the mystery with me as we explore the historical records, dive into the inventories, and piece together the story behind this enigmatic ring. Did Henry VIII really give Anne Boleyn a diamond engagement ring, or is it a modern-day myth? Find out in this fascinating exploration of Tudor history and royal jewellery. #AnneBoleyn #TudorHistory #HistoricalMystery #EngagementRing #HenryVIII #Jewellery #HistoryRevealed #TudorArtefacts #OnThisDay #HistoryLovers

For the feast of Sts. Thomas More and John Fisher, Fr. Jon Tveit and Amanda are joined on the podcast by James Monti, author and historian, for a conversation on the life and example of St. Thomas More. Bibliography Header Image: A follower of Hans Holbein the Younger, Sir Thomas More (1600s) If you have … Continue reading "The Josias Podcast Episode XLIV: St. Thomas More"

During episode 208 we made fan art inspired by the latest installment of the Game of Thrones spinoff, House of the Dragon. John English and Adam Gustavson discuss topics ranging from composition to capturing great photo reference for your art. John delivers a detailed history class on artist Hans Holbein the Younger.

There are two sketches by Hans Holbein which are said to depict Anne Boleyn. One is in the British Museum, while the other is in the royal collection. The latter sketch is the more controversial, as the sitter is in a state of undress, has what appears to be blonde hair and a decidedly full double chin, and yet, the inscription labelling the sketch as her, is believed to have been added by Sir John Cheke, a man who personally knew Anne Boleyn, or did he? In todays episode of the Tudor Chest podcast, I am chatting to Emma Demerath who recently graduated from John Cabot University in Massachusetts, with a degree in Art History. Emma has discovered holes in many of the conclusions historians have made in relation to this sketch, but moreover, has examined the imagery on its reverse, which may very well hold the key to identifying the actual sitter of the piece.

Drugi del znamenite, s prestižnim bookerjem nagrajene trilogije zgodovinskih romanov, umeščenih na angleški dvor za časa vladavine Henrika VIII. V razstavnih prostorih ene izmed newyorških galerij eden nasproti drugega visita potreta – oba je naslikal znani nemški slikar Hans Holbein mlajši – dveh pomembnih angleških državnikov iz časa vladavine Henrika VIII. Na prvem je, jasnega lica in s knjigo v roki, upodobljen eden največjih renesančnih razumnikov, avtor znamenite filozofske razprave o Utopiji, Thomas More; na drugem pa vidimo, namrgodenega, tolstega in z bahavim prstanom na levi roki, Morovega velikega političnega nasprotnika, Thomasa Cromwella. Portreta se izvrstno ujemata s splošno oceno, ki se je glede obeh mož oblikovala v evropskem zgodovinskem spominu. O prvem, o Moru, smo se namreč navadili misliti, da je bil pokončen mož, ki se nikoli ni pomišljal slediti notranjemu etičnemu občutku glede tega, kaj je prav in kaj narobe, in je bil za to zvestobo samemu sebi pripravljen plačati celo z življenjem. Nasprotno naj bi bil Cromwell človek brez vesti, brutalen mož, ki je pač slepo sledil ukazom angleškega vladarja in se v tem kontekstu ni bal mazati si rok s krvjo – navsezadnje tudi z Morovo ne.   Zgodovinska vrednostna sodba je bila, ko gre za Cromwella, dolgo povsem nedvoumna, potem pa so med letoma 2009 in 2020 izšli trije izvrstni, tudi s prestižnim bookerjem nagrajeni zgodovinski romani, ki jih je o burnem dogajanju na angleškem dvoru za časa vladavine Henrika VIII. napisala britanska pisateljica Hilary Mantel, in bralke in bralci z vsega sveta smo se nenadoma začeli spraševati, ali se nismo nemara vendarle motili? – Mantel je namreč v jedro svojega pisanja – tu gre za romane Wolf Hall, ki je v mojstrskem prevodu Dušanke Zabukovec izšel pri Cankarjevi založbi predlani, pa za Pripeljite obtožence, ki so v slovenščini ugledali luč sveta pred nekaj meseci, ter The Mirror and the Light, ki ga Zabukovec menda prevaja ta čas – postavila prav Cromwella in v njem na vsesplošno presenečenje odkrila kompleksen značaj, značaj človeka, ki nikakor ni le enodimenzionalni zlikovec. A če ni zlodej, še ne pomeni, da je angel. Kdo je torej Thomas Cromwell? – To je vprašanje, ki nas je zaposlovalo, ko smo pred mikrofon tokratnega Sobotnega branja povabili prevajalko Dušanko Zabukovec.   foto: Goran Dekleva

This week's topic of discussion is Holbein's masterpiece from one of the most important years in British history – 1533. This was the year that Henry VIII broke from the Catholic church, married Anne Boleyn and had a daughter who would become one of England's most popular monarchs, Elizabeth I... Support the Show.

Wir springen in dieser Folge ins Jahr 1538, als Hans Holbein der Jüngere sich von London nach Brüssel aufmacht, um dort Christina von Dänemark, Nichte des Kaisers Karl V. zu porträtieren. Im Gegensatz zu seinen üblichen Arbeiten, wird es aber keine Auftragsarbeit der Porträtierten sein, sondern erfüllt einen ganz anderen Zweck. Wir werden über Christina von Dänemark, Hans Holbein und Heinrich VIII. sprechen um herauszufinden, welchen Zweck dieses Gemälde tatsächlich hatte – und ob es ihn auch erfüllte. //Literatur - Julia Mary Cartwright Ady. Christina of Denmark, Duchess of Milan and Lorraine, 1522-1590. New York, E. P. Dutton, 1913. http://archive.org/details/christinaofdenma00adyj. - Andrea Pearson. Women and Portraits in Early Modern Europe: Gender, Agency, Identity. Routledge, 2008. - Franny Moyle. The King's Painter: The Life and Times of Hans Holbein. Apollo, 2021. - Jeanne Nuechterlein. Hans Holbein: The Artist in a Changing World. Reaktion Books, 2020. // Erwähnte Folgen - GAG91: Jan van Eyck – Der König unter den Malern und die Erfindung des Gemäldes https://gadg.fm/91 - GAG413: Paracelsus – Arzt und Alchemist https://gadg.fm/413 - GAG355: Der Englische Schweiß https://gadg.fm/355 - GAG342: Das Stockholmer Blutbad https://gadg.fm/342 - GAG218: Die Pazzi-Verschwörung und der Aufstieg der Medici https://gadg.fm/218 Das Episodenbild zeigt einen Ausschnitt des besprochenen Porträts Christinas. //Aus unserer Werbung Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/GeschichtenausderGeschichte //Wir haben auch ein Buch geschrieben: Wer es erwerben will, es ist überall im Handel, aber auch direkt über den Verlag zu erwerben: https://www.piper.de/buecher/geschichten-aus-der-geschichte-isbn-978-3-492-06363-0 Wer Becher, T-Shirts oder Hoodies erwerben will: Die gibt's unter https://geschichte.shop Wer unsere Folgen lieber ohne Werbung anhören will, kann das über eine kleine Unterstützung auf Steady oder ein Abo des GeschichteFM-Plus Kanals auf Apple Podcasts tun. Wir freuen uns, wenn ihr den Podcast bei Apple Podcasts oder wo auch immer dies möglich ist rezensiert oder bewertet. Wir freuen uns auch immer, wenn ihr euren Freundinnen und Freunden, Kolleginnen und Kollegen oder sogar Nachbarinnen und Nachbarn von uns erzählt!

Welcome to the Instant Trivia podcast episode 1086, where we ask the best trivia on the Internet. Round 1. Category: Revolutionary War Before And After 1: American general who became a traitor and a great golfer, winning the Masters 4 times beginning in 1958. Benedict Arnold Palmer. 2: "Drag Race" host who had a dramatic horseback ride on the night of April 18, 1775. RuPaul Revere. 3: Formal agreement ending the Revolutionary War that's a hotel heiress and reality TV star. the Treaty of Paris Hilton. 4: Leader of the Green Mountain Boys who was a 76ers player nicknamed "The Answer". Ethan Allen Iverson. 5: British military officer executed as a spy who was half of the music duo OutKast. John André 3000. Round 2. Category: This Will Tie Your Room Together 1: In Islam, many prayer rugs have an arch-shaped design called a mihrab, which the user faces toward this city before kneeling. Mecca. 2: These Native American people who call themselves Dine are known for their patterned rugs. the Navajo. 3: Sisal rugs are made from the fibers of this succulent that's also used to make beer and other alcoholic beverages. agave. 4: Bijar carpets and Sanandaj rugs are products of this countryless people who live in an area ranging from Syria to Iran. the Kurds. 5: Table coverings he painted in 16th-century portraits like the one of a merchant here led to a rug being named for this artist "the Younger". (Hans) Holbein (the Younger). Round 3. Category: On His Baseball Hall Of Fame Plaque 1: "2,632 consecutive games played from May 30, 1982 through September 19, 1998". Cal Ripken Jr.. 2: This Yankee was the "greatest drawing card in history of baseball". Babe Ruth. 3: "Detroit - Philadelphia, A.L. - 1905-1926... retired with 4191 major league hits". (Ty) Cobb. 4: "Hit safely in 56 consecutive games for Major League record 1941". DiMaggio. 5: "'Mr. October', found special success in World Series spotlight with 10 home runs". (Reggie) Jackson. Round 4. Category: Likes And Ravers 1: In 2016 this social network sextupled the ways you can react to a posting, adding emojis to plain old "like". Facebook. 2: In 2017 Netflix went from a rating system using stars to a simpler one using these body parts. thumbs. 3: Jane Lynch leads a cast of comedians in an audiobook reading funny review from this shopping site. Amazon. 4: This 4-letter site suggests detailing your favorite dishes when writing restaurant reviews on it. Yelp. 5: Online, "h/t" is short for these 2 words, a way to express gratitude with your homburg or fedora. hat tip. Round 5. Category: Apostles 1: There's no doubt Jesus told him "I am the way, the truth and the life". Thomas. 2: Jesus told him, "Fear not. From henceforth thou shalt catch men". Simon Peter. 3: Jesus found him sitting at the receipt of custom, which means collecting taxes. Matthew. 4: Considered the first called, he's also alphabetically first on the lists in the New Testament. Andrew. 5: Jesus called the brothers James and John "Boanerges", "sons of" this weather word. thunder. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

In this episode, we are joined by Dr. Kate Heard about the most prolific and exceptional artist at the court of Henry VIII...Hans Holbein. Dr. Heard is Senior Curator of Prints and Drawings, Royal Collection Trust in London. -- Credits: Hosted by: ⁠⁠Melanie V. Taylor⁠⁠ Guest: Dr. Kate Heard -- Commercial free episodes: ⁠⁠⁠⁠⁠Patreon.com/TudorsDynasty⁠⁠⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/rebecca-larson/message Support this podcast: https://podcasters.spotify.com/pod/show/rebecca-larson/support

Welcome to the "House of Holbein"! We're reviewing one of the most famous portraits by Hans Holbein and answering all your burning questions about it: Who are these guys? What are all the things on those shelves? What the heck is that thing in the middle of the floor?

Natalie Grueninger speaks with Kate Heard about the life and work of Hans Holbein and the Royal Collection Trust's exhibition, Holbein at the Tudor Court. Find out more about the exhibition. https://www.rct.uk/collection/themes/exhibitions/holbein-at-the-tudor-court/the-queens-gallery-buckingham-palace Find out more about your host at https://www.nataliegrueninger.com Buy Talking Tudors merchandise at https://talkingtudors.threadless.com/ Support Talking Tudors on Patreon Join 'A Weekend with Elizabeth I' https://www.eventbrite.com.au/e/a-weekend-with-elizabeth-i-tickets-769340547287  

How we visualise the Tudors largely comes from their portraits painted by Hans Holbein the Younger.  Between 1526 and 1543, he captured the elite of the Tudor court and beyond - Henry VIII, Anne Boleyn, Jane Seymour, Thomas Cromwell, politicians, courtiers, soldiers and countless others.  Every Holbein portrait seems to have begun with a drawing taken at a live sitting. An exhibition of these drawings in now on at Buckingham Palace and allows us to see Holbein's process at work.  In this episode of Not Just the Tudors, Professor Suzannah Lipscomb tours the exhibition with its curator Dr. Kate Heard and art historian Dr. Elizabeth Goldring. This episode was produced by Rob Weinberg.Discover the past with exclusive history documentaries and ad-free podcasts presented by world-renowned historians from History Hit. Watch them on your smart TV or on the go with your mobile device. Get 50% off your first 3 months with code TUDORS. Sign up now for your 14-day free trial here >You can take part in our listener survey here >

Spontanverliebt oder vor Schreck ohnmächtig: Die Werke von Hans Holbein bestechen bis heute. Er hat eine Maria mit Jesuskind gemalt wie sonst niemand in Deutschland.

The Tudors are one of the most well-known of the English royal dynasties for several reasons: the larger than life characters, the multiple marriages and Virgin Queen, and the extraordinary portraits. When Hans Holbein the Younger became Henry VIII's painter, he helped create an image of the king that has shaped our understanding of the Tudors. Franny Moyle joins us to share her research into how Holbein helped create the legacy of Henry VIII.Show Notes:Carol Ann Lloydwww.carolannlloyd.com@shakeuphistorypatreon.com/carolannlloydThe Tudors by Numbers, published by Pen and SwordFranny MoyleFrannymoyle.comThe King's Painter: The Life and Times of Hans Holbein(Can buy dedicated copy of the UK hardback, which has the best images, on her website)@frannymoyleCreative Director: Lindsey LindstromMusic: History by Andy_Grey via Audio Jungle, Music Broadcast LicenseLet's shake up history together!@shakeuphistory

He is the man to whom all historians and fans of Tudor England owe an enormous debt. Without the work of Hans Holbein, we wouldn't know what practically all the key players of King Henry VIII's court looked like. As a fabulous new exhibition is launched at the Queens Gallery, Buckingham Palace, featuring many of Holbeins original sketches, portraits and creations, there is no more apposite time than to look back at the life of this most iconic Tudor artist, the man who gave us a front row seat to the court of King Henry VIII.

This week: live art and activism. Performance art has long been used as a vehicle for protest and political activism and now, in its tenth edition, the Performa Biennial in New York has a new programme dedicated to artists exploring the subject. Protest and Performance: A Way of Life, which started as part of the 19-day festival this week, features eight events involving artists from across the world but with particular links to the Middle East, While it was programmed months ahead of the present war in Gaza, it has inevitably gained further relevance. We talk to Defne Ayas, the senior program advisor, and Kathy Noble, the senior curator at Performa, about the programme. In the UK, the National Trust, which looks after historic buildings and landscapes across Britain, has become the subject of a row between its current management and campaigners who argue that it has strayed from its essential remit. The Art Newspaper's associate digital editor, Alexander Morrison, speaks to Martin Drury, a former director-general of the Trust, about why it has prompted such an intense debate. And this episode's Work of the Week is Hans Holbein the Younger's portrait of Derich Born from 1533, a newly restored painting that features in an exhibition at the Queen's Gallery in London, one of the principal venues for the UK's Royal Collection. The show, Holbein at the Tudor Court, is curated by Kate Heard, and she tells us about the picture.Performa Biennial 2023, New York, until 19 November. Visit performa2023.org for details of events in the Protest and Performance strand.Holbein at the Tudor Court, Queen's Gallery, London, until 14 April 2024 Hosted on Acast. See acast.com/privacy for more information.

Hans Holbein the Younger painted The Ambassadors in 1533. It is a massive, life sized double portrait filled with symbolism that gives us insights into the political and religious upheaval of the day. Still today, it is probably best known for the anamorphic skull cutting across the floor in the composition. In the Ambassadors, Holbein presents the symbol of mortality as a specter that looms ever present though sometimes difficult to make sense of. It can feel like an odd intrusion disrupting a picture carefully and beautifully constructed but if we shift our view a little we can see that nothing lasts forever. Life and the world are constantly changing but there can be a beauty in that too if we can bring ourselves to look at it from the right perspective.  Check out my other podcast Art Smart | Rainbow Puppy Science Lab Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

When we last saw Superman, he was busy rescuing Lois Lane from the stormy sea, and thought Perry White to have drowned in the waves. Hans Holbein is desperate as…

The episode starts with Perry White and Clark Kent closing in on the island hideout of Hans Holbein. As they rush to rescue Lois, Clark flies the sea plane through…

After their brush with danger, our heroes are at the hospital discussing the case thus far, and the explosives that did so much damage. Lois is missing again. Perry White…

Recently Clark and Lois have been sent to investigate an explosion at a doll factory. In the story thus far, Clark has found explosives being hidden inside the dolls, and…

For more SLEERICKETS, check out the SECRET SHOW and join the group chat!Wear SLEERICKETS t-shirts and hoodies. They look good!NB: Alice and I (and possibly Brian?) will be at Dick & Jane's Cocktail Bar on Adelphi St. in Brooklyn on the evening of Wed, Sept 20. Come join us!Some of the topics mentioned in this episode:– Storm Swimmer by Ernest Hilbert– The iTunes/Apple Podcasts SLEERICKETS page– The cover of my forthcoming book, Midlife, designed by Daniel– Rattle/Rattlecast/Timothy Green (the guy we're talking about at the beginning of the show)– Leaves of Grass by Walt Whitman– The Great Gatsby by F. Scott Fitzgerald– The Sun Also Rises by Ernest Hemingway– Anne of Green Gables by Lucy Laud Montgomery– A Colorful History of Judging Books by their Covers by Ernest Hilbert– The Shocking Novels that Scared the Hell Out of America by Ernest Hilbert– Lupercal by Ted Hughes– Sixty Sonnets by Ernest Hilbert– All of You on the Good Earth Ernest Hilbert– Caligulan by Ernest Hilbert– Last One Out by Ernest Hilbert– Easter Wings by George Herbert– The Convergence of the Twain by Thomas Hardy– Maxwell Perkins– Wave Books– Faber & Faber– Matthew Wright– The Philadelphia Sun Oil Building– Jantech Services (makers of the Caligulan sign)– Ernie's introduction to Classic Tales of Horror– The Alien title sequence– Blizzard of One by Mark Strand– Franco Salas Borquez– Anamorphosis– The Ambassadors by Hans Holbein the Younger– The Richard Wilbur Award– The New Criterion Poetry Prize– Waywiser Books– Laid paperAlice: Poetry SaysBrian: @BPlatzerCameron: CameronWTC [at] hotmail [dot] comMatthew: sleerickets [at] gmail [dot] comMusic by ETRNLArt by Daniel Alexander SmithFrequent topics:– Joshua Mehigan– Shane McCrae– A. E. Stallings– Ryan Wilson– Austin Allen– Jonathan Farmer– Zara Raab– Ethan McGuire– Coleman Glenn– Alexis SearsMore Ratbag Poetry Pods:Poetry SaysI Hate Matt WallVersecraft

In today's episode, The Stinas explore the mysterious portraits adorning the walls throughout the Owens residence on Magnolia Street. They discuss Maria's painting as mentioned in the books and take note of a possible plot hole in the portrait's traveling capabilities! They explore more Titanic connections that lead them to believe that Rose was in fact a long lost Owens ancestor. No episode is complete without a deep dive into the movie scenes - The Stinas explore each portrait peppered throughout the film and the artists who painted them. However, most of the paintings in the film remain a mystery and many questions still beg to be answered - What are they called? Who painted them? What are their origins? And WHY were they chosen for the film? Do they hold greater significance to the Owens storyline, than meets the eye? And that's not all! The Stinas explore Princess Sybille of Cleves, the subject of the film's most noteworthy paintings, as well as her entire family of royals during the rule of Henry VIII- not to mention one of history's juiciest catfishing schemes! Artists explored in today's episode are Barthel Bruyn the Elder, Lucas Cranach the Elder, Hans Holbein the Younger, Pietro Antonio Rotari, and Rembrandt Peale! TOPIC MAP 16:31 - Justina & Kristina's Art Background 33:00 - Renaissance Painting Techniques 36:05 - Art that appears in the books 44:16 - Titanic connections 59:31 - Portraits in the movie 1:24:54 - Barthel Bruyn the Elder 1:28:48 - Princess Sybil & Lucas Cranach Portrait 1:32:54 - Comparing Sybil Portraits (Bruyn & Cranach) 1:42:35 - Ann of Cleves Intro 1:47:15 - How Sybil's Portrait end up in the Owens house? (Theories) 1:49:42 - Who was Ann of Cleves? 1:50:23 - William the Rich 1:55:31 - Ann of Cleves Portrait by Hans Holbein the Younger 1:59:10 - The Royal Catfish 2:11:00 - Catherine Howard and a royal beheading 2:19:36 - Ann of Cleve's Death 2:21:31 - Card pull from the Inner Witch Oracle (Grounded by the Moon) 2:23:50 - Other paintings in the movie Introduction 2:24:06 - Girl Asleep in a Chair painting by Pietro Antonio Rotari 2:28:10 - The Sisters Eleanor & Rosaba Peal Painting by Rembrandt Peale 2:37:05 - Renaissance painting fashion during the reign of Henry VIII 2:40:52 - The portraits' connection to the Owens family (Theories) WARNING: SPOILERS ABOUND! SOCIALS: ⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠Kristina's Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠Justina's Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠Voice Message⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠HERO SOURCES⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠WHERE TO FIND THE BOOKS AND MOVIE⁠⁠⁠⁠⁠⁠⁠⁠⁠ DISCLAIMER The Magnolia Street Podcast intends to discuss the movie, “Practical Magic” in its entirety. This will evidently result in spoilers and it is recommended that you watch and or read the following. Alice Hoffman's: Practical Magic, Rules of Magic, Magic Lessons, Book of Magic. The Magnolia Street Podcast is for entertainment and informational purposes and should not be used as a substitute for professional or medical advice. Do not attempt any of the discussed actions, solutions, or remedies without first consulting a qualified professional. It should be noted that we are not medical professionals and therefore we are not responsible or liable for any injuries or illnesses resulting from the use of any information on our website or in our media. The Magnolia Street Podcast presenters, Kristina Babich and Justina Carubia are passionate fans of Alice Hoffman's work and the Practical Magic word she has created. There is no copyright infringement intended, all characters and story lines are that of Alice Hoffman. We do not own any of that material as well as any of the move score music shared within the podcast. All intellectual property rights concerning personally written music and or shared art are vested in Magnolia Street Podcast. Copying, distributing and any other use of these materials is not permitted without the written permission from Kristina Babich and Justina Carubia. --- Send in a voice message: https://podcasters.spotify.com/pod/show/magnoliastreetpodcast/message

KEHINDE WILEY: El origen de esta exposición se dio al tiempo que el mundo se cerraba. Cuando vemos que George Floyd es asesinado en las calles del país me doy a la tarea: empiezo a pensar no solo en ese momento explosivo que provoca al mundo entero pensar en los individuos negros de una manera diferente, sino que comienzo a idear cómo dar imagen a otros cuerpos asesinados a lo largo de la historia. Lo primero que hice fue indagar imágenes religiosas del Cristo caído. ABRAM JACKSON: La forma de esta escultura se inspira en la pintura del siglo XVI de Hans Holbein que Wiley vio por vez primera hace quince años. La obra muestra una vista claustrofóbica del Cristo muerto, como si se estuviera viendo su tumba desde un lado. El cuerpo de Cristo es absolutamente ordinario, pero como sabemos de quién se trata, es, al mismo tiempo, sagrado. Wiley quedó muy impresionado con esa imagen y dio a esta escultura de bronce un sentido de lo cotidiano y a la vez de lo heroico. KEHINDE WILEY: Existe una tradición en la pintura religiosa, acerca de la celebración de una vida que requiere ser contada nuevamente. Hay tantas oportunidades de conversar ahora acerca del potencial perdido, como un andamiaje para construir un futuro mejor. ABRAM JACKSON: Cuando termine de visitar esta sala, pase por la entrada a su izquierda. Nuestra próxima parada será en la escultura de bronce de un hombre, en el centro de la sala.

When historians first made the link between a book of hours at Trinity College, Cambridge and two others belonging to Catherine of Aragon and Anne Boleyn, they weren't just identifying who owned it. Yes, yes - the book was owned by Henry VIII's right-hand-man (for a time, at least): Thomas Cromwell. But this remarkable book has now become the only object from any 16th-century portrait to survive to this day. What can such an item tell us about the man who owned it, his times, and what he wanted everyone who saw his portrait to know? Today's artwork(s): Hans Holbein the Younger, Portrait of Thomas Cromwell, Earl of Essex (1532-33). Oil on panel, 30.7 in × 25.2 in. Frick Collection, New York. AND the 1527 Book of Hours, on display at Hever Castle through November 2023. __________ New episodes every month. Let's keep in touch! Email: artofhistorypod@gmail.com Patreon: https://www.patreon.com/matta_of_fact Instagram: @artofhistorypodcast Twitter: @ArtHistoricPod TikTok: @artofhistorypod // @matta_of_fact __________ Learn more about your ad choices. Visit megaphone.fm/adchoices

در این اپیزود به سراغ تابلویی از هانس هولباین، نقاش آلمانی رفتیم و سعی میکنیم با کمک نامه های ژان دانتوی از تابلو سر در بیاریملینک عکس باکیفیت تابلو:https://upload.wikimedia.org/wikipedia/commons/thumb/8/88/Hans_Holbein_the_Younger_-_The_Ambassadors_-_Google_Art_Project.jpg/2078px-Hans_Holbein_the_Younger_-_The_Ambassadors_-_Google_Art_Project.jpgلینک عکس خیلی باکیفیت و با حجم بالا از تابلو:https://upload.wikimedia.org/wikipedia/commons/8/88/Hans_Holbein_the_Younger_-_The_Ambassadors_-_Google_Art_Project.jpgقطعات موسیقیPersian March, Persischer Marsch - Johann Strauss IIAlkan - Etude op.39 no.12 - Le Festin D EsopeBach-Friedman - Bourrée (from Violin Partita 1 in B minor, BWV 1002) Hosted on Acast. See acast.com/privacy for more information.

June 22: Saints John Fisher, Bishop and Martyr, and Thomas More, Martyr John Fisher: 1469–1535; Thomas More: 1478–1535 Optional Memorial; Liturgical Color: Red Patron Saint of the Diocese of Rochester (Fisher) and of lawyers and politicians (More)  They would not bend to the marriage  In 1526 a German painter named Hans Holbein could not find work in Basel, Switzerland. The Reformation had come to town. It shattered the stained glass, burned the wooden statues, and sliced up the oil paintings. Protestants don't “do” great art. There were no more commissions. So Holbein went north, to Catholic England, in search of wealthy patrons for his craft. On his way, he passed through the Netherlands to procure letters of introduction from the great humanist Desiderius Erasmus. Erasmus was a friend of Sir Thomas More, an English humanist of the highest caliber. And thus it came to pass that one fine day, in England in 1527, Thomas More sat patiently while Holbein's brush worked its magic. Holbein's extraordinary portrait of Thomas More captures the man for all seasons, as one contemporary called More, at the pinnacle of his powers. More's head and torso fill the frame. There is no need for context, landscape, or a complex backdrop. More's mind is what matters. He is what matters. Nothing else. The shimmering velvet of his robes, the weighty gold chain of office resting on his shoulders, the detailed rose badge of the House of Tudor lying on his chest, all tell the viewer something important—this is not a frivolous man. He serves the King. His work is consequential. He also wears a ring. He is married and has children. He dons a cap. It is England, and he is cold. His stubble is visible. He is tired from overwork and did not have time to shave. He holds a small slip of paper—perhaps a bribe he rejected. His gaze, slightly off center, is earnest, serious, and calm. It is almost as if he is searching the room, attentive to any threat lurking behind the painter. He is watchful. The entirety of the work conveys that elusive quality that denotes great art—interior movement. The gears of More's brain are rotating. His personality has force. The viewer feels it. Saint Thomas More was the greatest Englishman of his generation. In a land with a highly educated aristocratic class, his erudition was unequalled. He was a devoted family man who carried out an extensive correspondence with his children and ensured that his daughters were as well educated as his sons. He served the English crown faithfully both at home and abroad. He charmed his many friends with a rich and engaging personality. He published scholarly works and communicated with other humanists of his era. Yet despite all of these accomplishments, the fraught times he lived in eventually overwhelmed him. He could not save his own head. More was a thoughtful and serious Catholic. He refused to bend to the will of King Henry VIII regarding divorce and Henry's self-appointment as head of the Church in England. For his silence, or lack of explicit support for Henry, More was brought to court, where a perjurer's words knifed him in the heart. More was condemned to death by beheading. This was a favor from the King, who admired More but could not brook his dissent. More had originally been sentenced to a far crueler form of capital punishment, but Henry decreed that his life end with one blow of the axe. So the unconquered Thomas More climbed a shaky scaffold on July 6, 1535, and had his head lopped off. His head was stuck on a pole on London bridge for one month afterward, a trophy to barbarity. More died a martyr to the indissolubility of marriage. Saint John Fisher was an academic who held various high positions at the University of Cambridge, one of the two universities in all of England, eventually becoming its Chancellor for life. He was a Renaissance humanist, like Thomas More, who encouraged the study of Latin, Greek, and Hebrew. Fisher was the personal tutor of Henry VIII when Henry was a boy, and he preached the funeral homily of Henry's father, Henry VII. John Fisher lived a life of extreme personal austerity and even placed a human skull on the table during meals to remind himself of his eventual end. He had many of the same qualities as More—great learning, personal uprightness, and academic accomplishments. But easy times don't make martyrs. When King Henry wanted to annul his marriage to Catherine of Aragon, Fisher became her most ardent supporter. He openly stated in court that he would die for the indissolubility of marriage, thus incurring the lasting wrath of his former pupil Henry. All the bishops of England, save Fisher and two others, lost their courage and acquiesced, without a fight, to Henry VIII's takeover of the Catholic Church in England. Their weakness brought to a sudden, crashing end a thousand years of Catholicism in England. The faith endured in some form, of course, but would never be the culture-forming force it had been for so many centuries. It is an embarrassment of Catholic history that almost all the bishops of England fell like dominoes, one after another, at one slight puff of the breath of King Henry VIII on their cheeks. After various nefarious machinations, John Fisher was imprisoned in the harshest of conditions for over a year, even being deprived access to a priest. During this time, the Pope named him a cardinal, although Henry refused him the ceremonial placing of the red hat on his head. After a brief trial with the usual perjury, Cardinal John Fisher was beheaded on June 22, 1535. In order to avoid inevitable comparisons between Cardinal Fisher and John the Baptist, King Henry moved the cardinal's execution to avoid any connection to June 24th's Feast of Saint John the Baptist. Both Johns were martyrs to marriage. But there was no silver platter for John Fisher. His head was placed on a pole on London bridge for two weeks, only to be replaced by Thomas More's head. Saints John Fisher and Thomas More were beatified in 1886 along with fifty-four other English martyrs. The two were canonized together in 1935. Saints John Fisher and Thomas More, through your intercession, give all Catholics courage to resist the pressure to conform to falsehood, to the broad way, to popular opinion. You were both thoughtful and granite-like in your resistance. Help us to be likewise when times call for such.

Find out about a special New Year's gift Anne Boleyn commissioned from Hans Holbein the Younger for Henry VIII. #holbein #tudorhistory #tudorart #henryviii You can find my books on Amazon at http://viewauthor.at/claireridgway

Two things are true of history podcasts: Everyone loves a bit of Tudor History, and everyone loves a good ghost story. Today, we explore a bit of both! When visiting Henry VIII's magnificent Hampton Court Palace, it's often the darker episodes from its past that get the best reactions. Using Tudor portraiture as our guide, let's explore the origin of some of the Palace's ghostly tales and the lives at the center of them. Today's images: Jane Seymour (unfinished), after Hans Holbein the Younger (1537). Oil on panel. National Portrait Gallery, London. Jane Seymour, by Hans Holbein the Younger (1536/37). Kunsthistorisches Museum, Vienna. Portrait of a Lady, perhaps Katherine Howard, by Hans Holbein the Younger. (ca. 1540). Watercolor on vellum laid on playing card (the 4 of Diamonds). Royal Collection Trust. Effigy of Dame Sybil Penn, from Hampton Church British School, The Family of Henry VIII (c.1545). Oil on canvas. Hampton Court Palace, Royal Collection Trust. ______ New episodes every month. Let's keep in touch! Email: artofhistorypod@gmail.com Patreon: https://www.patreon.com/matta_of_fact Instagram: @artofhistorypodcast Twitter: @ArtHistoricPod TikTok: @artofhistorypod // @matta_of_fact Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's episode is brought to you by our Patreon Patrons at the Gentry, Noble, and Royal Patron levels! They voted on today's topic: Shakespearean Woodcuts!  Woodcuts were a popular Early Modern print-making method used to add illustrations to printed publications and were kind of like an Early Modern meme.  Check out some of our favorites below: Hans Holbein's The Dance of Death series Works by Albrecht Durer The Beggar's Delight (a Broadside Ballad) The English Broadside Ballad Archive Shakespeare Anyone? is created and produced by Korey Leigh Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. Follow us on Instagram at @shakespeareanyonepod for updates or visit our website at shakespeareanyone.com You can support the podcast at patreon.com/shakespeareanyone Works referenced: Cash, Cassidy, host. “Ep 79: James Knapp and Elizabethan Woodcuts.” That Shakespeare Life, episode 79, Publisher, 21 October 2019, https://www.cassidycash.com/ep-79-james-knapp-elizabethan-woodcuts/. Toledo Museum of Art. (2020, July 27). The History of the Woodcut and Printmaking's Collaborative Process [Video]. Youtube. From 1:30 to 17:30. https://www.youtube.com/watch?v=IKyC4DcDu1E&t=254s

Become a producer and get your name mentioned on the show! Sign up at www.themidnighttrainpodcast.com   The Grim Reaper Nothing in life is guaranteed, except for death and taxes, as the old adage goes. We boldly circle April 15th  in red on our calendars so that it stands out like a swollen thumb. Of course, there is also the Internal Revenue Service here in the US, which has taken in over 3 trillion dollars in taxes from over 250 million taxpayers and felt that we aren't paying enough and hired 87,000 more agents and gave them powers much like a government police force including lethal force. But we don't need to be on that soap box today.    What about death, though? The other certainty of being human is, for most of us, not quite as certain. Biologists define death as the complete cessation of all life processes, which eventually take place in all living organisms. Sadly, that description doesn't provide a clear picture. It doesn't describe what death feels like. How will you feel then? How will it look? What are our plans? Where are we headed?   The embodiment of death in a black robe and scythe in hand, the Grim Reaper, enters. We all know of this deity and its so-called motivations. It approaches everyone while watching for the last sand particle to fall, holding an hourglass in its hand. When that happens, it cuts the soul free with a razor-sharp slice that it has perfected over time. Although it may not be a pretty picture, it is distinct and obvious.   Putting a human face on the idea of death is ultimately the Grim Reaper's "job." But why did people feel the need to give the Grim Reaper such a gloomy appearance? Why not turn him into a welcoming and useful tour guide for the underworld? Why must he also be a man, for that matter?   We'll examine the Grim Reaper's history, the symbolism attached to his appearance, and how he's portrayed in other cultures. We'll also look at how the Reaper has been depicted in literature, film, and art. When we're done, you'll understand the identity of the Grim Reaper, his methods, and most crucially, the reason for his existence (should you see him prowling around your deathbed).   As Lewis Carroll once said, it's best to begin at the beginning. And for the Grim Reaper, the beginning can be found in the creation myths present in all cultures.   Death itself must exist before the Grim Reaper, a personification of death, can exist. Humans were initially formed as immortal creatures who descended from their level of perfection in almost all civilizations and religions. The Bible's most famous example is the story of Adam and Eve's fall. The Book of Genesis claims that God made Adam and Eve to care for the world He had made and to help populate it. The Garden of Eden was a paradise where the first man and woman resided. Adam was instructed by God to tend to the garden and gather fruit from all the trees, with the exception of the tree of the knowledge of good and evil. Unfortunately, Eve was duped into eating the fruit by Satan, who was speaking via a serpent. She then gave Adam the fruit, who consumed it as well despite being aware that it was wrong. Adam and Eve died physically and spiritually as a result of defying God.   In other religions, people were formed as mortals who made valiant attempts to become immortal but failed. This tale is told in The Epic of Gilgamesh. Gilgamesh, a character from Mesopotamian literature, was the progeny of a goddess and a human ruler. Gilgamesh, however, was still a mortal being, just like his closest buddy Enkidu. When Enkidu passes away, the great hero is troubled by the idea of dying and embarks on a mission to become immortal. He meets Utnapishtim, a man who has been granted eternal life by the gods, during his travels. Gilgamesh is promised immortality by Utnapishtim if he can last a week without sleeping. Gilgamesh eventually nods off, but Utnapishtim still gives him a plant that can restore its owner's health. Any hopes Gilgamesh had of becoming eternal are dashed when the plant is devoured by a hungry snake on the way home.   Gilgamesh returns home in the mythology of Mesopotamia and joyfully accepts his life as a mortal man. But most people aren't that laid back. The thought of our own mortality disturbs us. Everything we accomplish is constantly plagued by the shadow of death. Research supports this. According to a 2022 survey, 20% of Americans over the age of 50 experience anxiety when they consider their afterlife. 53 percent of respondents think ghosts or spirits exist, and 73 percent think there is life after death.   Undoubtedly, and as it has been for thousands of years, what happens to us as we die, as well as what occurs after we die, is a huge issue. Humans use a tried-and-true strategy: they give death a form they are familiar with in order to make sense of dying and mortality. As a result, a vague, invisible phenomenon becomes a concrete, observable phenomenon. You can comprehend death if you see a familiar face in it. Better yet, if you can put your anxieties aside and perceive death as a kind, gentle face.   It can, of course, also go the other way. Looking at death might reveal a frightful countenance. The terrifying visage of the Grim Reaper arose following a particularly trying period in human history, as we'll discover in the following section.   Why not give death a kind face if you're going to give it a human one? The Greeks adopted that strategy and gave death the name Thanatos. Hypnos, the deity of sleep, and his twin brother Thanatos were both shown as attractive, young males. Thanatos is depicted in some images as having wings and a put out flame. He had the responsibility of going to Hades, the Greek underworld, with the deceased. There, Charon, the ferryman on the River Styx, would receive the souls from Thanatos. In this interpretation, death is lovely and beneficial rather than fearful and ugly.   There are also feminine variations of death. The Valkyries were depicted as stunning young women in Norse mythology who carried soldiers' souls to their afterlife as well as acting as messengers for Odin. In actuality, the word "Valkyries" refers to "slain's choosers." They would ride on winged horses during battle and pick intrepid soldiers to perish by scouting the battlefield. They would then deliver these spirits to Odin's realm, Valhalla. The valiant spirits were recruited to participate in the terrible struggle known as Ragnarok after they reached the afterlife.   The Valkyries are comparable to angels, who serve as a spiritual bridge between God and people. Angels provide messages to mankind or defend them in some myths. In other tales, they converse with the dead and torture the sinners. Many religions and civilizations feature the Angel of Death, a spirit that removes a person's soul from the body at the moment of death. In Judeo-Christian tradition, the archangels Michael and Gabriel have served as death angels. The Islamic Angel of Death known as Azrael can occasionally be seen as a terrifying ghost with eyes and tongues covering every inch of his body. Every soul in the world has a birth and a death recorded in a vast ledger that Azrael keeps updated.   By the Middle Ages, the Angel of Death had been conceptually ingrained in both European religion and culture. But in the latter half of the 14th century, an epidemic occurrence changed how the common person perceived and reacted to death. The plague of the Middle Ages, one of the deadliest pandemics in human history, was that occurrence. The initial plague outbreak claimed at least 25 million lives, while subsequent plague outbreaks that recurred for centuries resulted in millions more deaths [source: National Geographic]. Fear swept the entire continent: fear of death, fear of an unknown epidemic, fear of the agony of the disease's late stages, when the skin on a victim's extremities grew black and gangrenous. All activities were characterized by a morbid atmosphere, which also had an impact on the period's writers and painters.   Unsurprisingly, skeletons started to represent death in artwork at this time. In reality, the skeletal form of death was frequently depicted in a similar manner by painters. He was frequently pictured with a crossbow, dart, or other weapon. These tools would eventually give way to the scythe, a mowing instrument with a long, curved blade attached at an angle to a long handle. Many artworks depicted the hereafter chopping down souls like grain by swinging its scythe through a throng of humanity. A young woman would occasionally stand at the grave to serve as a reminder of the connection between life and death. The idea that death might communicate with the living and lure them into the hereafter was another prevalent one. Due of this, skeletons are depicted dancing and having fun with people from all walks of life in the Dance of Death, also known as Danse Macabre.   These post-plague images of death led to the creation of the Grim Reaper. We'll look at the significance of his form and physique on the following page.   The Grim Reaper is an incredibly symbolic figure. When he eventually arrives, the items he is carrying and even the clothes he is wearing will reveal something about his character and his objectives. Let's examine some of the symbolism one symbol at a time.   Skeletons and skulls. It was common to observe piles of decaying bodies as the disease spread through Europe and Asia. One in five Londoners perished during the Great Plague of London, which struck the city between 1665 and 1666 [source: National Geographic]. Given how common death and dying are, it is reasonable that artists and illustrators started to represent death in the form of a corpse or skeleton. The skeleton figure serves as a metaphor for the decomposition of human flesh—what remains after worms and maggots have done their dirty work. It also feeds into one of the biggest concerns that people have: the dread of annihilation.   Black cloak. Black has long been connected to loss and gloom. Funeral attendees dress in black, and black hearses are used to transport the deceased. Black, however, is frequently associated with bad energies. The Reaper exudes mystery and danger thanks to his dark cloak. The Reaper hides beneath the shadows of his cloak, playing off our fears of the unknown because the things we can't see worry us just as much as the things we can see.   Scythe. The Reaper is seen clutching arrows, darts, spears, or crossbows in early depictions. These are the tools he use to kill his victim. A scythe eventually took the place of these other tools of killing. A scythe was an implement used for cutting grass or reaping grain. It made sense for this symbol to be put to death in an agricultural community where harvesting in the fall signified the end of a year. Death harvests souls for their passage into the hereafter in a similar manner to how we harvest our crops.   Hourglass. Sand pours from the upper to bottom glass bulb of the traditional hourglass over the course of an hour. It has endured into the digital age as a reminder to be patient as our computer loads a Web page or executes a command because it is such a potent representation of time and how it passes. Additionally, the Grim Reaper holds an hourglass, reminding us that time is running out. Our time is up when the sand is gone. We can only pray that we have more time to live than an hour.   It was so common to see this representation of the Grim Reaper in religious writings. The Book of Revelation in the Bible provides the best illustration. Four horsemen appear in Revelation 6:1–8 to bring about tragedies signifying the end of the world. Pestilence, war, famine, and death are the four horsemen. Only Death is expressly mentioned out of the four. He is seated on a pale horse, which is frequently mistaken for pale green, the hue of illness and decay. Most often, Death is portrayed as the Reaper himself, with a grimacing skull and scythe in hand, ready for the gory labor that lies ahead.   The Grim Reaper is still a popular subject for writers today. We'll examine at a few instances of the Reaper in popular culture in the section that follows.   Without a doubt, the Grim Reaper makes a fantastic character, which explains why he has long been a part of myths and legends. One typical tale, known as the "cheating death" tale, describes a person who tries to deceive the Grim Reaper in order to avoid dying. A well-known illustration is "The Legend of Rabbi Ben Levi" by Henry Wadsworth Longfellow. Death for the holy man in Longfellow's poem arrives with the somber proclamation, "Lo! the time approaches near/When thou must die." Can I hold the sword of death? the rabbi enquiries. The rabbi receives the weapon from Death, who hurriedly flees and hides until God can step in to save him. Ben Levi is not killed when God appears, but the rabbi is instructed to give the sword back to its rightful owner.   Other influential works, such the Danse Macabre, or Dance of Death, a sort of drama that appeared after the Black Death, have established our contemporary understanding of the Reaper. These plays were intended to help churchgoers accept the certainty of death. A victim's encounter with death, symbolized as a skeleton, was portrayed in the performance, which typically took place in a cemetery or churchyard. The victim makes various justifications for why his life should be saved, but these are rejected, and death eventually follows him away with an entourage of other skeletal creatures. Several German engravers, like Bernt Notke and Hans Holbein, found that the scenes from this play made for interesting themes. These artists' prints depicted dancing skeletons amid people from all social classes as a message that nobody, not even royalty, could avoid death.   Ingmar Bergman's "The Seventh Seal" has had a similar impact on current culture. The 1957 movie is about Antonius Block, a knight who returns from the Crusades to discover that the disease has killed many of his countrymen. Max von Sydow plays Antonius Block in the role. Block is also awaited by Death, who is portrayed by Bengt Ekerot. Having reached a standstill, the knight challenges Death to a game of chess, which Block ultimately loses. The image of Ekerot's Death, a menacing white visage disguised beneath a black cloak, endures so vividly despite the story's unsettling nature.   The Grim Reaper also plays a key role in the following works:   "(Don't Fear) The Reaper," a song released by Blue Öyster Cult in 1976 and now regarded as a rock classic "Because I could not stop for Death," a poem by Emily Dickinson, in which the narrator shares a carriage ride with Death "A Christmas Carol" by Charles Dickens, in which the Ghost of Christmas Yet to Come, cloaked and skeletal, appears to show Scrooge how he will die The Discworld novels by Terry Pratchett, which feature Death as an ally of mankind The Sandman by Neil Gaiman, a groundbreaking series of comic books in which Death appears as a girl "Death Takes a Holiday," a 1934 film about Death's decision to take a break from his normal business to see what it's like being mortal; a 1998 remake, "Meet Joe Black," starred Brad Pitt in the role of Death. "Scream," a 1996 homage to slasher flicks in which a murderous teen stalks his victims in a Reaper-like costume "Dead Like Me," a Showtime series that explores the lives (or afterlives) of a group of grim reapers who walk among the living   Whether he is funny or terrifying, a man or a woman, the Grim Reaper will probably always be a part of our pop culture diet. The Reaper will calmly wait in the shadows and come for each of us in the end, even if storytellers grow weary of dealing with death and dying.   Lastly, we thought since we are talking about the personification of death, we should also include some theories as to what happens after we die. Let's see how many you, the listeners, agree with; and how many we think are stupid and illogical. Let's begin!   Excretion  The idea that the universe is actually one enormous brain of a higher species has been around for many years. In certain containers, it might be one or more brains. This hypothesis states that the solar system is merely a brain cell. Humans are insignificant components of this cell as well. For that enormous brain, our thousands of millions of years of history occurred in a fraction of a second. Let's examine what it says on life after death. How are our own dead cells handled? They are discarded after being sloughed off. Similar things will happen to us if we are a small piece of a vast mind. That is, the universe will leave our consciousness where it dumps its waste when we pass away. Oh, how disgusting. I am aware that this notion is a little unusual and a little challenging to understand, but that is only because we do not fully understand it.   Just like that, my life became meaningless.   You enter the cosmic consciousness   Life: What is it? Knowing the answer to this question is crucial. We are conscious of our existence and are fully in charge of our own thinking. Only 20 watts of power are required for this by our brain. Most light bulbs use more electricity than that because this power is so low. Biologists are still unable to properly explain how our brain makes every decision so precisely. Our area of expertise is consciousness, but we do not understand its origin. And where does it go after we pass away? In accordance with Sir Roger Penrose and Stuart Hameroff's orchestrated objective reduction theory of the mind, coherent quantum processes in clusters of microtubules within brain neurons are biologically "orchestrated" to produce consciousness. You can imagine this universe as a sea of consciousness, according to this notion. Human mind originates from this place and travels back there once we die. Consciousness connects all things in the cosmos. You can think of it like this: If you think of the universe as a sea, then our consciousness would be a wave. It remains on the ground for some time before going back. The conclusion is that after we die, our consciousness returns to the universe, where it may remain eternally or it may temporarily inhabit another body.   Our consciousness is therefore deeply ingrained in the cosmos and is inherently perplexing.   Being Human Is just One Level   Reincarnation theory holds that after we die, our souls transfer into new bodies, giving rise to a subsequent birth. Dr. Ian Stevenson has studied incarnation and looked into countless instances of young people claiming to have lived before. He established the Division of Perceptual Studies at the University of Virginia and was an academic psychiatrist. He describes incarnation as the "survival of personality after death" at times. Along with genes and environment, he thinks it can provide a plausible justification for a variety of personality traits, including phobias. However, no one's allegations have been shown to be true. When this notion first emerged, little was understood about the universe's complexity and mysticism. Because of this, they only thought that our spirit may reincarnate in a different body on earth. What if your soul has a different physical body somewhere else in the universe? What if your spirit adopts a shape that we are unaware of rather than moving into a new body? This idea holds that our Souls or conscious entities can travel anyplace in the cosmos. This implies that you could once more be a person, a cool alien, a pointless insect, or something else else. In reality, we have no idea who or what we will be after we no longer exist as humans.   The Universe Ends   Can you demonstrate the reality of this world and the cosmos? The likelihood is that you will affirm and provide the objects and people in your environment with proof. However, according to the solipsistic hypothesis, there is nothing outside of your mind and brain. For you, what you see and hear is accurate, but you can never establish the veracity of the people in your immediate vicinity. Let's use GTA 5 as an example. When you are at a specific location in this game, everything around you is functional. There are other close residents there, so nothing strange is happening to you. What about the locations where you are not? Actually, those places didn't exist back then. According to this hypothesis, there is no other life in the cosmos besides you. Therefore, the universe stops existing after you pass away. That implies that every person you know and love likewise vanishes. Simply said, everything and everyone is a projection of your subconscious mind.   Therefore, take another look at the world and stop griping about pointless things. After all, you are the one who made it all.   Life Starts over again   I'm sure you've experienced this at least once in your life. that a location or person appears familiar to you, despite the fact that you've never been there or interacted with them before. This is known as déjà-vu. What if everything feels familiar? That implies that your life keeps repeating itself? Therefore, it appears that you may be familiar with that location or that individual. Two things could lead to this. First of all, your life is like a movie that never ends. Second: Although your life is repeated, you always have more influence over it. This reminds me a lot of the film Groundhog Day. Obviously, there are some significant differences; in this case, life restarts after death rather than after a day, and you have significantly less influence than in the film. Therefore, have luckier next time, bro. God knows how many times we are experiencing a life (which stinks) without even realizing it is a déjà-vu.   You have successfully entered a loop.   The Dreamer Wakes Up   It's entirely possible that our existence is nothing more than a creature's dream, despite the fact that this may sound like some made-up stories from the 1980s. You must have all had dreams. Only until we wake up do we know that dreams were just illusions. We become unable to distinguish between reality and dreams. Since dreams come from our own subconscious minds, their reality may or may not be in question. Vital Signs: The Nature and Nurture of Passion author Gregg Levoy concurs. And some of the most well-known concepts in the modern world, including Google, the Theory of Relativity, the first periodic table, etc., had their origins in dreams. Thus, it is possible for dreams to be quite real. So it's possible that we wake up in the "actual" world after we pass away. very similar to Inception The subject of what occurs when a dreaming creature passes away now arises. For the time being, there is no clear response to this query. We have no idea if the person who is waking up from sleep is a soul, a human, or something else entirely.   You Get Re-programmed   This hypothesis proposes that our world is a computer simulation. The most prevalent option on this list is this. It's likely that you have heard of this before. Nick Bostrom, an Oxford philosopher, made the initial suggestion in 2003. It contends that either all intelligent species perish before being able to produce an ancestor simulation or choose not to do so for some reason. Or perhaps we are merely acting out a simulation. In the event that we are simulations of our ancestors, our Consciousness is programmed. We play a very small part in the simulation. So, after erasing your memories, our programmer can transport us to a different space and time in the simulation when we pass away. They only need to make a few tweaks as they already have our base code. It is really difficult to foresee what those programmers will perform. They have a wide range of options at their disposal. What a blast?   Our Consciousness Is Unreal   The simulation hypothesis is also related to this notion. Avoid saying, "There are two theories on the same hypothesis." Theo Musk believes that the odds of us actually living in the "true" world are one billion to one. It is completely believable. This side, though, is substantially darker. As your "Consciousness" is merely programming, we lack our own free will. We appear to be operating according to a code. They are free to run or remove your code whenever they wish. They might have entered your code the last time you closed your eyes. While you slept last night, all of your memories were implanted in you. Even though it has only been a few hours, you suddenly believe you have been this person for years. They can also alter or remove your code the next time you go to bed. Depending on what they need, they could simply "remove" you from the simulation or completely change who you are. This reminds me a lot of Westworld. In this case, a fictitious universe is made, and characters are formed with certain duties allocated to them. We all contribute to some larger narratives. By simply adding new memories of a different location and possibly even time to the code, they can change the role of any person according to their needs. Everything you believe yourself to be is merely an illusion. Therefore, all that we are is a collection of 0s and 1s. And we carry out our pre-programmed actions.   We can at least be glad that our life, despite appearing to have no purpose, has helped our creators in some way. Or why did they even decide to make us?   Death Is An Illusion   Humans are the only animals on Earth with understanding of time, in contrast to other animals. We are aware that Time can only advance in units of days, months, or years. But is it really this time of day? The concept of time that we have today was developed by humans. Anything we believe about time could be incorrect. We think that time always flows like a river's stream. It is not required for the Universe to function in the same manner that we perceive time to function. Along with the present, the past and the future also exist in the cosmos, but we are not able to view them. Imagine that consciousness is the projecting light that causes us to see the film and that reality is a film strip. We are unable to notice the light unless a frame is placed in front of it. Its presence, however, cannot be disputed. The same principles govern Time and Reality. The past and future are not visible to us, but they coexist with the present. Three-dimensional space-time surrounds us and binds us. So how does this relate to death? You don't actually die. Death is just a fantasy. Because you are unable to exist in frames where you are dead, you must always exist in frames where you are living. Just that other people think you are dead because this does not hinder ‘their' existence.   Anything is Possible   About what happens after death, we cannot be certain. The many-worlds interpretation hypothesis postulates that there are an almost unlimited number of realities. There are countless parallel universes, each containing every conceivable concept. There is a universe where you are a billionaire, Hillary won the election, and I am reading this essay you wrote. Therefore, in some universes, anything is conceivable after death. Reincarnation occurs in some universes, or heaven and hell exist in some as well. In some universes, after we pass away, we become zombies, whereas in others, we simply pass away. In some alternate universe, all of the aforementioned theories are plausible. We simply don't know what universe we reside in, or perhaps it hasn't been determined yet. You might pass away in the cosmos or theory you hold dear. According to the solipsism theory, your universe will come to an end when you pass away. Anything is possible, after all. 

Someone's smuggling explosives in porcelain dolls, and it's up to Superman to stop these terrible toymen and their evil schemes! The Man of Steel returns in this story that originally aired between June 24 and July 5, 1940.

The Ambassadors painting by Hans Holbein reveals the French horror at Henry's decision in January 1533 to defy the pope and get remarried to a pregnant Anne Boleyn. But since Henry couldn't get an annulment he had no choice. No big-time European princess would marry him. With the Spanish seriously weakened by war, Turkish invasion and protestant revolt in Germany, and Henry's French allies now needing him more than he does them, Henry's long game to get the Pope on side against the Spanish is now in extra time. Henry is free to make himself head of the Church in England.

In this episode we discuss the role of pain in our power exchange relationship.Episode Art:  "The Grey Passion," Hans Holbein the Eldger, 1496Support the show

What you'll learn in this episode: Why the best modernist pieces are fetching record prices at auction today How “Messengers of Modernism” helped legitimize modernist jewelry as an art form The difference between modern jewelry and modernist jewelry Who the most influential modernist jewelers were and where they drew their inspiration from Why modernist jewelry was a source of empowerment for women About Toni Greenbaum Toni Greenbaum is a New York-based art historian specializing in twentieth and twenty-first century jewelry and metalwork. She wrote Messengers of Modernism: American Studio Jewelry 1940-1960 (Montréal: Musée des Arts Décoratifs and Flammarion, 1996), Sam Kramer: Jeweler on the Edge (Stuttgart: Arnoldsche Art Publishers, 2019) and “Jewelers in Wonderland,” an essay on Sam Kramer and Karl Fritsch for Jewelry Stories: Highlights from the Collection 1947-2019 (New York: Museum of Arts and Design and Arnoldsche, 2021), along with numerous book chapters, exhibition catalogues, and essays for arts publications. Greenbaum has lectured internationally at institutions such as the Pinakothek der Moderne, Munich; Academy of Arts, Architecture and Design in Prague; Yale University Art Gallery, New Haven; Cooper Hewitt Smithsonian Design Museum and Museum of Arts and Design, New York; Museum of Fine Arts, Boston; and Savannah College of Art and Design Museum of Art, Savannah. She has worked on exhibitions for several museums, including the Victoria and Albert in London, Musée des beaux-arts de Montréal, and Bard Graduate Center Gallery, New York. Additional Resources: Link to Purchase Books Toni's Instagram The Jewelry Library  Photos Available on TheJewelryJourney.com Transcript: Once misunderstood as an illegitimate art form, modernist jewelry has come into its own, now fetching five and six-figure prices at auction. Modernist jewelry likely wouldn't have come this far without the work of Toni Greenbaum, an art historian, professor and author of “Messengers of Modernism: American Studio Jewelry, 1940 to 1960.” She joined the Jewelry Journey Podcast to talk about the history of modernist jewelry; why it sets the women who wear it apart; and where collectors should start if they want to add modernist pieces to their collections. Read the episode transcript here.   Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week.    Today my guest is art historian, professor and author Toni Greenbaum. She is the author of the iconic tome, “Messengers of Modernism: American Studio Jewelry, 1940 to 1960,” which analyzes the output of America's modernist jewelers. Most recently, she authored “Sam Kramer: Jeweler on the Edge,” a biography of the jeweler Sam Kramer. Every time I say jeweler I think I'm using the world a little loosely, but we're so glad to have you here today. Thank you so much.   Toni: I am so glad to be here, Sharon. Thank you so much for inviting me. It's been many years coming.   Sharon: I'm glad we connected. Tell me about your jewelry journey. It sounds very interesting.   Toni: Well, there's a lot you don't know about my jewelry journey. My jewelry journey began when I was a preteen. I just became fascinated with Native American, particularly Navajo, jewelry that I would see in museum gift shops. I started to buy it when I was a teenager, what I could afford. In those days, I have to say museum gift shops were fabulous, particularly the Museum of Natural History gift shop, the Brooklyn Museum gift shop. They had a lot of ethnographic material of very high quality. So, I continued to buy Native American jewelry. My mother used to love handcrafted jewelry, and she would buy it in whatever craft shops or galleries she could find.    Then eventually in my 20s and 30s, I got outpriced. Native American jewelry was becoming very, very fashionable, particularly in the late 60s, 1970s. I started to see something that looked, to me, very much like Native American jewelry, but it was signed. It had names on it, and some of them sounded kind of Mexican—in fact, they were Mexican. So, I started to buy Mexican jewelry because I could afford it. Then that became very popular when names like William Spratling and Los Castillo and Hector Aguilar became known. I saw something that looked like Mexican jewelry and Navajo jewelry, but it wasn't; it was made by Americans. In fact, it would come to be known as modernist jewelry. Then I got outpriced with that, but that's the start of my jewelry journey.   Sharon: So, you liked jewelry from when you were a youth.    Toni: Oh, from when I was a child. I was one of these little three, four-year-olds that was all decked out. My mother loved jewelry. I was an only child, and I was, at that time, the only grandchild. My grandparents spoiled me, and my parents spoiled me, and I loved jewelry, so I got a lot of jewelry. That and Frankie Avalon records.   Sharon: Do you still collect modernist? You said you were getting outpriced. You write about it. Do you still collect it?   Toni: Not really. The best of the modernist jewelry is extraordinarily expensive, and unfortunately, I want the best. If I see something when my husband and I are antiquing or at a flea market or at a show that has style and that's affordable, occasionally I'll buy it, but I would not say that I can buy the kind of jewelry I want in the modernist category any longer. I did buy several pieces in the early 1980s from Fifty/50 Gallery, when they were first putting modernist jewelry on the map in the commercial aspect. I was writing about it; they were selling it. They were always and still are. Mark McDonald still is so generous with me as far as getting images and aiding my research immeasurably. Back then, the modernist jewelry was affordable, and luckily I did buy some major pieces for a tenth of what they would get today.   Sharon: Wow! When you say the best of modernist jewelry today, Calder was just astronomical. We'll put that aside.   Toni: Even more astronomical: there's a Harry Bertoia necklace that somebody called my attention to that is coming up at an auction at Christie's. If they don't put that in their jewelry auctions, they'll put it in their design auctions. I think it's coming up at the end of June; I forget the exact day. The estimate on the Harry Bertoia necklace is $200,000 to $300,000—and this is a Harry Bertoia necklace. I'm just chomping at the bit to find out what it, in fact, is going to bring, but that's the estimate they put, at $200,000 to $300,000.   Sharon: That's a lot of money. What holds your interest in modernist jewelry?   Toni: The incredible but very subtle design aspect of it. Actually, tomorrow I'm going to be giving a talk on Art Smith for GemEx. Because my background is art history, one of the things I always do when I talk about these objects is to show how they were inspired by the modern art movements. This is, I think, what sets modernist jewelry apart from other categories of modern and contemporary jewelry. There are many inspirations, but it is that they are very much inspired by Cubism, Surrealism, Abstract Expressionism, Biomorphism, etc., depending on the artist. Some are influenced by all of the above, and I think I saw that. I saw it implicitly before I began to analyze it in the jewelry.    This jewelry is extraordinarily well-conceived. A lot of the craftsmanship is not pristine, but I have never been one for pristine craftsmanship. I love rough surfaces, and I love the process to show in the jewelry. Much of the modernist jewelry is irreverent—I use the word irreverent instead of sloppy—as far as the process is concerned. It was that hands-on, very direct approach, in addition to this wonderful design sense, which, again, came from the modern art movements. Most of the jewelers—not all of them, but most of them—lived either in New York or in Northern or Southern California and had access to museums, and these people were aesthetes. They would go to museums. They would see Miro's work; they would see Picasso's work, and they would definitely infuse their designs with that sensibility.   Sharon: Do you think that jumped out at you, the fact that they were inspired by different art movements, because you studied art history? You teach it, or you did teach it at one time?    Toni: No, just history of jewelry. I majored in art history, but I've never taught art history. I've taught history of jewelry. We can argue about whether jewelry is art or not, but history of jewelry is what I've taught.   Sharon: I've taken basic art history, but I couldn't tell you some of the movements you're talking about. I can't identify the different movements. Do you think it jumped out at you because you're knowledgeable?   Toni: Yes, definitely, because I would look at Art Smith and I would say, “That's Biomorphism.” I would see it. It was obvious. I would look at Sam Kramer and I would say, “This is Surrealism.” He was called a surrealist jeweler back in his day, when he was practicing and when he had his shop on 8th Street. I would look at Rebajes and I would see Cubism. Of course, it was because I was well-versed in those movements, because what I was always most interested in when I was studying art history were the more modern movements.   Sharon: Did you think you would segue to jewelry in general? Was that something on your radar?   Toni: That's a very interesting question because when I was in college, I had a nucleus of professors who happened to have come from Cranbrook.   Sharon: I'm sorry, from where?   Toni: Cranbrook School of Art.   Sharon: O.K., Cranbrook.   Toni: I actually took a metalsmithing class as an elective, just to see what it was because I was so interested in jewelry, although I was studying what I call legitimate art history. I was so interested in jewelry that I wanted to see what the process was. I probably was the worst jeweler that ever tried to make jewelry, but I learned what it is to make. I will tell you something else, Sharon, it is what has given me such respect for the jewelers, because when you try to do it yourself and you see how challenging it is, you really respect the people who do it miraculously even more.    So, I took this class just to see what it was, and the teacher—I still remember his name. His name was Cunningham; I don't remember his first name. He was from Cranbrook, and he sent the class to a retail store in New York on 53rd Street, right opposite MOMA, called America House.   Sharon: Called American House?   Toni: America House. America House was the retail enterprise of the American Craft Council. They had the museum, which was then called the Museum of Contemporary Crafts; now it's called MAD, Museum of Arts and Design. They had the museum, and they had a magazine, Craft Horizons, which then became American Craft, and then they had this retail store. I went into America House—and this was the late 1960s—and I knew I had found my calling. I looked at this jewelry, which was really fine studio jewelry. It was done by Ronald Pearson; it was done by Jack Kripp. These were the people that America House carried. I couldn't afford to buy it. I did buy some of the jewelry when they went out of business and had a big sale in the early 1970s. At that time I couldn't, but I looked at the jewelry and the holloware, and I had never seen anything like it. Yes, I had seen Native American that I loved, and I had seen Mexican that I loved. I hadn't yet seen modernist; that wasn't going to come until the early 1980s. But here I saw this second generation of studio jewelers, and I said, “I don't know what I'm going to do with this professionally, but I know I've got to do something with it because this is who I am. This is what I love.”    Back in the late 1960s, it was called applied arts. Anything that was not painting and sculpture was applied art. Ceramics was applied art; furniture was applied art; textiles, jewelry, any kind of metalwork was applied art. Nobody took it seriously as an academic discipline in America, here in this country. Then I went on to graduate school, still in art history. I was specializing in what was then contemporary art, particularly color field painting, but I just loved what was called the crafts, particularly the metalwork. I started to go to the library and research books on jewelry. I found books on jewelry, but they were all published in Europe, mostly England. There were things in other languages other than French, which I could read with a dictionary. There were books on jewelry history, but they were not written in America; everything was in Europe. So, I started to read voraciously about the history of jewelry, mostly the books that came out of the Victoria & Albert Museum. I read all about ancient jewelry and medieval jewelry and Renaissance jewelry. Graham Hughes, who was then the director of the V&A, had written a book, “Modern Jewelry,” and it had jewelry by artists, designed by Picasso and Max Ernst and Brach, including things that were handmade in England and all over Europe. I think even some of the early jewelers in our discipline were in that book. If I remember correctly, I think Friedrich Becker, for example, might have been in Graham Hughes' “Modern Jewelry,” because that was published, I believe, in the late 1960s.    So, I saw there was a literature in studio jewelry; it just wasn't in America. Then I found a book on William Spratling, this Mexican jeweler whose work I had collected. It was not a book about his jewelry; it was an autobiography about himself that obviously he had written, but it was so rich in talking about the metalsmithing community in Taxco, Mexico, which is where he, as an American, went to study the colonial architecture. He wound up staying and renovating the silver mines that had been dormant since the 18th century. It was such a great story, and I said, “There's something here,” but no graduate advisor at that time, in the early 70s, was going to support you in wanting to do a thesis on applied art, no matter what the medium. But in the back of my mind, I always said, “I'm going to do something with this at some point.”    Honestly, Sharon, I never thought I would live to see the day that this discipline is as rich as it is, with so much literature, with our publishers publishing all of these fantastic jewelry books, and other publishers, like Flammarion in Paris, which published “Messengers of Modernism.” Then there's the interest in Montreal at the Museum of Fine Arts, which is the museum that has the “Messengers of Modernism” collection. It has filtered into the Houston Museum of Fine Arts, Dallas, obviously MAD. So many museums are welcoming. I never thought I would live to see the day. It really is so heartening. I don't have words to express how important this is, but I just started to do it. In the early 1970s or mid-1970s—I don't think my daughter was born yet. My son was a toddler. I would sit in my free moments and write an article about William Spratling, because he was American. He went to Mexico, but he was American. He was the only American I knew of that I could write about. Not that that article was published at that time, but I was doing the research and I was writing it.   Sharon: That's interesting. If there had been a discipline of jewelry history or something in the applied arts, if an advisor had said, “Yes, I'll support you,” or “Why don't you go ahead and get your doctorate or your master's,” that's something you would have done?   Toni: Totally, without even a thought, yes. Because when I was studying art history, I would look at Hans Holbein's paintings of Henry VIII and Sir Thomas More, and all I would do was look at the jewelry they were wearing, the chains and the badges on their berets. I said, “Oh my god, that is so spectacular.” Then I learned that Holbein actually designed the jewelry, which a lot of people don't know. I said, “There is something to this.” I would look at 18th century paintings with women, with their pearls and rings and bracelets, and all I would do was look at the jewelry. I would have in a heartbeat. If I could have had a graduate advisor, I would have definitely pursued that.   Sharon: When you say you never thought you'd live to see the day when modernist jewelry is so popular—not that it's so surprising, but you are one of the leaders of the movement. When I mentioned to somebody, “Oh, I like modernist jewelry,” the first thing they said was, “Well, have you read ‘Messengers of Modernism?'” As soon as I came home—I was on a trip—I got it. So, you are one of the leaders.   Toni: Well, it is interesting. It is sort of the standard text, but people will say, “Well, why isn't Claire Falkenstein in the book? She's so important,” and I say, “It's looked upon as a standard text, but the fact is it's a catalogue to an exhibition. That was the collection.” Fifty/50 Gallery had a private collection. As I said before, they were at the forefront of promoting and selling modernist jewelry, but they did have a private collection. That collection went to Montreal in the 1990s because at that time, there wasn't an American museum that was interested in taking that collection. That book is the catalogue of that finite collection. So, there are people who are major modernist jewelers—Claire Falkenstein is one that comes to mind—that are not in that collection, so they're not in the book. There's a lot more to be said and written about that movement.   Sharon: I'm sure you've been asked this a million times: What's the difference between modern and modernist jewelry?   Toni: Modern is something that's up to date at a point in time, but modernist jewelry is—this is a word we adopted. The word existed, but we adopted it to define the mid-20th century studio jewelry, the post-war jewelry. It really goes from 1940 to the 1960s. That's it; that's the time limit of modernist jewelry. Again, it's a word we appropriated. We took that word and said, “We're going to call this category modernist jewelry because we have to call it something, so that's the term.” Modern means up to date. That's just a general word.   Sharon: When you go to a show and see things that are in the modernist style, it's not truly modernist if it was done today, it wasn't done before 1960.   Toni: Right, no. Modernist jewelry is work that's done in that particular timeframe and that also subscribes to what I was saying, this appropriation of motifs from the modern art movement. There was plenty of costume jewelry and fine jewelry being done post-war, and that is jewelry that is mid-20th century. You can call it mid-20th century modern, which confuses the issue even more, but it's not modernist jewelry. Modernist jewelry is jewelry that was done in the studio by a silversmith and was inspired by the great movements in modern art and some other inspirations. Art Smith was extremely motivated by African motifs, but also by Calder and by Biomorphism. It's not religious. There are certainly gray areas, but in general, that's modernist jewelry.    Sharon: I feel envious when you talk about everything that was going in on New York. I have a passion, but there's no place on the West Coast that I would go to look at some of this stuff.   Toni: I'll tell you one of the ironies, Sharon. Post-war, definitely through the 1950s and early 1960s, there must have been 13 to 15 studio shops by modernist jewelers. You had Sam Kramer on 8th Street and Art Smith on 4th Street and Polo Bell, who was on 4th Street and then he was on 8th Street, and Bill Tendler, and you had Jules Brenner, and Henry Steig was Uptown. Ed Wiener was all over the place. There were so many jewelers in New York, and I never knew about them. I never went to any of their shops. I used to hang out in the Village when I was a young teenager, walked on 4th Street; never saw Art Smith's shop. He was there from 1949 until 1977. I used to walk on 8th Street, and Sam Kramer was on the second floor. I never looked up, and I didn't know this kind of jewelry existed. In those days, like I said, I was still collecting Navajo.

Author Franny Moyle reveals ten things from the life and times of painter Hans Holbein and his work with the Tudors that will intrigue us. Connect with Franny: Twitter: @FrannyMoyle Connect with us: https://allthingstudor.com/ https://www.facebook.com/groups/AllThingsTudor https://www.facebook.com/TheDebATL

Emma and Christy explore the story of surgeon-saints Cosmas and Damian through paintings of the ‘miracle of the black leg' from c. 1370-1495 in Italy and Spain. These pictures bring up complicated ideas around visibility and race, surgery, and historiography. In this episode, we talk Blackness in early modern Europe, organ donation and race, the long history of systemic racism in the medical system, surgeon-historians, and looking at the past from a modern perspective. CLICK HERE TO VIEW THE IMAGES WE DISCUSS, as well as complete show notes, references, and suggestions for further reading. IMAGES DISCUSSED: Master of Los Balbases, A verger's dream: Saints Cosmas and Damian performing a miraculous cure by transplantation of a leg (c. 1495) Hans Holbein the Younger, The Ambassadors (1533) Joan Miró, A Star Caresses the Breast of a Negress (Painting Poem) (1938) Fra Angelico, The Healing of Justinian by Saint Cosmas and Saint Damian (c. 1438-1440) Matteo di Pacino, St. Cosmas and St. Damian (c. 1370-1375) Kara Walker, Gone: An Historical Romance of a Civil War as It Occurred b'tween the Dusky Thighs of One Young Negress and Her Heart (1994) Example of a 19th-century silhouette portrait: Mamma (c. 1834) Sano di Pietro, Madonna col Bambino Angeli e Santi, Predella con Storie dei Santi Cosma e Damiano (1444) School of Castile and Leon, Saints Cosmas and Damian Healing a Christian with a Leg of a Dead Moor (c. 1460-1480) Image of a dark-skinned man with a white nose: From the ‘Dissertation of Noses' in A Solution to the Question (1733) CREDITS: ‘Drawing Blood' was made possible with funding from the Experimental Humanities Collaborative Network. Follow our Twitter @drawingblood_ Audio postproduction by Sias Merkling ‘Drawing Blood' cover art © Emma Merkling All audio and content © Emma Merkling and Christy Slobogin Intro music: ‘There Will Be Blood' by Kim Petras, © BunHead Records 2019. We're still trying to get hold of permissions for this song – Kim Petras text us back!!

Author Franny Moyle discusses her book, The King's Painter: The Life and Times of Hans Holbein, and why the life and times of the Tudors are so vividly presented to us via his art. Connect with Franny: Twitter: @FrannyMoyle Connect with us: https://allthingstudor.com/ https://www.facebook.com/groups/AllThingsTudor https://www.facebook.com/TheDebATL

If you've ever been sucked into the world of Tudor England, whether by Wolf Hall, The Tudors, or one of the novels about Anne Boleyn, you've likely met Hans Holbein. Born in 1497, he learned to paint from his father, Hans Holbein the Elder, and went on to become arguably the finest portraitist of the 16th century. Now Holbein: Capturing Character, the first major show dedicated to the artist in the United States, is being held at the Morgan Library and Museum in New York City through May 15. Smarty Pants jetted to the Big Apple to bring you on an audio tour of the exhibition with Austėja Mackelaitė, the Annette and Oscar de la Renta Assistant Curator at the Morgan and a co-curator of the exhibition.Virtually follow along our stops on the tour:Erasmus of Rotterdam Images of DeathSir Thomas MoreRichard Southwell (and preparatory drawing)Simon George (and preparatory drawing)Portrait of a WomanGo beyond the episode:Take a virtual walk through Holbein: Capturing CharacterRead the first few sample pages of Hilary Mantel's letter to Sir Thomas More“The Story of a Stare Down”: Penelope Rowlands investigates how two antagonists from Tudor England ended up facing each other on Fifth AvenueYou should really (re)read the Wolf Hall TrilogyTune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek and sponsored by the Phi Beta Kappa Society.Subscribe: iTunes • Stitcher • Google PlayHave suggestions for projects you'd like us to catch up on, or writers you want to hear from? Send us a note: podcast [at] theamericanscholar [dot] org. And rate us on iTunes! See acast.com/privacy for privacy and opt-out information.