Podcasts about Italian art

Bear Claw Billie will say and do an awful lot of things for money! On today's episode of Fix My Carcast, they have to talk about The Deposition from the Cross while doing it like a Scream phone call!Here's how you can see the painting from episode 118: https://www.patreon.com/posts/make-painting-101883977Submit topics for the podcast (attached to your donation) at the show's GoFundMe: https://www.gofundme.com/f/fixable-auto-donate-3000Vote on episode gimmicks (and access bonus episodes & behind-the-scenes content) by signing up for Billie's Patreon: https://www.patreon.com/bearclawbillieIf you're already signed up, you can find the next episode's poll right here:https://www.patreon.com/posts/fmc-ep-145-poll-113497284Get FMC shirts, mugs, and other merch over on Billie's TeePublic: https://www.teepublic.com/t-shirt/33636950-fix-my-carcastContact Bear Claw Billie thusly!bearclawbillie@gmail.comthreads.net/@bearclawbillieinstagram.com/bearclawbillie

Italian Art Theft: A Deep Dive into Two of the World's Biggest Heists  Italy, often referred to as the cradle of Western civilization, holds an estimated 60 percent of the world's artistic treasures. With such a vast collection of art, it's no surprise that Italian art has long been a prime target for art thieves.  The reality is that art theft in Italy and across the globe is often part of a much larger criminal enterprise, sometimes even tied to organized crime, such as the infamous Sicilian Mafia. In this episode, we explore the world of art theft in Italy, the Carabinieri's fight to protect cultural heritage, and dive into two of the country's most significant art heists.

Today we're diving deep into one of the most iconic cities in Italy. As a favorite of art lovers, history buffs, and appreciators of beauty the world over, Florence almost needs no introduction. But behind the fact that the renaissance started here, behind all the contributions of the Medici and Leonardo and Michelangelo - there is the beating soul of Firenze.  My guests today are Michela Babini, President of The Place of Wonders; Claudio Meli, General Manager of my home in Florence, The Place, and Marco Cini, the owner of Arca Cashmere. While we dive deep and laugh a LOT, what you'll find that these three guests have in common is a deep love for craft, tradition, and of course, the city of Florence.  We dive into why the city is what it is today, why craftsmanship is so important to preserve in Italy, and how this crew can make your next trip to Florence truly magical.    Learn more at www.luxtravelinsider.com   Connect with me on Social: Instagram LinkedIn  

To learn more, please visit Laura Morelli's site.Show Notes:0:00 Laura Morelli  discussing the WWII era art looting1:15 genesis of writing about the looting of Florentine art collections in The Last Masterpiece 2:45 German Jewish artist Rudolph Levy as guest of German Art History Institute 4:30 Stolperstein for Levy5:00 perspectives in WWII Italy: museum officials, German expatriates and Allies8:30 German Eva Brunner and American Josephine Evans - characters in The Last Masterpiece 9:30 decisions on where to begin and end The Last Masterpiece13:30 decision to use fictional characters versus historical figures in book14:40 German Art History Institute Director Prof. Friedrich Kriegbaum16:00 Kriegbaum's participation in Hitler's 1938 tour of Florence18:25 Brunner's back story20:10 German photographer Hilde Lotz-Bauer who worked for Prof. Kriegbaum photographing Allied damage to historical monuments in Florence 24:15 Evans based on Women's Army Corp (WACs)28:25 women who worked with and supported the Monuments Men29:00 justice in terms of the individual actions and decisions that enabled the survival of art looted during WWII31:30 books by Robert Edsel and Ilaria Dagnini Brey32:15 survival bias 33:30 van Dyck painting33:40 Uffizi Director Eike Schmidt's work for Germany to return looted Dutch painting35:00 impact of propaganda during WWII38:10 Michelangelo's Secret Room with 16th C drawings 42:20 2024 release of book related to hiding places in Tuscan countryside in 1943-44Please share your comments and/or questions at stephanie@warfareofartandlaw.comTo hear more episodes, please visit Warfare of Art and Law podcast's website.Music by Toulme.To view rewards for supporting the podcast, please visit Warfare's Patreon page.To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com. Thanks so much for listening!© Stephanie Drawdy [2024]

Jane Adams, former director of Partnership Relations with Jane Fortune and Advancing Women Artists,  a non-profit organization that was dedicated to rediscovering, restoring, and exhibiting works by women artists found in Florence's Museums and State deposits, shares how she is continuing to raise awareness about forgotten artists and reclaim their rightful place in history.Jane explains how meeting Jane Fortune and Advancing Women Artists led to one of the most recent examples of lost art and also one of the most impressive. Sister Plautilla Nelli's (1524-1588) The Last Supper is the only known depiction of Christ's last meal by a female artist in the pre-modern age. The self-taught artist's massive canvas—about 21 feet long and 7 feet high—is one of the largest works by a woman artist of the pre-modern era in the entire world. Though women were banned from studying anatomy, Nelli defied conventions of the time by taking on a theme reserved for male artists and creating 13 life-size male figures. There are still so many questions and Jane helps clarify why some of these works were never considered masterpieces. A movement is happening now around Italy's women's art restoration and Jane will bring you into a history that is not just restoring the works of art, but also restoring women's place in art history. Over the past 10 years, over 70 works of art are now restored. When you think about it, art has always been used as a means of storytelling and has vastly enriched our lives. The world needs women to inspire us, to raise our spirits, and to serve as role models for our future generation of girls. A must listen! Only on Speaking of Travel! Thanks for listening to Speaking of Travel! Visit speakingoftravel.net for travel tips, travel stories, and ways you can become a more savvy traveler.

Atop the historic FIAT factory in Torino's Lingotto neighborhood and on the test track is Torino's latest contemporary art scene. The Agnelli Collection may have started out as 25 Baroque-to-modern masterpieces collected by tycoons Giovanni and Marella Agnelli, but  two decades after its opening, Pinacoteca Agnelli has a new programmatic vision that elevates women in art and maximizes the potential of its space. Director Sarah Cosulich joins Erica to talk about art in Torino.   Pinacoteca Agnelli   For show notes and more visit Ciao Bella  INSTAGRAM: @ericafirpo TWITTER  @moscerina  

B Santos grew up in a tropical paradise with a lively, intellectual family. Her love of art took her to New York, then to Germany, where she wrote a thesis on the changing depictions of food in art during the Renaissance.

In 1494 upon the expulsion of the Medici from Florence, Michelangelo Buonarotti left his native city for the Republic of Venice. His stay there was brief and mostly undocumented. Yet, close comparison of source material and stylistic analysis reveals that perhaps Michelangelo was more influenced by his time in Venice than previously considered. The master all'antica marble sculptor Tullio Lombardo had likely completed his masterpiece Adam the year before Michelangelo's arrival. Was the divine Michelangelo inspired by a Venetian Renaissance master before creating his own large-scale Bacchus, a marble nude figure modelled on antiquity? In this episode, we unpack the layers of influence that appear to manifest in Michelangelo's work as a potential result of Venetian influence. Instagram/Facebook: italian_renaissance_podcast Etsy: https://www.etsy.com/shop/ItalianRenShopGet additional content by becoming a Patron: patreon.com/TheItalianRenaissancePodcast Support the show

The conquest of Constantinople placed the Ottoman Empire at the center of the Mediterranean world. Sultan Mehmed II thrived under the cultural pluralism of his new court, procuring artists from both sides of his world: Italy and Persia. However, the Italianization of the Ottoman Empire is locked within Mehmed's reign, as the greater Ottoman court did not share his appreciation for European art and design. Gentile Bellini arrived in Istanbul around 1479. This episode looks at his experience and works produced during his stay, elaborating them in relation to Mehmed II and his artistic taste. Merch: https://www.etsy.com/shop/ItalianRenShopInstagram/Facebook: italian_renaissance_podcastFrom Secretary to CEOWelcome to "From Secretary to CEO", the podcast that takes you on a journey of personal...Listen on: Apple Podcasts SpotifyGet additional content by becoming a Patron: patreon.com/TheItalianRenaissancePodcast Support the show

In the 1970s, a cult started in Italy dedicated to creating the most beautiful artwork in the world. They built one of the most astonishing structures in the world. -- Join our Discord server! https://bit.ly/deepcutsdiscord -- Pick up some Deep Cuts T-Shirts and other merch! https://bit.ly/deepcutsmerch -- Get the official Deep Cuts shoulder patch! http://bit.ly/deepcuts_patch -- Listen to our album, a 9 song rock opera about the rise and fall of Napster! https://open.spotify.com/album/63C5uu1tkzZ2FhfsrSSf5s?si=q4WItoNmRUeM159TxKLWew Learn more about your ad choices. Visit podcastchoices.com/adchoices --- Send in a voice message: https://podcasters.spotify.com/pod/show/deepcutspod/message

In the 1970s, a cult started in Italy dedicated to creating the most beautiful artwork in the world. They built one of the most astonishing structures in the world. -- Join our Discord server! https://bit.ly/deepcutsdiscord -- Pick up some Deep Cuts T-Shirts and other merch! https://bit.ly/deepcutsmerch -- Get the official Deep Cuts shoulder patch! http://bit.ly/deepcuts_patch -- Listen to our album, a 9 song rock opera about the rise and fall of Napster! https://open.spotify.com/album/63C5uu1tkzZ2FhfsrSSf5s?si=q4WItoNmRUeM159TxKLWew Learn more about your ad choices. Visit podcastchoices.com/adchoices

If you're an art aficionado, museum fan, or looking for an interesting activity to do over the weekend, why not head over to a brand new art exhibition? 'The Grand Italian Vision: The Farnesina Collection'  — an Italian art exhibition curated by Achille Bonito Oliva is set to make its first-ever international debut right here in Singapore this February.  How significant is the exhibition to the arts and cultural scene in Singapore? And how will it enable cultural diplomacy between the two nations? On Culture Club, Drive Time's Elliot Danker and Timothy Go speak with Mario Andrea Vattani, Ambassador of Italy to Singapore and Brunei Darussalam to find out.See omnystudio.com/listener for privacy information.

Eccoci con il nostro appuntamento mensile d'arte con Sabrina. Cavalcando l'onda dell'immigrazione, faremo un viaggio storico su come queste opere siano arrivate fuori dall'Italia. Quindi oggi ci occuperemo di ‘cold case' di opere d'arte. Come sono arrivate queste bellissime opere nei Paesi stranieri?  Parleremo, ovviamente, della Gioconda; delle Nozze di Cana di Paolo Veronese; la Battaglia di San Romano di Paolo Uccello e della Donna con l'ermellino di Leonardo. Piccole sorprese su queste grandi opere, speriamo questa puntata vi sia gradita come lo è stato per noi. Buon ascolto! Dani & Lia ~~ Here we are with our monthly art appointment with Sabrina. On the wave of immigration, we will make a historical journey on how these works are outside Italy. We will talk about 'cold cases' of works of art. How did Italian art arrive in foreign countries? We will talk about the Gioconda; of the Marriage of Cana by Paolo Veronese, the Battle of San Romano by Paolo Uccello, and  Leonardo's Woman with an Ermine. Little surprises in these great works; we hope you enjoy this episode as much as we did. Happy listening!  

Artemisia Gentileschi an Italian painter. 

About Artemisia Gentileschi.

Contemporary art may be the last thing that comes to mind when you think of Rome, but gallerist Paulina Bebecka is out to change that.  In this episode, gallerist and director-at-large of the famed Postmasters Gallery, Bebecka joins Erica to talk contemporary art, NFTs, Rome and Italy.   For show notes and more visit https://ciaobella.co/podcast Ciao Bella INSTAGRAM: @ericafirpo TWITTER  @moscerina

We are shifting gears as I share my experiences on how the Renaissance fits into our modern world. Listen to these stories, some funny some not,  that help paint a picture of how the Renaissance is engaged by scholars, students, and tourists. I do not intend to show it in its glory, but rather the difficulties and tensions. Galleries in Italy are overcrowded. The process of art education is harmed by this. What is worse, many academics are in denial, or even hostile toward the Renaissance, especially in light of the Middle Ages. I will try to nuance how I have experienced this. ***When talking about the cathedrals, I meant to say Santa Maria del Fiore, not Santa Maria Novella. Begging your pardon. Instacart - Groceries delivered in as little as 1 hour. Free delivery on your first order over $35.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

Italy bans museum NFTs, London courts set a huge precedent, and Seth Green was only one of many in a multi-million dollar scam on this edition of the Non-Fungible News for Wednesday, July 13th, 2022 https://www.designboom.com/art/italian-government-bans-nft-sales-museums-cultural-heritage-07-12-2022/ (Italian Government Intervenes In Museum NFT Issue) https://www.vice.com/en/article/jgp8kd/seth-green-nft-theft-part-of-multi-million-dollar-scam-campaign-investigator-says (NFT Detective Finds Seth Green's Theft A Part Of Massive Money Laundering Scheme) https://www.thefashionlaw.com/uk-court-joins-new-york-state-court-oks-service-of-court-docs-via-nft/ (London High Court Allows NFT Subpoenas) https://www.bitmart.com/nft/en/home (The BitMart NFT marketplace) has officially launched!  For a limited time, verified NFTs from BitMart partners will be available, including auctions, mystery boxes, and ZERO TRANSACTION FEES. Instead of getting FOMO, keep listening to Non-Fungible News for more info on everything NFT-related. Are you looking to dive deeper into crypto? https://www.bitmart.com/en?r=besmart (Sign up for a BitMart account) TODAY and start trading NOW!  Are you already on BitMart and want to refer your friends AND make commissions off sales? Sign up now to the BitMart Referral program available https://www.bitmart.com/referral/en (HERE) Are you in the United Kingdom or Russia? We have new BitMart community experiences JUST for you!  https://www.bitmart.com/nft/en/home (Head to )https://twitter.com/BitMartUK (@BitMartUK) and https://twitter.com/BitMart_Russia (@BitMart_Russia) to join and learn how you can become a Bitmartian! Have some Non-Fungible News? Let us know on Twitter https://twitter.com/BitMartExchange (@BitMartExchange), and follow, like, or subscribe to all our social media for the latest updates. https://twitter.com/BitMartExchange (Twitter) | https://twitter.com/BitMartResearch (BitMart Research) | https://www.facebook.com/bitmartexchange/ (Facebook) | https://t.me/BitMartExchange (Telegram) | https://www.tiktok.com/@bitmart.exchange (TikTok) | https://instagram.com/bitmart_exchange?utm_medium=copy_link (Instagram) | https://discord.com/invite/RTT4vweX2X (Discord)

In this episode, Nathan shares exciting news for foreign investors who are considering buying property in Italy and how the current exchange rate will affect that. Nathan also discusses the FEE Blue Flag Beaches for 2022 and the new "All Roads Lead To Italy" Marketplace now has Italian art and decor available! Enjoy!

In this lecture, released on November 5, 2021, Babette Bohn of Texas Christian University discusses women artists in early modern Italy. Early modern Bologna was exceptional for its many talented women artists. Thanks to a long-standing tradition of honoring accomplished women, several attentive artistic biographers, strong local interest in collecting women's work, and permissive attitudes toward women studying with male artists who were not family members, Bologna was home to more women artists than any other city in early modern Italy. Bolognese women artists were unusual not only for their large numbers but also for their varied specializations and frequent public success. They painted altarpieces, nudes, mythologies, allegories, portraits, and self-portraits, creating sculptures, drawings, prints, embroidery, and paintings. This lecture challenges some common assumptions about women artists, suggesting productive approaches for future research. This is the twenty-fifth annual lecture offered by the National Gallery of Art in this endowed series named after Sydney J. Freedberg (1914–1997), the great specialist of Italian art.

Il pittore romano Simone Piccioni apre la sua prima mostra di dipinti in Australia.

L'Italian Theatre of Western Australia mette in scena a Perth la commedia brillante in due atti "Un giorno in ospedale" di Camillo Vitucci E con la regia di Rino Pellone. Una delle rare occasioni in Australia per vedere in scena attori italo-australiani.

È in corso il Giro d'Italia della storia dell'immigrazione italiana in Queensland, che ha già attraversato Abruzzo, Toscana e Lombardia e che il prossimo 10 ottobre sarà dedicato alla Campania.

Numerosi documenti indicano che Giuseppe Verdi desiderava mettere in scena il King Lear di Shakespeare. Fortunato Ortombina, sovrintendente e direttore artistico del Teatro La Fenice di Venezia, racconta come lo stesso Verdi avrebbe potuto distruggerne la partitura.

Nata in una famiglia di immigrati coreani, Isabelle Lee ha studiato l'italiano in Queensland grazie ad un professore amato da tutti gli studenti, e oggi ha fatto dell'Italia la sua seconda patria tanto da volerci andare a vivere e lavorare.

L'UNESCO a luglio ha approvato l'inclusione dei portici di Bologna nella lista del Patrimonio artistico mondiale da proteggere, la cui storia risale ad quasi mille anni fa. Un webinar approfondirà questa storia.

L'artista italo-australiana Julia Ciccarone è la vincitrice della sezione People's Choice dell'Archibald Prize.

The musical concerts mentioned at the end of the interview can be explored through this link. Below are two examples of concerts and Sir Norman Rosenthal's biography is beneath that. Norman Rosenthal was born in Cambridge, UK, in 1944, the son of Paul Rosenthal and Kaethe Zucker, who came to England in 1941 and 1939 respectively. He was educated at Westminster City Grammar School and the University of Leicester, where he graduated in 1966 with a degree in history. He undertook postgraduate studies at the School of Slavonic and Eastern Studies, as well as the Free University of Berlin. Norman Rosenthal organised his first exhibition in 1965 Artists in Cornwall at the Leicester Museum and Art Gallery in connection with the University Arts Festival. Since that time his professional career took him to Thomas Agnew & Sons, the well known firm of London art dealers, as librarian and researcher from 1966 – 1970; Brighton Museum and Art Gallery as exhibition officer from 1970 – 1971; Artist's Market, a non-profit making gallery in Covent Garden, as organiser; from 1973 to 1976 director of European art exhibitions at The Institute of Contemporary Arts, London, responsible for two festivals, one in 1974 devoted to contemporary German culture, which inter alia brought Joseph Beuys to London for the first time, where he made his famous blackboard environment Richtkräfte, now belonging to the Nationalgalerie Berlin. The other, in 1975, was devoted to contemporary Greek culture, which brought inter alia Jannis Kounellis to London. From 1977 –December 2007 Norman Rosenthal was Exhibitions Secretary of the Royal Academy of Arts, London, where he enabled and organised all loan exhibitions, including Robert Motherwell 1978; Post Impressionism 1979-1980; A New Spirit in Painting 1981; Painting in Naples 1981;  David Hockney: A Drawing Retrospective 1995; Sensation 1997; Joseph Beuys: The Secret Block for a Secret Person in Ireland 1999; Georg Baselitz 2007; and many more. Many of the above exhibitions were organised in conjunction with major museums, largely in Europe and in North America. Norman Rosenthal has been particularly associated with a series of exhibitions at the Royal Academy documenting the art of the 20th Century, including German art in the Twentieth Century 1985; British Art in the Twentieth Century 1987; Italian Art in the Twentieth Century 1989; Pop Art 1991; American Art in the Twentieth Century 1993. At the Martin Gropius-Bau, the leading exhibition venue in Berlin, Norman Rosenthal was jointly responsible for two ground-breaking exhibitions of contemporary art: Zeitgeist in 1982 and Metropolis 1991, as well as The Age of Modernism- Art in the 20th Century, 1997. In 2005 Norman Rosenthal was curator of the exhibition From Luther to the Bauhaus – National Treasures from Germany, for the Konferenz National Kultureinrichtungen [KNK], in collaboration with the Kunst – und Ausstellungshalle der Bundesrepublik Deutschland [KAH], Bonn. Appointments and awards include: 1985-2000 Member of the Board of the Palazzo Grassi, Venice 1987 Honorary Fellow of the Royal College of Art, London 1988 Chevalier de l'Ordre de Arts et Lettres of the French Republic 1989 Cavaliere Ufficiale of the Italian Republic 1993 Bundesverdienstkreuz of the Federal Republic of Germany 1994-1998 Opera Advisory Board, Royal Opera House, Covent Garden 2002-2012 Appointed to Board of Trustees, Thyssen Bornemisza Foundation, Madrid 2003 Officier de l'Ordre des Arts et Lettres of the French Republic 2003 Honorary Degree of Doctor of Letters [D, Litt] University of Southampton 2004-2007 Member of Board of Trustees, Baltic Centre for Contemporary Art, Gateshead 2005 Member of Comité Scientifique, Réunion des Museés Nationaux, Paris 2006 Honorary degree of Doctor of Letters [D, Litt] University of Leicester 2006 Member of the Order of the Aguila Azteca of the Federal Republic of Mexico

Giovedì mattina è giunta in Australia la triste notizia della scomparsa del direttore d'orchestra Gianluigi Gelmetti, musicista molto noto e ammirato negli ambienti culturali di Sydney per avere diretto l'Orchestra Sinfonica per un lungo periodo, divenendone anche il direttore artistico e musicale per un quinquennio.

What you'll learn in this episode: Why Marie-José developed the Marzee Graduate Prize to help young jewelry artists How she secured the historic building her gallery and apartment are located in Who Marie-José's favorite artists are, such as Dorothea Prühl Why the term “art jewelry” is redundant How the pandemic inspired Marie-José to look closer to home for exhibition ideas About Marie-José van den Hout Born in Roermond in the Netherlands, Marie-José van den Hout grew up in a family of three generations of ecclesiastical gold- and silversmiths. It was in the workshop of her grandfather, a renowned craftsman who specialized in repoussé and chasing, that her passion for gold grew and flourished. Alongside two of her brothers, Marie-José worked in her father's studio before studying gold- and silversmithing and then fine art at the Academy of Fine Arts in Maastricht. She established Galerie Marzee in Nijmegen in 1979 and was honored with the title of Officer of the Order of Oranje-Nassau at the gallery's 40th anniversary celebrations in June 2019. Additional Resources: Website Instagram Facebook Openingstijden / opening hoursdi-vr 10.00-18.00 uur, za 10.00-17.00 uur Tue-Fri 10am-6pm, Sat 10am-5pm Photos: Otto Künzli, Quidam XVIII, 2019, brooch; Corian, plastic, operculum, acrylic paint, steel, 75 x 87 mm  Rudolf Kocéa, Tears, 2019, necklace; fine silver, enamel, stainless steel, pendant: 80 x 110 x 20 mm, L 600 mm  Barbara Paganin, Rose, 2017, necklace; polymethylmethacrylate, oxidised silver, gold, 200 x 200 x 20 mm    Vera Siemund, untitled, 2019, necklace; enamelled copper, copper, steel, silver, 100 x 60 x 40 mm  Dorothea Prühl, necklace, Raben im Kreis (Ravens in a circle) 2020, titanium and gold    Transcript: Located in a former grain warehouse on the banks of the River Waal in the Netherlands, Galerie Marzee is the largest (and some would say the most influential) art jewelry gallery in the world. The gallery was founded in 1979 by Marie-José van den Hout, who has spent her lifetime immersed in jewelry, goldsmithing, and art. She joined the podcast to talk about the exhibitions she's working on now, why she dedicates so much time to helping art and jewelry students, and how an exhibition of combs put Galerie Marzee on the map. Read the episode transcript below.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is Marie-José van den Hout, founder and owner of Galerie Marzee, the world's largest art jewelry gallery. The gallery is located in the Netherlands. Marie is a highly regarded leader in the field of art jewelry and has an interesting story, which we'll hear about today. Marie-José, welcome to the podcast. Marie: Thank you. Sharon: Tell us about your jewelry journey. You studied metalsmithing. When did you start liking art jewelry or jewelry? Marie: I started at eight, I think. Well, my journey started when I was four or five years old. My great-grandfather, although I never knew him, and my grandfather and my father were gold and silversmiths, but they didn't make jewelry; they made objects for Roman Catholic churches. I grew up with all these objects, which now are exported from Europe to America because there are too many and museums can't have them anymore. Anyway, when I was four years old, my father made a ring for me, and I was very proud of that ring. I was not interested in jewelry. He sometimes made rings for friends or for my mother, but he made a ring for me when I was a child and I took it. I was allowed, against his wishes to be honest, to take it to kindergarten. In the class, I very proudly showed this ring. At the time, those classes were huge, 40, 50 children, so it went around the class and it never came back to me, the ring. I was very shy; I didn't dare say anything to the teacher, so I went home without a ring. Many years later, I had an exhibition with Manuel Vilhena. He's a Portuguese jeweler. He had his exhibition and he made a ring from a string, just a simple string, and he said, “This is your ring. I know why you started the jewelry gallery; because you're still looking for your ring.” I found this such a beautiful story.  So, my journey started when I was four, but to be honest, it didn't really, because I was not interested in jewelry at all, not a bit. I always used to like drawing and painting. In those times, you learned to do those crafts at home, and the best teachers are your parents. At the academy where I went in Maastricht, they once asked my father—they wanted him to be a teacher at the academy, and he said, “No, no, no, no, I'm not interested.” But then we, my two brothers and me, went to the academy. We had to, because you were not allowed to work as a gold and silversmith and make pieces when you didn't have the—what do you call this? The mark you have.  Sharon: The hallmark? Marie: Yes, you had to go to the academy to get this hallmark. We did go there every day, the three of us by car. It was two hours' drive from our home, but in the end, it turned out I was not that interested, so I changed direction and went to painting and sculpture. Sharon, there is something I'm not that proud of. I met a man—I was 20, 21—my first boyfriend, who I thought was such a fantastic artist and painter that I stopped doing that altogether and I returned to gold and silversmithing. In the end, we worked at home designing, doing all the crafts.  As a child, I loved to go to my grandfather. He was very well-known for making those figures in gold and silver, and he was invited all over the world, all over Europe to restore church treasures. Although we are Dutch, my father was born in Cologne, because my grandfather at the time worked in Cologne restoring the treasury of the Dome of Cologne. My aunt was born in Brussels in Belgium, where my grandfather worked for the Dome of Brussels, and so on. He worked in Paris. At the same time, what he did—I loved my grandfather—after his work, he was always sitting in museums. You know those people who are sitting there and copying famous paintings? I once went to Paris to a museum, and I saw a painting and thought, “No, this can't be. My grandfather did this.” It turned out it was a famous painting by Monet. So, my life, my youth, was all in art, in gold, painting and silversmithing. But in the end, I didn't do all those things because I married, and within a year I had three children because I have twins. Sharon: Not much time between. Marie: Not that much. Sharon: With everything else, yeah. Marie: In the meantime, my father had died, and my two brothers didn't make those church things anymore. There was not much interest in those at the time, so they turned to jewelry. Both made jewelry, but my younger brother—I liked him very much; we had a very good relationship—he asked me, “I think you could be a very good shopkeeper and I would like to start a shop in Roermond.” He lived in  Roermond, which is 100 kilometers south of Nijmegen, and he had several shops already in Holland. I said, “O.K., I'll do this. It's possible do this while having children.” So, I did this for some time. It was modern jewelry, but not the kind I was interested in.  At the time, I visited another gallery, and I have to confess I was much more interested in the sort of art jewelry there. So I changed my policy; I went everywhere to look at this sort of jewelry. In the end, my brother was not so happy with my change of thought, and he said, “I don't want you to have my jewelry anymore,” which, Sharon, was a shame, because it was good jewelry. It sold very well. It was mostly gold and diamonds, but in a modern way. So, suddenly I could hardly survive, because the sort of jewelry we are dealing with now is very hard to sell. Sharon: I'm sorry—did you say very hard to sell? Marie: Very hard to sell, yes. It's really difficult. Anyway, I worked very hard, 12 hours a day. I was always working. My children were complaining. They said to me—I have three children—and they said, “Mom, you hear me, but you're not listening.” Now, they're proud of me, and two of them, when I stop, will carry on with the gallery. This is more or less the beginning of this journey. In the very beginning, the work I showed looked like what Galerie Ra showed. In the end it was completely different, because I traveled through Europe, traveled to academies, traveled to artists and so on, and I had my complete own style. It's what I'm doing now. Sharon: So just in case people don't about Galerie Ra, can you tell us a little bit about that? Marie: Galerie Ra in Amsterdam was a small gallery funded by Paul Derrez and Louis Martin, two of them. Later on Paul carried on on his own, and last year, after I think 40 years, he stopped with his gallery. He had to rent a shop in Amsterdam, and once every five years you have to have a new contract, and he thought, “This is too long for me. In the meantime, I can't stop because I still have to pay the rent.” So, he stopped, and last week on Koningsdag, King's Day, he got a medal from the king. He is an officer in the Order of Orange-Nassau; that is how our kingdom is called. I had this honor two years ago with the 40th anniversary of the gallery. In 2019, I also got this order. You can compare it with OBE in Britain. Sharon: Wow!  Marie: It is sort of like that. It's a huge medal. If people would have asked me, “Would you be interested in having anything like this?” I would say, “What nonsense. No, please, no,” but at the anniversary in 2019— Sharon: The 48th anniversary. Marie: I was so surprised and I was so proud. Sharon: That's quite an honor, wow! Marie: It was really nice. They said, “We were so frightened you would say”—I told you I can be quite undiplomatic—“Oh, what a horrible medal,” because it's not a very nice design. It's old, of course, but I didn't say it. I was very honored. All of this was based on the fact that I do so much for young artists. Sharon: You do. Marie: With the annual graduate show. Sharon: Tell us about the annual graduate show. It's so well-known.  Marie: I started this 30 years ago. I'm now in this beautiful building. It's a huge building overlooking the River Waal, and it has four stories. At the time, I was in a smaller building, not that small really, but I wanted to do something completely different. I said, “I'd like to work with young people and see if I can guide them or travel with them in their development.” I started making exhibitions that were quite small. I had an academy in Amsterdam. I had Maastricht and Utrecht, and I think Holzheim in Germany. It was quite small, but it in end, it developed. Now, it's 740, 750 schools from all over the world. Mostly there are between 17 and 19 participants, and all the floors of the gallery are full of young graduate work.  What can I say about this? In the beginning, there was just the show and the opening. Later on, 10 years ago, I started having a symposium on Monday. The participants came to Holland from everywhere, from America, from Australia, from Japan. So then on Monday, all the participants showed their work to their colleagues. There was this huge show, and, for instance, the first artist took one of her or his pieces out of the show, put it on the next graduate—so he or she was the model—and then they started talking about the work. It went on and on, sort of like—what do you call it?—it went from one to the other. Of course, they were not used to talking in public, so it was quite emotional. People were very nervous, but it was heartbreakingly beautiful. Also the fact that they came from all over the world, it was really something. People traveling from America, it's not that expensive to travel to Holland, but from Australia, it's a really expensive trip. From Japan it's really expensive, so it's very good they came.  Then 10 years ago, I started to award the Marzee Prize, the Marzee Graduate Prizes. They were awarded to six to eight people, but sometimes there was so much beautiful work that I had 10 people. The prize consisted of a workshop in Ravary, an estate in Belgium. Some friends of mine built a large workshop there. It's paradise, where they can work for a whole week. Everyone has a bedroom and we cook together; we talk together. It's working deep into the night; also drinking deep into the night. Unfortunately, last year we didn't have this workshop. We are not allowed to travel. This year there will probably not be a workshop, either, so that's a pity. The borders are still closed. We are not allowed to travel to Germany, which from here is only five kilometers. Belgium is a bit further, but we are not allowed.  A few years ago, also to try to help young people, I started Intro in Amsterdam. My son, who you just saw, has studied in Amsterdam. He's a lawyer. I rented a place for him 30 years ago. I still have that place, but it was redone two years ago and made into a gallery workshop. In 2019, I was awarded another prize, Gallerist of the Year 2019 by RISD, Rhode Island School of Design.   Sharon: Wow!  Marie: Yeah, maybe you didn't know that.  Sharon: Now it's coming back. Yes, I do remember that. Marie: It was a real surprise. It was very nice. I had to travel to RISD because they set up a show for me in the museum. Then Tracy, the head of the department, said, “I would like you to participate and organize everything in Amsterdam at Intro. I would like for you to run this gallery for three years.” I was the Gallerist of the Year for three years, and we started to do this. The board liked it very much, so for a year we have had two internships there. You can live there; you can work there. It's a beautiful workshop and a beautiful gallery. They make exhibitions with the graduates, but last year there was nothing because they had to return to America. They were not allowed to come here, but probably in August or September there will be two people from RISD again. Not everyone was allowed to participate in Amsterdam at Intro. We selected 20 people per year who could show their work and have exhibitions in Amsterdam. I hoped it would help, but we still have to see because it was interrupted by this horrible Covid disaster. That's my graduate show. There is much more to it.  Sharon: Administering something like that is such a big task. Coming from a traditional background of jewelry and fine art, what attracted you to art jewelry? How did you transition? Marie: The jewelry my brother made was not so far from what you call art jewelry. I'm not such a fan of the term art jewelry, although I don't know what else we should call it. I don't know. Jewelry was not only the thing I did. When the gallery existed for 10 years, I made an exhibition of combs. Sharon: Clothes? Marie: Combs, to comb your hair. Sharon: Combs, O.K. Marie: I did this because I thought a comb is a piece you can use, and I had objects in the gallery you could use. I also sometimes had exhibitions with fine arts, and I had jewelry. I had all three in the small gallery at the time, so I thought a comb has all those elements in it. It's graphic, you can use it as a utensil, and you can wear it as a piece of jewelry. I asked 400 artists in the whole world to make a comb, and I selected 80 pieces for a traveling show. This was really the start of the gallery, because I had a fantastic graphic designer who made a book for it. I had an interior designer who made huge showcases for it. I traveled to museums to ask if they would be interested to have the exhibition after it had been in my gallery. I had the luck that I went to Rotterdam to a famous museum, Boijmans van Beuningen, and they said they would gladly have the exhibition, but they wanted it as a premiere. That was not what I wanted, because I wanted it for my 10thanniversary, and then they said, “No, we want it first.” It was a very good decision to do this, because after that, all the newspapers were full, all the magazines were full, and all the museums wanted to have this exhibition. I have had this exhibition in Tokyo, in Cologne, in Frankfurt, in Pforzheim. My name was there, and then I decided to buy 40 of those pieces. They are now in my collection. My collection is more than 2,000 pieces, I think, and they mirror the history of the gallery. That exhibition was the real start of the gallery. That's when it started to become international. Sharon: For anybody who hasn't been to the current gallery, the building is incredible. It's worth going just to see the building itself. How long have you been in that building? Marie: This is a building channeled with history. There is a history to this building. The town of Nijmegen owns the building, and it used to be a grain warehouse in the beginning of the 20th century. It's around 1900 or even older. They wanted to tear it down to have a hotel here, a Holiday Inn, if you can imagine, but there were some parties in town who wanted culture in this building. I had to fight Holiday Inn. I remember very well, Sharon, that Holiday Inn's director called me and said, “Ms. Van der Hout, why don't you let us buy the building and you can have the ground floor?” Sharon, you know those hotels that have a gallery on the ground, those galleries are mostly horrible. In the end, I won the fight. In 1992, the building was mine; I bought it, but it was ruined. I showed the architect the building, and we had to climb on ladders because the town had decided to tear it down and everything was taken out. The wooden floors were taken out. The only thing left were the beams and those beautiful walls, of course, but that was all. I climbed on that ladder and I fell down and broke my back. Sharon: Oh my gosh! Marie: I lost part of my memory, which is sometimes annoying. On the whole, it's O.K., but I broke my back. I could have been in a wheelchair. When I fell down, I woke up after a half hour or an hour and walked to my art gallery. That seemed a bit strange, so they called a doctor and ambulance and I was taken to the hospital. They said, “You're O.K. You can go because you walked,” and I said, “No, I can't get up anymore.” Then I had this scan and they saw that my back was broken in three places. Sharon: Oh my gosh, you got up and walked! Marie: I was in a cast for a long time. I thought, “Maybe this is too big a task for me. Maybe this was a warning.” Then I thought, “Oh no, I'm going to build an elevator so everyone who is in a wheelchair can see all the floors.” Every day I'm glad I made that decision. Sharon: The building is so fabulous. Did you have a vision for what you wanted? I'm sure you worked closely with the architect, but what was in your mind? Marie: I had a bit in my mind, but my ideas at the time were that it should be wide and so on. I had a fantastic architect, a really fantastic architect, and he didn't want it to be wide; he wanted the walls as they were. We have concrete floors because it was the only possibility. Thanks to this architect—he was a very well-known Dutch architect, by the way, because the town said, “We want this to be a fantastic architectural place. You can invite three architects and we'll pay for that, but the architect you take, you will have to pay him yourself.” They never paid those other architects, by the way, but never mind. I'm so very glad with this architect, and sometimes I see him. Two years ago, he was married for I don't know how many years, and he said, “Marie, I want to go visit the buildings in Holland I'm most proud of”—there are several museums he built—“and you have one of those buildings. If it's O.K. with you, I'd like to have a party here.” He said, “You used it so well. It's so well done now.” I travel a lot—not at the moment, of course—but every time I come home to my building, I feel relieved.  Sharon: It's home.  Marie: It's not only home, it's my first building I remember very well. Once I went on a holiday, and I came back home and I stood in front of my first gallery. I was still in my car in front of the first gallery, and I said to someone, “I don't want to get out. I don't want to do it anymore.” Here, every time I come back, it's rest and peace; it's fantastic. I don't know. Sharon: It is an amazing building  Marie: And inside it's fantastic, of course.  Sharon: You're in a fabulous location. I want to let people know when they go to the gallery, they may need a lot of time because you have a lot of—it's not one small gallery. Marie: No, it's not. I started collecting from the very beginning. I always bought something from my exhibitions, because if people didn't do it, I had to do it. I have a huge collection, but the pieces I have from the beginning are maybe not that interesting. Since then, I have the best pieces. It's fantastic. I have a huge collection of Dorothea Prühl, the necklace I'm wearing now— Sharon: Say the name again. Marie: Dorothea Prühl. Sharon: Dorothea Prühl. It's a fabulous necklace made of wood. Marie: Yeah, there was an exhibition two years ago in New York. Do you know Nancy and Georgio? Sharon: No. Marie: They have the Magazzino, the museum for Italian Art near New York. It's a fantastic, beautiful museum. Anyway, they had an exhibition about arte povera in New York, and there was a famous artist—I can't remember the name; that's my memory—who gave a talk there. The sculptor was there, a famous artist from Italy, and he came to me and said, “You have a fantastic necklace.” It was this necklace. I told Dorothea, of course, because that's a famous sculptor and all her work is like this. There's something else which may be interesting; you know I'm working with schools. Sharon: No, tell us about that. It doesn't surprise me, but tell me about that. Marie: Apart from the private shows. Dorothea Prühl, for instance, she is from Eastern Germany. Sharon: I just want to interrupt, because some people listening have never heard of Dorothea Prühl, who is one of the leading and most well-established art jewelers. Continue, I'm sorry. Marie: She was teaching in Halle in former Eastern Germany. I got to know her work because I went to an exhibition in Halle with her and her class and another teacher. I saw the work and thought, “I would like to have this in the gallery.” The well-known German artist who was there with me said, “There's no way she will do this. She doesn't like Wessies.” Do you know Wessies? People from the west, Western Europe. But I thought, “You know what? I'm going to call her.” So, I called her, and then came this voice. She was a heavy smoker, Sharon, and I said, “I want to make an appointment with you. Is that O.K?” “Oh, yes.”  It was sort of love at first sight.  Sharon: We understand. Marie: Sometimes you have this immediate connection, so I went there. The work she did with her students was fantastic, and then and there I decided I was going to do school exhibitions. I said, “I want you to have an exhibition with your whole class in the gallery for five years. Every spring you will have an exhibition.” They did, and it was always a beautiful exhibition. I bought a lot of pieces for the collection from this exhibition. After those five years, I asked Iris Eichberg. At that time, she was teaching at an academy, and I asked if she would be interested in working with us. She said, “I can't do it. I'm not happy with the level of what's being done here.” Then I decided I would go to the Royal College in London first, with Otto Kunzli in Munich. Otto Kunzli had a show here for five years with his students, also in spring. Then I started to make it a bit shorter, three years with the Royal College with Hans Stauffer. He was the head of the department. At the moment, I'm working with Nuremburg. This is our fourth year. At the end of this month, they will set up an exhibition, also a class exhibition. Do you know that I publish magazines of all the exhibitions? Sharon: Yes. Marie: And we always buy pieces. I really like to work with students. I really like to do this. Sharon: What is it that you like about it? Marie: I don't know, the way that they're open to things. I like that they‘re still developing. By the way, the only school where there were more boys in class was in Munich. In Holland, there was only one boy. In Munich, there were a lot of boys. Most schools just have girls, although in the end, the boys got famous.  Sharon: That's the way it is, yes. Marie: Yes, that's the way it is. Sharon: I was really interested to read that you don't like the term art jewelry. We call it art jewelry because, as you say, there's not another term, but why don't you like the term art jewelry? Marie: Because I think if you're talking about painting, you don't say art paintings or art culture or art design or arts this and that. It's a discipline like all other disciplines. You have paintings, and some are art and some are not. It's the quality that makes it art. It's sometimes not a quality we see now, but it may be that in a hundred years what we now define as art is not what they think of those pieces later on. I don't know. For me it's jewelry, although it's difficult because jewelry is not a well-respected art form. Sharon: Right. Marie: Not at all. Every day I still have to convince people that this is a full-blown art discipline. Sharon: Because you're on the front lines, what do you see as the future of this kind of jewelry? Call it avant garde jewelry, call it art jewelry. It's different than gold and diamonds, in a sense. Marie: It's different. The jewelry that sells best is still gold, unfortunately. Not unfortunately, because I love gold, but there is all gold. A few years ago, I was invited to make an exhibition with Vicenza in Italy. Vicenza is the gold town of Italy. It's where the gold industry is, where they make all those fashion jewelry pieces, and there is a museum. The director asked me, “Will you please make an exhibition for our art jewelry department?” They have design jewelry, fashion jewelry, and art jewelry. The one who made an exhibition before me was Helen Drutt, and she also made an exhibition in the art department. I thought, “Well, O.K., I'm going to make this exhibition, and I'm going to make it only with gold because I'll show them that there is different work you can make with gold.” She told me, “This is my best exhibition ever.” It was a beautiful golden arts jewelry exhibition in their museum. The last year of the exhibition, unfortunately, the last part, was during Covid. What can you do.  Sharon: You don't often see gold in a lot of the art jewelry galleries. Was it difficult to find pieces that you felt belonged in the exhibition? Marie: No. I showed pieces from my collection.  Sharon: Your personal collection? Marie: My personal collection. I have several beautiful golden pieces of Dorothea Prühl. I have several Dutch artists who work in gold. I have enough to show a lot of work. It was 50 pieces, I think. Sharon: O.K., wow!  Marie: I have some from the students from Holland, which reminds me there were two pieces, one big color piece from a student from Holland and one big brooch. Sharon: Do you see an increase in interest with a la carte jewelry and things made of alternative materials, like plastic or wood? Marie: I think this is returning in jewelry. You can make jewelry out of all sorts of materials, and for me, it doesn't really matter. The only thing I don't like so much in jewelry is plastic, because I don't like plastic very much, but for the rest it's fine. What I don't buy anymore is rubber jewelry because it disintegrates. I have rubber pieces in my collection, and they were made of horrible material. I didn't throw them out; I put them in envelopes and kept them, but no. It's difficult to get people interested in jewelry. One of the things I did to get people interested in it, I made a series of exhibitions in museums. It's called “Jewelry, the Choice of, and I followed with the name of the town. I did 10 of those exhibitions in Dutch museums, one in the European parliament in Brussels and another one, my best one, in St. Andrews in Scotland. That exhibition was magic.  What happens normally is that in Holland, the director of the museum selects 25 women and men who they want to come to the gallery. They come by bus for a whole day, and I select pieces from the collection. It's like a Tupperware party, but I want them to get interested in jewelry. Obviously, at St. Andrews that was not possible, that people would come by bus to Scotland. So, the director asked everyone to give her a photo, and she wrote something about the work people did so I could get to know who those people were. I found it very difficult to not see someone and not try something on. So what I did, I had these photos in the gallery for three weeks, and I spread them out on my top floor on this large table. Every day I walked past those photos, looked at the photos, and thought, “Who are you? Who are you?” Then the museum came to collect the pieces I selected for those 24 people. I have to admit I was quite nervous, because what if the people didn't like those pieces and said, “I don't want to wear this,” or “I will wear it, but I don't like it”? But I went there, and we had a meeting in one of the castles. Every quarter of an hour, someone came in and I was supposed to give them the piece of jewelry I selected for them, have them put it on and tell them something about this piece, about the artist. After that, they were interviewed for a movie; there was a movie made for this exhibition. I gave a big gold brooch to the first person who came in, a student from Holland, Christine Matthias, I went to her and said, “I'm giving you the sun,” and she had—how do you say it—goose bumps. Sharon: Goose bumps, yes. Marie: She said, “How do you know?” “How do I know what?” “Yesterday I saw the sun spinning.” O.K., that was number one. The next one was a man, and I gave him a silver brooch of a lizard, a beautifully made small brooch of a lizard, and his wife said, “Last year he wrote a poetry book about lizards.” I was flabbergasted, Sharon, and this went on and on. Not everyone had this reaction, but a lot did. The British people are good talkers, and I told everyone something about the piece of jewelry. Later on, as I said, there was a movie made, and they had to tell something about this piece. They were so well-spoken about it. They looked closely at those pieces. There was an understanding of what the artist had done. It was my best exhibition to promote jewelry with people. I am friends with the director; we eat together every year when there is a Collect in London—except this year, because there is no Collect. Those experiences make my life as a gallerist so beautiful, so exciting.  With this Covid disaster we had to stay home, so we had no visitors and the gallery was closed, and I thought, “You know what? I don't know many people in Nijmegen. I'm focused abroad; I'm focused on faraway places. Who do I know here on my street, for instance?” On the old street of Nijmegen—it's a beautiful street with fantastic houses—I hardly know anyone. I thought, “I'm going to make an exhibition with 25, 30 people, and I will keep it to my street.” So, now I'm making an exhibition called “In My Street.” A few hours ago, we had the first photographs with a photographer who lives on the street of people who have lived the longest on this street, a man and wife who have lived here for 60 years. We're doing that now, and we will probably make 35 photos and have an exhibition here. At this time last year, I invited the former director of the museum of the town who lived on this street. He's a very introverted man, and I went to him and said, “I'd like you to participate in this exhibition,” and he said, “No, no.” In the end, I convinced him he had to do it, and he said, “But only if the exhibition is in your place,” because he likes beauty. Last week I heard that he died. I want the photos to be taken of people in their own houses. He had this fantastic office in the front of his home, full of books and a huge desk, that was beautiful to photograph in, but he's not there anymore, so it's just— Sharon:Yeah, it's a shame.  Marie: Yeah, it's a shame, but I think it will be a beautiful exhibition, very near home. My idea now is this “In My Street.” I want other streets to make the same exhibition and come to the gallery. Everyone can see “In My Street” and have 25 people. We have a whole grid around town with everyone. Now I'm home on my own street. The first time I went to visit people, someone said to me, “Of course you don't know anyone. You never come out of your gallery.” It's not true, but I live on top of my gallery, so I go by elevator, get out on my terrace and go in my house.  Sharon: You put the pandemic to good use with this. Marie: Yes. Sharon: Marie, I could talk to you forever. Thank you so much. This is great, because it's so hard when you're at a show to talk to anyone for more than three seconds. It's great to hear your whole story, and thank you for sharing it with us. Marie: Thank you, Sharon. There's much more.  We will have images posted on the website. You can find us wherever you download your podcasts, and please rate us. Please join us next time when our guest will be another jewelry industry professional who will share their experience and expertise. Thank you so much for listening. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

Dall'emergere della distruzione di opere d'arte aborigene in Western Australia negli anni '90 al caso del quadro sparito dalla Pinacoteca di Bari, Andrea Candiani di Blackart projects ci aggiorna sugli ultimi sviluppi nel mondo dell'arte.

Il dipinto ha sbaragliato i precedenti record di vendita nel 2017 e poi è sparito dalla circolazione, sono molti i misteri che avvolgono l'opera d'arte. Un nuovo film tenta di trovare le risposte.

Dopo aver attraversato il globo in tempi di pandemia, dal 20 al 26 maggio Arte Arechi espone a Fremantle i quadri di acclamati artisti contemporanei.

Mentre a Londra un piccolo disegno di Leonardo da Vinci è in vendita da Christie’s per l'equivalente di più di 21 milioni di dollari australiani, Down Under ci si prepara alla ripartenza della stagione dell'arte.

In this new episode of the Museum of Femininity we will explore the life of another female art collector, who was also an eminent political leader in Renaissance Italy.Isabella d'Este (1474-1539) was the Marchioness of Mantua, who collected a variety of Ancient sculptures, medals and artefacts which she displayed in her Studiolo. Along with collecting classical works of art she also commissioned various paintings by the most notable Old Masters of the age including Leonardo da Vinci, Perugino, Mantegna and Titian. She was a forceful character who kept meticulous records and sent hundreds of letters with detailed instructions about how her studio was to be constructed, displaying a firmness but also the ability to persuade with flattery and charm.As well as her formidable connoisseurship she showed immense political prowess and often stepped into the role of leader during times of war.Sources https://isabelladeste.web.unc.edu/profile-of-isabella-deste/http://www.italianrenaissanceresources.com/units/unit-8/essays/isabella-deste-collects/https://www.youtube.com/watch?v=jdkbLv8vgYQ

Поводом 700 година од смрти Дантеа Алигијерија, у Италијанском институту за културу у Београду отворена је изложба под називом "Хипермодерни Данте- Илустрације Дантеовог дела широм света у периоду од 1983. до 2021. године".

Abigail Lutzen, pittrice cresciuta tra Uruguay e Australia, ha imparato l'italiano per comunicare con la famiglia abruzzese del suo compagno Sandro.

La Spagna blocca la vendita di un presunto quadro di Michelangelo Merisi, secondo alcuni critici dell'arte del valore di 150 milioni di euro.

Si conclude oggi la Dante 700 Week, il ciclo di appuntamenti in onore del Sommo Poeta, dopo l'apertura del Museo della Divina Commedia avvenuta ieri.

WGBD welcomes Dr. April Renee Lynch, a scholar of 15th-17th Century Italian renaissance art.  Her august publications and travel to the Vatican are a wellspring of information as to how art and theology are interdependent.  

Dorothea Rockburne (Canadian, b.1932) is a painter and a draughtswoman, as well as a mixed media and installation artist. Born in Montréal, Quebec, Rockburne began classic training in Painting, Drawing, and Sculpture in 1942 at the Ecole des Beaux-Arts, Paris, France, where she studied under the Abstract artist Paul Emile Borduas (Canadian, 1905–1960). After winning a scholarship, Rockburne studied at the Montréal Museum School, where she began to distance her artistic style from the classical manner she had been studying since a young age. Moses Martin Reinblatt (Canadian, 1917–1979), one of Rockburne’s teachers at the museum school, convinced her to apply to Black Mountain College in Asheville, NC, which was known for being the radical art school of the time. Rockburne attended Black Mountain College from 1950–1955, studying a variety of subjects including Painting, Music, Dance, Math, Theater, Linguistics, Philosophy, Literature, Writing, Poetry, and Photography. Rockburne moved to New York, NY after she graduated. Although she won the Walter Gutman Emerging Artist Award in 1957, Rockburne struggled with her art, and so she turned to dance and performance art for several years. During this time she took on some side jobs to support herself, including a bookkeeping job at the Metropolitan Museum of Art, NY, where she catalogued the Egyptian Antiquities collection. Rockburne took a great interest in the art of ancient Egypt from a young age, and she later incorporated this interest into her works entitled Egyptian Paintings (1979–1980). In 1963, Rockburne began assisting her friend and former schoolmate Robert Rauschenberg (American, 1925–2008). For the next five years Rockburne worked in Rauschenberg’s studio; she participated in various performances with other artists, including Claes Oldenberg (b.1929) in a work entitled Washes (1965) at Al Roon’s Heath Club in New York City. A year later, Rockburne was working in her own studio again. She incorporated mathematics into her art, inspired by dance and how the body moves through space. Rockburne produced her Set Theory installations, which were first shown in 1970 at the Bykert Gallery, NY, with this new inspiration. In 1972, Rockburne received a Guggenheim Fellowship and traveled to Italy, where she continued her studies in Italian Art, and began to merge her classical training into her work. In the early 1990s, Rockburne began to study Astronomy and frescoes, combining these interests to create a major fresco secco for SONY headquarters in New York City entitled Northern Sky, Southern Sky (1992–1993). In 2001, Rockburne participated in the comprehensive exhibition The Universe: Contemporary Art and the Cosmos, combining her knowledge and skill in Art, Music, Science, and Astronomy. She has received many awards and honors during her successful career including the National Endowment for the Arts grant (1974), the Witowsky Prize for Painting (1976), participation at the 1980 Venice Biennale, and a membership in the Department of Art at the American Academy of Arts and Letters (2001). https://www.dorothearockburne.com @tipntell tipntellpodcast@gmail.com Host & Cover Art: Cydney Williams @cydneywilliamsstudio Sound & Music: Ian Eckstein @ian_eckstein Listen on Breaker, Google Podcasts, Pocket Casts, Radiopublic, Spotify, Copy RSS, Anchor, Apple Podcasts, Youtube, & IGTV

In this painting analysis mini episode we will be looking at the 1620 painting Judith Slaying Holofernes by Baroque artist Artemisia Gentileschi. In the brutally realistic masterpiece we see the biblical heroine savagely behead the Assyrian general Holofernes in a frozen moment of violent chaos. This is perhaps one of the most visceral depictions of this subject, which has caused speculation that Artemisia Identified with the protagonist, as she herself had suffered sexual exploitation at the hands of a trusted family friend. In this episode we will be exploring this interpretation as well as Artemisia's style and background in addition to comparisons with other depictions of the same subject, to try and pinpoint why this one is so powerful.Visual ReferencesInstagram: @themuseumoffemininity Sources https://www.uffizi.it/en/artworks/judith-beheading-holoferneshttps://medium.com/thinksheet/how-to-read-paintings-judith-slaying-holofernes-by-artemisia-gentileschi-cade2f0c035ehttps://www.nationalgallery.org.uk/exhibitions/artemisiaWomen Artists by Flavia Frigeri

Restaurateur, Giorgio Casari and culinary historian, Massimo Montanari, on the first gospel of Italian food, Pellegrino Artusi's Science in the Kitchen and the Art of Eating Well

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