Podcasts about Rembrandt

1632 ist das Jahr, in dem Rembrandt van Rijn nach Amsterdam zieht, seinen Namen zur Marke macht und in zwölf Monaten 32 Gemälde schafft. Die Sonderausstellung „Rembrandt 1632 – Entstehung einer Marke" im Schloss Wilhelmshöhe in Kassel nimmt genau dieses Schlüsseljahr in den Blick. Im Gespräch mit Kurator Dr. Justus Lange und Kunsthistorikerin Marina Heß von Hessen Kassel Heritage entfaltet sich ein Rembrandt, der zugleich Künstler, Stratege und Unternehmer war. Themen sind Werkstattpraxis, Zuschreibung, der Vergleich mit Rubens und die Frage, was Originalität bedeutet - damals wie heute. Eine Folge über Kunst, Markt und die langen Linien menschlicher Ambition.

durée : 00:03:35 - Par Jupiter ! - par : Charline Vanhoenacker - Des œuvres de Picasso, Rembrandt ou Giacometti sont menacées par la guerre au Moyen-Orient. 250 œuvres ont en effet été prêtées par la France au Louvre Abu Dhabi, situé entre les tirs de missiles. (qui a payé 400 millions pour prétendre porter ce nom, "Louvre") Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:03:35 - Charline explose les faits - par : Charline Vanhoenacker - Des œuvres de Picasso, Rembrandt ou Giacometti sont menacées par la guerre au Moyen-Orient. 250 œuvres ont en effet été prêtées par la France au Louvre Abu Dhabi, situé entre les tirs de missiles. (qui a payé 400 millions pour prétendre porter ce nom, "Louvre") Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

In Part 3 of our Merkers Mine series, the clock is ticking. Under the Yalta agreements, the region containing the mine is slated to be handed over to Soviet control. Every gold bar, suitcase of SS loot, and priceless work of art must be moved to the American zone immediately. Enter Lieutenant George Stout, America's premier art conservation expert, and the legendary "Monuments Men." Descending into the pitch-black tunnels, they face an impossible logistical nightmare: safely extracting hundreds of delicate, priceless masterpieces—including works by Rembrandt and Manet. In a detail that reads like pure fiction, the American soldiers frantically wrap these uncrates paintings in thousands of abandoned German army sheepskin coats, garments originally tailored for the Nazis' disastrous 1941 winter invasion of Russia.Meanwhile, the operation to extract 250 tons of gold bullion goes into overdrive. It is a backbreaking, round-the-clock effort to haul thousands of unwieldy bags up a single, shuddering elevator shaft. What follows is a massive, heavily guarded overland transport featuring 10-ton trucks, military police battalions, and continuous P-51 Mustang air cover. But the most valuable discovery of the day might not be the gold itself. Financial expert Colonel Bernard Bernstein uncovers the meticulous internal ledgers of the Reichsbank's precious metals department—the smoking gun that documents exactly whose wealth was stolen, providing crucial evidence that will later be used to prosecute Nazi leaders at the Nuremberg trials.But this story is not just about staggering wealth; it is inextricably linked to unimaginable horror. This episode returns to the devastating aftermath of the Ohrdruf concentration camp liberation, detailing General Eisenhower's uncompromising order to force local German civilians to march through the camp and witness the atrocities committed in their name—an event that ended in the shocking suicide of the town's mayor. Today, the Merkers Mine is an adventure tourist attraction with laser light shows, but as we conclude this chapter, we are reminded that much of the Nazi wealth disappeared into the shadows, and the final accounting has never truly been settled. Listen in as we trace the treasure out of the darkness and prepare for the finale of this World War II prelude.

Maarten Hijink vertelt over zijn debuutroman Lichtval. Hij vertelt over zijn avontuurlijke hoofdpersonage Hendrickje Stoffels, de reis die zij na een dramatische gebeurtenis aflegde vanuit Bredevoort naar Amsterdam en hoe het voor haar was om bij Rembrandt in te trekken en een leven op te bouwen. Daarna geeft boekverkoper Anoinet Wisse in de Drvkkery in Middelburg mooie boekentips.   Boekentips:   Lichtval - Maarten Hijink - www.libris.nl/9789028453920 De grote schoonmaak - Rob van Essen - www.libris.nl/9789493399655   Leven in mootjes - Maud Vanhauwaert  Een haas in huis - Chloe Dalton - www.libris.nl/9789044660166   Wij komen in vrede - Bibi Dumon Tak en Annemarie van Haeringen - www.libris.nl/9789045132129 De mooiste van het land - Evelien De Vlieger - www.libris.nl/9789059961920  

Abstract: In this episode, Karin and Elizabeth discuss their experiences at Kingvention, a Michael Jackson fan convention. Karin explained her decision to skip this year's convention due to ethical concerns about AI-generated content using Michael Jackson's art and voice, comparing it to desecrating works by Shakespeare or Rembrandt. Elizabeth shared her experience, where she sold copies of her book "Dangerous Philosophies" and met with other fans and talked about the special guests, including Bill Wolfer, Hugo Huizar, and Seth Smith. They discussed the convention's exhibits featuring Captain EO memorabilia, costumes, and props, as well as the community's commitment to preserving Michael Jackson's artistic legacy. Elizabeth emphasised the importance of bringing together fans and academics to advance Michael Jackson studies, noting how the convention helped foster this community connection. REFERENCE AS:Merx, Karin, and Elizabeth Amisu. “Episode 92 – KingVention Special” Podcast, Michael Jackson's Dream Lives On: An Academic Conversation, 13 no. 4 (2026). Published electronically 03/06/26. https://michaeljacksonstudies.org/episode-92-kingvention-special Episode 92 – KingVention SpecialBy Elizabeth Amisu & Karin Merx Elizabeth Amisu, PGCE, MA, is editor of The Journal of Michael Jackson Academic Studies and author of The Dangerous Philosophies of Michael Jackson: His Music, His Persona, and His Artistic Afterlife. Find out more about Elizabeth here. Karin Merx, BMus, MA Art History, BA Cultural Philosophy, Classically trained Artist, Classically trained Musician, is editor of The Journal of Michael Jackson Academic Studies, and author of  A festive parade of highlights. La Grande Parade as evaluation of the museum policy of Edy De Wilde at the Stedelijk Museum Amsterdam, published with academic publisher Eburon. Find out more about Karin here. Our References and Where to Easily Find Them: Elizabeth Amisu, The Dangerous Philosophies of Michael Jackson: His Music, His Persona, and His Artistic Afterlife (Bloomsbury, paperback 2023) https://www.bloomsbury.com/uk/dangerous-philosophies-of-michael-jackson-9798765123645/ Karin Merx, 'Echoes without Presence: AI Michael Jackson, and the Crisis of Cultural Authenticity', The Journal of Michael Jackson Academic Studies (Nov. 18, 2025) https://michaeljacksonstudies.org/echoes-without-presence-ai-michael-jackson-and-the-crisis-of-cultural-authenticity/

In 1656, a young Amsterdam merchant was excommunicated by his Portuguese-Jewish community in the harshest terms it had ever used. Baruch Spinoza was accused of unspecified “horrifying heresies,” but the precise reasons for his expulsion remain a mystery. When he published his Theological-Political Treatise in 1670, which was condemned as “the most atheistic book ever written,” he began to reveal to the world what his heresies may have been. Yet ever since the eighteenth century, most readers and scholars have assumed that Spinoza was a pantheist—even a “God-intoxicated man,” as the poet Novalis put it. After all, how could a person whose books are suffused with talk of God be an atheist? In Spinoza, Atheist (Princeton University Press, 2026), Steven Nadler, one of the world's leading authorities on the philosopher, aims to settle the question and show that that's exactly what he was. Nadler makes a powerful case that there is no real divinity for Spinoza. God is Nature, and isn't an object of worshipful awe or religious reverence but can only be understood through philosophy and science. There is nothing supernatural—no mystery, ineffability, or sublimity. Spinoza does speak of “blessedness” and “salvation,” but these, too, are to be understood in natural and rational terms, as the peace of mind and happiness that come from understanding ourselves and the world. Whether Spinoza believed in God is a fascinating and enduring controversy. Spinoza, Atheist promises to transform our understanding of his views and to make clear just how radical a thinker he was and remains.  Steven Nadler is Vilas Research Professor and the William H. Hay II Professor of Philosophy at the University of Wisconsin–Madison. His many books include Rembrandt's Jews, which was a finalist for the Pulitzer Prize, Spinoza: A Life, Think Least of Death: Spinoza on How to Live and How to Die, and A Book Forged in Hell: Spinoza's Scandalous Treatise and the Birth of the Secular Age. Abe Silberstein is a Ph.D. student in the joint doctoral program in History and Hebrew and Judaic Studies at New York University.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In 1656, a young Amsterdam merchant was excommunicated by his Portuguese-Jewish community in the harshest terms it had ever used. Baruch Spinoza was accused of unspecified “horrifying heresies,” but the precise reasons for his expulsion remain a mystery. When he published his Theological-Political Treatise in 1670, which was condemned as “the most atheistic book ever written,” he began to reveal to the world what his heresies may have been. Yet ever since the eighteenth century, most readers and scholars have assumed that Spinoza was a pantheist—even a “God-intoxicated man,” as the poet Novalis put it. After all, how could a person whose books are suffused with talk of God be an atheist? In Spinoza, Atheist (Princeton University Press, 2026), Steven Nadler, one of the world's leading authorities on the philosopher, aims to settle the question and show that that's exactly what he was. Nadler makes a powerful case that there is no real divinity for Spinoza. God is Nature, and isn't an object of worshipful awe or religious reverence but can only be understood through philosophy and science. There is nothing supernatural—no mystery, ineffability, or sublimity. Spinoza does speak of “blessedness” and “salvation,” but these, too, are to be understood in natural and rational terms, as the peace of mind and happiness that come from understanding ourselves and the world. Whether Spinoza believed in God is a fascinating and enduring controversy. Spinoza, Atheist promises to transform our understanding of his views and to make clear just how radical a thinker he was and remains.  Steven Nadler is Vilas Research Professor and the William H. Hay II Professor of Philosophy at the University of Wisconsin–Madison. His many books include Rembrandt's Jews, which was a finalist for the Pulitzer Prize, Spinoza: A Life, Think Least of Death: Spinoza on How to Live and How to Die, and A Book Forged in Hell: Spinoza's Scandalous Treatise and the Birth of the Secular Age. Abe Silberstein is a Ph.D. student in the joint doctoral program in History and Hebrew and Judaic Studies at New York University.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

In 1656, a young Amsterdam merchant was excommunicated by his Portuguese-Jewish community in the harshest terms it had ever used. Baruch Spinoza was accused of unspecified “horrifying heresies,” but the precise reasons for his expulsion remain a mystery. When he published his Theological-Political Treatise in 1670, which was condemned as “the most atheistic book ever written,” he began to reveal to the world what his heresies may have been. Yet ever since the eighteenth century, most readers and scholars have assumed that Spinoza was a pantheist—even a “God-intoxicated man,” as the poet Novalis put it. After all, how could a person whose books are suffused with talk of God be an atheist? In Spinoza, Atheist (Princeton University Press, 2026), Steven Nadler, one of the world's leading authorities on the philosopher, aims to settle the question and show that that's exactly what he was. Nadler makes a powerful case that there is no real divinity for Spinoza. God is Nature, and isn't an object of worshipful awe or religious reverence but can only be understood through philosophy and science. There is nothing supernatural—no mystery, ineffability, or sublimity. Spinoza does speak of “blessedness” and “salvation,” but these, too, are to be understood in natural and rational terms, as the peace of mind and happiness that come from understanding ourselves and the world. Whether Spinoza believed in God is a fascinating and enduring controversy. Spinoza, Atheist promises to transform our understanding of his views and to make clear just how radical a thinker he was and remains.  Steven Nadler is Vilas Research Professor and the William H. Hay II Professor of Philosophy at the University of Wisconsin–Madison. His many books include Rembrandt's Jews, which was a finalist for the Pulitzer Prize, Spinoza: A Life, Think Least of Death: Spinoza on How to Live and How to Die, and A Book Forged in Hell: Spinoza's Scandalous Treatise and the Birth of the Secular Age. Abe Silberstein is a Ph.D. student in the joint doctoral program in History and Hebrew and Judaic Studies at New York University.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In 1656, a young Amsterdam merchant was excommunicated by his Portuguese-Jewish community in the harshest terms it had ever used. Baruch Spinoza was accused of unspecified “horrifying heresies,” but the precise reasons for his expulsion remain a mystery. When he published his Theological-Political Treatise in 1670, which was condemned as “the most atheistic book ever written,” he began to reveal to the world what his heresies may have been. Yet ever since the eighteenth century, most readers and scholars have assumed that Spinoza was a pantheist—even a “God-intoxicated man,” as the poet Novalis put it. After all, how could a person whose books are suffused with talk of God be an atheist? In Spinoza, Atheist (Princeton University Press, 2026), Steven Nadler, one of the world's leading authorities on the philosopher, aims to settle the question and show that that's exactly what he was. Nadler makes a powerful case that there is no real divinity for Spinoza. God is Nature, and isn't an object of worshipful awe or religious reverence but can only be understood through philosophy and science. There is nothing supernatural—no mystery, ineffability, or sublimity. Spinoza does speak of “blessedness” and “salvation,” but these, too, are to be understood in natural and rational terms, as the peace of mind and happiness that come from understanding ourselves and the world. Whether Spinoza believed in God is a fascinating and enduring controversy. Spinoza, Atheist promises to transform our understanding of his views and to make clear just how radical a thinker he was and remains.  Steven Nadler is Vilas Research Professor and the William H. Hay II Professor of Philosophy at the University of Wisconsin–Madison. His many books include Rembrandt's Jews, which was a finalist for the Pulitzer Prize, Spinoza: A Life, Think Least of Death: Spinoza on How to Live and How to Die, and A Book Forged in Hell: Spinoza's Scandalous Treatise and the Birth of the Secular Age. Abe Silberstein is a Ph.D. student in the joint doctoral program in History and Hebrew and Judaic Studies at New York University.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

In 1656, a young Amsterdam merchant was excommunicated by his Portuguese-Jewish community in the harshest terms it had ever used. Baruch Spinoza was accused of unspecified “horrifying heresies,” but the precise reasons for his expulsion remain a mystery. When he published his Theological-Political Treatise in 1670, which was condemned as “the most atheistic book ever written,” he began to reveal to the world what his heresies may have been. Yet ever since the eighteenth century, most readers and scholars have assumed that Spinoza was a pantheist—even a “God-intoxicated man,” as the poet Novalis put it. After all, how could a person whose books are suffused with talk of God be an atheist? In Spinoza, Atheist (Princeton University Press, 2026), Steven Nadler, one of the world's leading authorities on the philosopher, aims to settle the question and show that that's exactly what he was. Nadler makes a powerful case that there is no real divinity for Spinoza. God is Nature, and isn't an object of worshipful awe or religious reverence but can only be understood through philosophy and science. There is nothing supernatural—no mystery, ineffability, or sublimity. Spinoza does speak of “blessedness” and “salvation,” but these, too, are to be understood in natural and rational terms, as the peace of mind and happiness that come from understanding ourselves and the world. Whether Spinoza believed in God is a fascinating and enduring controversy. Spinoza, Atheist promises to transform our understanding of his views and to make clear just how radical a thinker he was and remains.  Steven Nadler is Vilas Research Professor and the William H. Hay II Professor of Philosophy at the University of Wisconsin–Madison. His many books include Rembrandt's Jews, which was a finalist for the Pulitzer Prize, Spinoza: A Life, Think Least of Death: Spinoza on How to Live and How to Die, and A Book Forged in Hell: Spinoza's Scandalous Treatise and the Birth of the Secular Age. Abe Silberstein is a Ph.D. student in the joint doctoral program in History and Hebrew and Judaic Studies at New York University.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In 1656, a young Amsterdam merchant was excommunicated by his Portuguese-Jewish community in the harshest terms it had ever used. Baruch Spinoza was accused of unspecified “horrifying heresies,” but the precise reasons for his expulsion remain a mystery. When he published his Theological-Political Treatise in 1670, which was condemned as “the most atheistic book ever written,” he began to reveal to the world what his heresies may have been. Yet ever since the eighteenth century, most readers and scholars have assumed that Spinoza was a pantheist—even a “God-intoxicated man,” as the poet Novalis put it. After all, how could a person whose books are suffused with talk of God be an atheist? In Spinoza, Atheist (Princeton University Press, 2026), Steven Nadler, one of the world's leading authorities on the philosopher, aims to settle the question and show that that's exactly what he was. Nadler makes a powerful case that there is no real divinity for Spinoza. God is Nature, and isn't an object of worshipful awe or religious reverence but can only be understood through philosophy and science. There is nothing supernatural—no mystery, ineffability, or sublimity. Spinoza does speak of “blessedness” and “salvation,” but these, too, are to be understood in natural and rational terms, as the peace of mind and happiness that come from understanding ourselves and the world. Whether Spinoza believed in God is a fascinating and enduring controversy. Spinoza, Atheist promises to transform our understanding of his views and to make clear just how radical a thinker he was and remains.  Steven Nadler is Vilas Research Professor and the William H. Hay II Professor of Philosophy at the University of Wisconsin–Madison. His many books include Rembrandt's Jews, which was a finalist for the Pulitzer Prize, Spinoza: A Life, Think Least of Death: Spinoza on How to Live and How to Die, and A Book Forged in Hell: Spinoza's Scandalous Treatise and the Birth of the Secular Age. Abe Silberstein is a Ph.D. student in the joint doctoral program in History and Hebrew and Judaic Studies at New York University. 

In 1656, a young Amsterdam merchant was excommunicated by his Portuguese-Jewish community in the harshest terms it had ever used. Baruch Spinoza was accused of unspecified “horrifying heresies,” but the precise reasons for his expulsion remain a mystery. When he published his Theological-Political Treatise in 1670, which was condemned as “the most atheistic book ever written,” he began to reveal to the world what his heresies may have been. Yet ever since the eighteenth century, most readers and scholars have assumed that Spinoza was a pantheist—even a “God-intoxicated man,” as the poet Novalis put it. After all, how could a person whose books are suffused with talk of God be an atheist? In Spinoza, Atheist (Princeton University Press, 2026), Steven Nadler, one of the world's leading authorities on the philosopher, aims to settle the question and show that that's exactly what he was. Nadler makes a powerful case that there is no real divinity for Spinoza. God is Nature, and isn't an object of worshipful awe or religious reverence but can only be understood through philosophy and science. There is nothing supernatural—no mystery, ineffability, or sublimity. Spinoza does speak of “blessedness” and “salvation,” but these, too, are to be understood in natural and rational terms, as the peace of mind and happiness that come from understanding ourselves and the world. Whether Spinoza believed in God is a fascinating and enduring controversy. Spinoza, Atheist promises to transform our understanding of his views and to make clear just how radical a thinker he was and remains.  Steven Nadler is Vilas Research Professor and the William H. Hay II Professor of Philosophy at the University of Wisconsin–Madison. His many books include Rembrandt's Jews, which was a finalist for the Pulitzer Prize, Spinoza: A Life, Think Least of Death: Spinoza on How to Live and How to Die, and A Book Forged in Hell: Spinoza's Scandalous Treatise and the Birth of the Secular Age. Abe Silberstein is a Ph.D. student in the joint doctoral program in History and Hebrew and Judaic Studies at New York University.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

In 1656, a young Amsterdam merchant was excommunicated by his Portuguese-Jewish community in the harshest terms it had ever used. Baruch Spinoza was accused of unspecified “horrifying heresies,” but the precise reasons for his expulsion remain a mystery. When he published his Theological-Political Treatise in 1670, which was condemned as “the most atheistic book ever written,” he began to reveal to the world what his heresies may have been. Yet ever since the eighteenth century, most readers and scholars have assumed that Spinoza was a pantheist—even a “God-intoxicated man,” as the poet Novalis put it. After all, how could a person whose books are suffused with talk of God be an atheist? In Spinoza, Atheist (Princeton University Press, 2026), Steven Nadler, one of the world's leading authorities on the philosopher, aims to settle the question and show that that's exactly what he was. Nadler makes a powerful case that there is no real divinity for Spinoza. God is Nature, and isn't an object of worshipful awe or religious reverence but can only be understood through philosophy and science. There is nothing supernatural—no mystery, ineffability, or sublimity. Spinoza does speak of “blessedness” and “salvation,” but these, too, are to be understood in natural and rational terms, as the peace of mind and happiness that come from understanding ourselves and the world. Whether Spinoza believed in God is a fascinating and enduring controversy. Spinoza, Atheist promises to transform our understanding of his views and to make clear just how radical a thinker he was and remains.  Steven Nadler is Vilas Research Professor and the William H. Hay II Professor of Philosophy at the University of Wisconsin–Madison. His many books include Rembrandt's Jews, which was a finalist for the Pulitzer Prize, Spinoza: A Life, Think Least of Death: Spinoza on How to Live and How to Die, and A Book Forged in Hell: Spinoza's Scandalous Treatise and the Birth of the Secular Age. Abe Silberstein is a Ph.D. student in the joint doctoral program in History and Hebrew and Judaic Studies at New York University.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

In 1656, a young Amsterdam merchant was excommunicated by his Portuguese-Jewish community in the harshest terms it had ever used. Baruch Spinoza was accused of unspecified “horrifying heresies,” but the precise reasons for his expulsion remain a mystery. When he published his Theological-Political Treatise in 1670, which was condemned as “the most atheistic book ever written,” he began to reveal to the world what his heresies may have been. Yet ever since the eighteenth century, most readers and scholars have assumed that Spinoza was a pantheist—even a “God-intoxicated man,” as the poet Novalis put it. After all, how could a person whose books are suffused with talk of God be an atheist? In Spinoza, Atheist (Princeton University Press, 2026), Steven Nadler, one of the world's leading authorities on the philosopher, aims to settle the question and show that that's exactly what he was. Nadler makes a powerful case that there is no real divinity for Spinoza. God is Nature, and isn't an object of worshipful awe or religious reverence but can only be understood through philosophy and science. There is nothing supernatural—no mystery, ineffability, or sublimity. Spinoza does speak of “blessedness” and “salvation,” but these, too, are to be understood in natural and rational terms, as the peace of mind and happiness that come from understanding ourselves and the world. Whether Spinoza believed in God is a fascinating and enduring controversy. Spinoza, Atheist promises to transform our understanding of his views and to make clear just how radical a thinker he was and remains.  Steven Nadler is Vilas Research Professor and the William H. Hay II Professor of Philosophy at the University of Wisconsin–Madison. His many books include Rembrandt's Jews, which was a finalist for the Pulitzer Prize, Spinoza: A Life, Think Least of Death: Spinoza on How to Live and How to Die, and A Book Forged in Hell: Spinoza's Scandalous Treatise and the Birth of the Secular Age. Abe Silberstein is a Ph.D. student in the joint doctoral program in History and Hebrew and Judaic Studies at New York University.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/secularism

Join us for this talk with Charlotte Bolland, Senior Curator, Research and 16th Century Collections at the National Portrait Gallery. Charlotte will discuss the recently opened exhibition Lives in Motion: Stories of Migration from the 11th Century to the Present Day. Dr Charlotte Bolland is Senior Curator, Research and 16th Century Collections at the National Portrait Gallery. Her role combines responsibility for the acquisition, research and interpretation of portraits dating from the sixteenth century, with co-ordination of research activity across the Gallery. She has curated a number of exhibitions, including ‘The Real Tudors: Kings and Queens Rediscovered' (2014), ‘The Encounter: Drawings from Leonardo to Rembrandt' (2017), and ‘Six Lives: The Stories of Henry VIII's Queens' (2024). She has also worked on a number of touring exhibitions with the Gallery, including ‘Faces of Change: Nature's Champions' (2019) and ‘Tudors to Windsors: British Royal Portraits' (2019-20). Ymunwch â ni ar gyfer y sgwrs hon â Charlotte Bolland, Uwch-guradur Ymchwil a Chasgliadau'r 16eg Ganrif yr Oriel Bortreadau Genedlaethol. Bydd Charlotte yn trafod yr arddangosfa Lives in Motion: Straeon Mudo o'r 11eg Ganrif hyd Heddiw a agorwyd yn ddiweddar. Mae Dr Charlotte Bolland yn Uwch-guradur Ymchwil a Chasgliadau'r 16eg Ganrif yn yr Oriel Bortreadau Genedlaethol. Mae ei rôl yn cynnwys bod yn gyfrifol am gaffael, ymchwilio a dehongli portreadau sy'n dyddio o'r unfed ganrif ar bymtheg, a chydlynu gweithgarwch ymchwil ar draws yr oriel. Mae hi wedi curadu nifer o arddangosfeydd, gan gynnwys The Real Tudors: Kings and Queens Rediscovered (2014), The Encounter: Drawings from Leonardo to Rembrandt (2017), a Six Lives: The Stories of Henry VIII's Queens (2024). Mae hi hefyd wedi gweithio ar nifer o arddangosfeydd teithiol gyda'r oriel, gan gynnwys Faces of Change: Nature's Champions (2019) a Tudors to Windsors: British Royal Portraits (2019-20).

Dans son atelier florentin, le peintre religieux Sandro Botticelli dessine les contours du premier nu féminin depuis 1 000 ans, un nu mythologique, la Naissance de Vénus, son tableau aujourd'hui le plus connu.Embarquez pour un voyage au cœur de la Renaissance italienne, à la découverte de l'un des chefs-d'œuvre les plus célèbres de l'histoire de l'art : La Naissance de Vénus de Sandro Botticelli.

Plongez dans l'histoire des grands personnages et des évènements marquants qui ont façonné notre monde ! Avec enthousiasme et talent, Franck Ferrand vous révèle les coulisses de l'histoire avec un grand H, entre mystères, secrets et épisodes méconnus : un cadeau pour les amoureux du passé, de la préhistoire à l'histoire contemporaine.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Közel száz évvel ezelőtt Szerb Antal pár év leforgása alatt írta meg két nagyszerű regényét, A Pendragon legendát és az Utas és holdvilágot. A két regény különleges, az olvasókat a mai napig megszólító világáról, Szerb személyéről és irodalomtudósi munkáiról is beszélgettünk a Nem rossz könyvek legújabb epizódjának élő, brunch-csal egybekötött felvételén a Hadik Kávéházban. Vendégünk Prieger Zsolt volt, aki nemcsak az Anima Sound System, hanem a Szerb Antal Társaság alapítója is, és sok éve szervez alternatív irodalomórákat, interdiszciplináris irodalmi esteket. A tartalomból: 00:00 Az első találkozások Szerb Antallal. Költőként tudós és tudósként költő, minimális verssel. Akinek koncepciója volt, de ADHD-s módra csapongott. 06:21 Ambivalenciák mindenfelé, és hogy nem tudod eldönteni, itt most van valami nagy mondás, vagy csak játék az egész. És ahol nincs magas és alacsony irodalom, hanem minden egyszerre burjánzik. 11:48 Tudomány és írás egymás mellett. 20:20 A hatalmas olvasói népszerűség és a kánonok, amikbe sosem fért be igazán. 24:10 A Pendragon-legenda: miért pont Wales? Miért pont kísértethistória? Misztikus vonzalmak Szerbnél és a korszakban. 36:30 Mikor mit olvasunk ki az Utas és holdvilágból? Generációs különbségek, és ma mit látnak benne a fiatalok? Az Ulpius-univerzum csodája, és a fejlődés és visszafejlődés regénye. 44:00 Radikális szabadságvágy Szerbnél, és a vallás szerepe. 59:46 Három plusz egy könyv Prieger Zsolt ajánlásában: Tommy Wieringa - Szent Rita, Rényi András - Rembrandt, Pamela Pettyfeather - Pápasztorik, és Martin Buber - Haszid történetek. Továbbra is várjuk a könyv- és témaötleteket a facebookos csoportunkban! Addig is további könyves tartalmakért ajánljuk Anna Instagramját és Bence Nemrosszkönyvek Instagramját, ahonnan a podcast nevét is kölcsönöztük. A műsor meghallgatható a 444 Spotify- és Apple Podcast-csatornáján is.See omnystudio.com/listener for privacy information.

A exposição “Rembrandt – O Mestre da Luz e da Sombra”, no Palácio Anchieta desde fevereiro deste ano foi prorrogada novamente. Após alcançar a marca de 40 mil visitantes, a experiência gratuita seguirá aberta ao público até o dia 7 de junho. Segundo a organização da exposição, "com grande procura do público capixaba e turistas, a exposição já ultrapassou a marca de 40 mil visitantes e vem se consolidando como um dos principais programas culturais em Vitória neste ano". Em exibição desde fevereiro, a mostra reúne 69 gravuras originais de Rembrandt van Rijn (1606–1669), um dos maiores artistas da história da arte e ícone da Era de Ouro holandesa.Entre os destaques presentes estão obras emblemáticas como Autorretrato com Saskia (1636), A Descida da Cruz(1633), A Ressurreição de Lázaro (1632), O Jogador de Cartas (1641), O Manto de José Trazido a Jacó (1633) e Cristo Expulsando os Cambistas do Templo (1635). Executadas em técnicas de gravura como água-forte e ponta-seca, as obras apresentam personagens atravessados por emoções universais como espanto, dor, fé e compaixão.A experiência expositiva também incorporou ações educativas, oficinas e recursos de acessibilidade desenvolvidos para ampliar o diálogo com diferentes públicos. Entre eles, estavam réplicas táteis, busto em 3D, totens com audiodescrição e vídeos com tradução em Libras, proporcionando uma vivência mais acessível e multissensorial. Os visitantes também tiveram a oportunidade de observar os detalhes das gravuras com o auxílio de lupas, revelando nuances técnicas e detalhes minuciosos do trabalho do artista. Em entrevista à CBN Vitória, o diretor da empresa que trouxe a exposição ao Brasil, Álvaro Moura, fala sobre o assunto.

Aesthetic medicine moves billions of dollars a year, which means the loudest takes on injectable cosmetics — pro or con — usually come from someone with something to sell. Dr. Lawrence Bass walks through six widely-circulated claims about fillers — that they look puffy and unnatural, that they can be repeated as often as you want, that they only suit younger faces, that they lift sagging tissue, that they stretch the skin and accelerate aging, and that they qualify as "forever chemicals" — and lays out what the evidence actually says. Two ideas anchor the conversation. Results depend on the amount of product used and the skill of the injector — give a five-year-old and Rembrandt the same paints and you'll get two very different paintings. And there's a real upper limit on retreatment: stacking too many sessions too close together traumatizes tissue and can make the original concerns reemerge in reverse as older product breaks down. Separate hype from evidence — including the fact that hyaluronic acid is nothing like the PFAS compounds in nonstick cookware — and you can decide whether injectables belong in your beauty plan based on what they actually do. Questions answered by this episode 1. Do all fillers create a puffy or unnatural look? 2. What actually determines how natural fillers look — the product or the injector? 3. How often can fillers be repeated without overdoing it? 4. What happens when fillers are stacked too quickly or too often? 5. Are fillers only useful for younger faces and early-stage aging? 6. Can fillers actually lift sagging tissue, or do they only add volume? 7. Do fillers stretch out the skin and speed up aging? 8. How are hyaluronic acid fillers different from PFAS "forever chemicals"? 9. Can fillers be reversed if something goes wrong? 10. How do you decide if fillers belong in your beauty plan?   Innovator. Industry veteran. In-demand Park Avenue board certified plastic surgeon, Dr. Lawrence Bass is a true master of his craft, not only in the OR but as an industry pioneer in the development and evaluation of new aesthetic technologies. With locations in both Manhattan (on Park Avenue between 62nd and 63rd Streets) and in Great Neck, Long Island, Dr. Bass has earned his reputation as the plastic surgeon for the most discerning patients in NYC and beyond. To learn more, visit the Bass Plastic Surgery website at or follow the team on Instagram @drbassnyc  Subscribe to the Park Avenue Plastic Surgery Class newsletter to be notified of new episodes & receive exclusive invitations, offers, and information from Dr. Bass.

For this week's Business Panel Nick Mills is joined in the studio by Wellington Phoenix General Manager David Dome and Rembrandt's Managing Director David Lyford. They look at decision making in business - how to keep Rembrandt excelling after 80 years, and growing the Phoenix with coaching choices and the academy. Is business doing better this year as a result? Dome and Lyford talk the old partnership between the Phoenix and Rembrandt, and their respective histories of doing business in Wellington. Would they recommend doing business in the city? Do we need to amalgamate to compete with the Auckland? Particularly after the government's event fund going to the supercity for the Chelsea football game. The panel discuss building business confidence in this city. In times of turmoil - what is the good happening in the city and it's businesses at the moment. Dome shares how ticket sales have been going, their goals and what do we do about venue - could the Phoenix Men move out of Hnry Stadium and to Porirua Park? And Lyford shares how his business is dealing with the upcoming election and fuel crisis. For an interesting discussion on two sides of business in the capital: LISTEN ABOVESee omnystudio.com/listener for privacy information.

In 1633 the famous Dutch artist Rembrandt van Rijn (1606–1669) painted The Storm on the Sea of Galilee. Rembrandt knew about storms from his own life. In fact, if you count the disciples in the boat with Jesus, you will notice an extra 13th person. That person would be Rembrandt, you, and me. We too know life in the storm. In the painting, however, one disciple is looking at Jesus with trust and reverence; think about it: looking to Jesus in the storm! That's transformational, and our text will tell us why! Textual questions to ponder: ​​1. Have you ever been in a storm like this? 2. Why do you think the disciples panicked? 3. Why do you think Jesus was sleeping?

Episode: 1573 Donatello: Of his age or for all time?  Today, we ask: Of an age, or of all time?

In the early hours of March 18, 1990, two men dressed as Boston police officers walked into the Isabella Stewart Gardner Museum and disappeared into history carrying over $500 million worth of stolen art. Paintings by Rembrandt van Rijn, Johannes Vermeer, and Edgar Degas vanished without a trace in what remains the largest unsolved art heist in modern history.This week on Seven Deadly Sinners, we dive into the suspects, mafia connections, bungled investigations, and chilling theories surrounding the infamous Isabella Stewart Gardner Museum theft. Who pulled it off? Where is the missing artwork now? And how does a crime this massive stay unsolved for decades?Some masterpieces are priceless. Some secrets are deadly.SHOW NOTES:https://www.gardnermuseum.org/https://www.fbi.gov/history/cases-and-criminals/isabella-stewart-gardner-museum-heisthttps://www.bostonglobe.com/

Dit is de gehele uitzending van dr Kelder en Co waar Jort Kelder belt met Simon Ceulemans (JA21) over de rellen in Loosdrecht. Over de top tussen Trump en Xi legt dr. Rogier Creemers uit wat de oogst was voor de Amerikaanse president. De jonge dr. Charlotte Rulkens heeft onderzoek gedaan naar hoe we wetenschappelijk kunnen optimaliseren of een kunstwerk aan een grootmeester kan worden toegeschreven. En econoom dr. Matthijs Korevaar legt uit hoe we wel iets aan die hypotheekrenteaftrek kunnen doen, een maatregel die voor veel mensen in 2031 afloopt. 

There's an old idea in M&A called the Rembrandt in the attic. A company owns something valuable — a brand, a patent, a customer list, a data set — and nobody inside the business sees it for what it is. The right acquirer walks in, looks at the same asset through a different lens, and recognizes a masterpiece.  Dori Yona spent six years and raised $14 million building what he thought was a price protection company for consumers. Earny tracked everything its users bought online and automatically clawed back refunds whenever the price dropped within the retailer's protection window.  The model never quite worked. After two rounds of layoffs, a shutdown plan presented to the board, and a move out of the Santa Monica office, Dori pivoted to selling the one thing the company had in abundance: SKU-level purchase data on 3.5 million users.  That pivot found the acquirer.  To a consumer packaged goods (CPG) giant trying to understand what shoppers were actually putting in their carts during COVID, the data was the prize. The consumer app was almost incidental. 

The Front Row Network welcomes independent wrestler Ryan Rembrandt. Brandon and Ryan discuss his journey to his in-ring career as well as emphasis on character and storytelling. They also discuss Ryan's ultimate in-ring goals. 

Probst, Carsten www.deutschlandfunk.de, Kultur heute

New York, 1888. Ann O'Delia Diss Debar — self-styled Spirit Princess, alleged daughter of Lola Montez — convinced a grieving Madison Avenue lawyer that Raphael and Rembrandt were painting for him in his own parlor. The paintings were chemical tricks. The deed to his townhouse was hers. And the worst of her career was still ahead.Jump to the AD-FREE Safe House EditionBecome a supporter of this podcast: https://www.spreaker.com/podcast/true-crime-historian--2909311/support.You can pay more if you want to, but rent at the Safe House is still just a buck a week, and you can get access to over 400 ad-free episodes from the dusty vault, Safe House Exclusives, direct access to the Boss, and whatever personal services you require.We invite you to our other PULPULAR MEDIA podcasts:If disaster is more your jam, check out CATASTROPHIC CALAMITIES, telling the stories of famous and forgotten tragedies of the 19th and 20th centuries. What could go wrong? Everything!For brand-new tales in the old clothes from the golden era of popular literature, give your ears a treat with PULP MAGAZINES with two new stories every week.

durée : 00:04:57 - La main verte - par : Alain Baraton - Alain Baraton nous parle ce matin des tulipes et de Rembrandt. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Buf, por fin hemos podido volver a esto de las partidas de rol entre dos. Domingo recupera su personaje y se embarca en una aventura épica en la que intenta recuperar a una rica heredera corporativa.

O escritor Benjamin Moser diz que se mudar para um país desconhecido é como passar a viver em um mundo invertido. "No começo, você não sabe para onde olhar. Não sabe onde está nem o que está olhando. Não sabe nem por onde começar", ele escreve na introdução de "O Mundo de Ponta-cabeça", agora lançado no Brasil. Quando tinha 25 anos, Moser deixou Nova York e foi morar na Holanda. Para lidar com a condição de estrangeiro, começou a olhar para a pintura da Idade de Ouro do país —percorrendo galerias e museus, se deparou com obras de Rembrandt, Vermeer e outros grandes pintores do século 17. A curiosidade com esses artistas virou obsessão e, duas décadas depois, deu origem ao livro, que explora a vida e a obra de quase 20 deles, mas, sobretudo, a sua experiência de descobrir esses artistas e entender melhor o mundo invertido em que estava vivendo. Neste episódio, o escritor fala sobre as circunstâncias históricas do período em que os pintores viveram e defende que é impossível separar a obra e a vida de um artista. Moser, conhecido pelas biografias de Clarice Lispector e Susan Sontag, diz que tanto a trajetória das duas escritoras quanto a dos mestres holandeses lembra que nenhum artista sabe o destino que vai ter —um talento extraordinário não é suficiente para prosperar, e as chances de fracassar ou terminar a vida na miséria são enormes. Produção e apresentação: Eduardo Sombini Edição de som: Raphael Concli See omnystudio.com/listener for privacy information.

El genio de Rembrandt iluminó el Siglo de Oro neerlandés con retratos y escenas cargadas de dramatismo y luz. Sin embargo, su pasión por el lujo, las colecciones exóticas y la compra compulsiva de arte lo llevó a gastar más de lo que ingresaba. A pesar del éxito de obras como La ronda de noche, las deudas se acumularon hasta declararse en quiebra en 1656. Su casa y sus bienes fueron subastados, sellando un destino marcado por talento y exceso. Y descubre más historias curiosas en el canal National Geographic y en Disney +. Learn more about your ad choices. Visit podcastchoices.com/adchoices

5 Questions with ABJ RembrandtWelcome To 5 Questions with ABJ. Street Interview style content asking people what their goals are in life and how they are working to achieve them possible set backs and if they are over all happy currently in this journey. You never know who will pop up for 5 Questions.https://linktr.ee/anthonyblackwelljrOur Guest Links:https://twitter.com/TheRembrandt_https://www.instagram.com/therembrandt__/

Time has a way of changing the way you can see things. What does that mean, and what might that phrase have to do with Peter's encouraging New Testament letter? Pastor Chris began a short series on the first letter of Peter. Could you use some encouragement? Let's listen carefully to Peter's words to Christians scattered across the known world and see how they might put a "pep in our step" as we live and work and serve in the "meantime." You have been born again! Your new life will last forever! Note: The artwork associated with this podcast/post is Rembrandt's interpretation of St. Peter.

In the heart of The Hague, Netherlands, the museum Mauritshuis displays some of the world's most iconic art in its Royal Cabinet of Paintings, including ones from Rembrandt and Vermeer's Girl with a Pearl Earring. But there's another oil painting by Vermeer that is also quite famous, called View of Delft — it's of his hometown, created around 1660.The painting is a cityscape — the only one Vermeer ever painted — a snapshot of the Dutch city of Delft from across the Schie River. In it you see the city's beautiful architecture on full display, including buildings with striking red roofs. Well, at least they used to be red. Today they have a pink-ish hue and if you looked at the painting up close, you'd see that they are covered in white spots. And what may come as a surprise is that they are, in fact, soap. In today's episode of Tiny Matters, we're going to talk about the weird chemistry of soap, what ancient soap was like, and why scientists are finding soap in old oil paintings.Send us your science facts, news, or other stories for a chance to be featured on an upcoming Tiny Show and Tell Us bonus episode. And, while you're at it, subscribe to our newsletter!All Tiny Matters transcripts and references are available here.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Writer and director John Morton, one of the team behind 2012 and W1A, on the new comedy Twenty Twenty Six, set in the run up to this year's football World Cup.Artist Lachlan Goudie's new book The Secrets of Painting explores the creative big bangs in art over the centuries which have given us artistic movements - from Giotto and Rembrandt's use of oil paint to Berthe Morisot's use of an outdoor easel and Jackson Pollock's use of materials intended for industrial use, Goudie tells us how he has undergone a series of experiments to inform his understanding of pioneering techniques. A new gig theatre production at The Mac in Belfast honours the Women's Coalition in Northern Ireland whose activism was an important force behind the 1998 Good Friday Agreement. Writer Vittoria Cafolla joins us to tell us their story. And as we go on air, the winners of this year's Windham-Campbell Awards for writing are announced. Each recipient receives $175,000, and we'll hear from one of the winners, as well as the Director who heads up the judging panel. Presenter: Kirsty Wark Producer: Mark Crossan

Lent begins with the story of Jesus being tempted in the wilderness by Satan. But ... what is temptation? As we come to the end of our 40 days of Lent now in Holy Week, we take a moment to truly ask of God and ourselves what temptation is, and is not. Join friend of Rev. Lizzie and the pod, The Rev. Angela Tyler-Williams. We're excited to welcome Rev. Laura back from maternity leave next month! Please pray for her continued rest and recovery in the meantime :)  +++ Like what you hear? We are an entirely crowd-sourced, you-funded project.  SUPPORT US ON PATREON: https://www.patreon.com/AndAlsoWithYouPodcast There's all kinds of perks including un-aired live episodes, Zoom retreats, and mailbag episodes for our Patreons! +++ Our Website: https://andalsowithyoupod.com Our Instagram: https://www.instagram.com/andalsowithyoupodcast/ ++++ MERCH: https://www.bonfire.com/store/and-also-with-you-the-podcast/ ++++ More about Father Lizzie: BOOK: https://www.penguinrandomhouse.com/books/762683/god-didnt-make-us-to-hate-us-by-rev-lizzie-mcmanus-dail/ RevLizzie.com https://www.instagram.com/rev.lizzie/ https://www.tiktok.com/@rev.lizzie Jubilee Episcopal Church in Austin, TX - JubileeATX.org  ++++ More about Mother Laura: https://www.instagram.com/laura.peaches/ https://www.tiktok.com/@mother_peaches St. Paul's Episcopal Church in Pittsburgh, PA ++++ Theme music: "On Our Own Again" by Blue Dot Sessions (www.sessions.blue). New episodes drop Mondays at 7am EST/6am CST!  Cover art today is a sketch by Rembrandt of the Temptation of Christ. 

Join our next BoldBrush LIVE! Webinar by signing up here:register.boldbrush.com/live-guestLearn the magic of marketing  with us here at BoldBrush!boldbrushshow.comGet over 50% off your first year on your artist website with FASO:FASO.com/podcast---To end off season 13, we sat down with Matthew James Collins, a figurative painter, portrait painter, and sculptor living and working in Florence, Italy. Matthew traces his path from a creative childhood in Oak Park and frustration with contemporary-focused art school to then find classical, atelier-based training in Florence. Matthew explains how Old Masters like Titian, Van Dyck, Rembrandt, and Velázquez shaped his devotion to painting from life, Baroque optical effects, and the idea of following their principles—especially observation of nature—rather than copying their style. Matthew also explains how cameras and screens distort our sense of seeing, why young painters should “go cold turkey” from photographic reference when possible, and how experiencing art in person and in context is radically different from viewing it in what Matthew calls “art zoos” (museums stripped of original context). Matthew shares concrete insights on portraiture—sight-size work from life, historical palettes, thoughtful posing and lighting, and the slow, conversational sittings needed to reveal character—as well as his teaching method of painting alongside one or two students and correcting in real time. Underneath it all, the conversation keeps returning to bigger themes: the likeness of artistic voice to a lifelong "Odyssey", the role of culture and curiosity, the practical and emotional difficulty of being an artist today, and the enduring importance of making ambitious, sincere, beautifully crafted work that lives with people in everyday spaces.Matthew's FASO site:matthewjamescollins.com/Matthew's Social Media:instagram.com/matthewjamescollinsartist/facebook.com/matthewjamescollinsartist/Matthew's Articles:Historical Approaches for Contemporary Portrait PracticeDancing Faun of Pompeii: Removed From Habitat, Out of Context

Saturday Night Live UK - Life Aid in the National Photographic Archive - Rembrandt's Promise

In week five of Visio Divina, Pastor Sally Campbell-Evans reflects on the story of Jesus calming the storm through Rembrandt's Christ in the Storm on the Sea of Galilee. The painting pulls us into the boat — into the chaos, fear, and uncertainty the disciples felt. And yet, in the middle of it all, Jesus remains steady, anchored to something deeper than the storm. This story reminds us that faith doesn't remove the storm, but it roots us in a presence that can withstand it. As we move through Lent, we're invited to become people of calm, courage, and trust — even when the waves rise.Reflection Questions:1. Can you name a person who impresses you as one who can remain CALM in the midst of chaos?  What qualities do they have?2. How have you found yourself being a calm presence in the midst of your own storms or someone else's?3. When was the last time you heard Jesus speak “Peace" over your chaotic and anxious thoughts? What was that like?Find out more at HydeParkUMC.org/NextSteps

The true story of the world's largest art heist, as told by the FBI agent who investigated the case.On March 18, 1990, thirteen works of art were plucked from the walls of the Isabella Stewart Gardner Museum in Boston by two subjects posing as police officers. They rang the night bell, claiming they were responding to a call of a disturbance. After incapacitating the guard and his partner with handcuffs and duct tape, the subjects spent the next eighty-one minutes inside the museum, leisurely removing some of the world's most valuable pieces of artwork from the walls, including a rare Vermeer and Rembrandt's only known seascape. The total loss associated with this robbery has been estimated at over $1 billion.Based on meticulous investigations conducted to the standards required of an FBI special agent, Thirteen Perfect Fugitives offers author Geoffrey Kelly's insights and theories about the infamous heist.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

Waldy and Bendy have both been to Italy, but alas not together. They catch up on the newly reinstated Rembrandt, and laments the decline of art history being taught in school. Also, a celebration of International Women's Day with a Waldy vs Bendy on the most underrated woman artist. See the show notes here: https://zczfilms.com/podcasts/waldy-bendy/season-6-episode-1-new-rembrandt-and-forgotten-women/ Watch on YouTube here: https://youtu.be/unDUhZNNXXk

INTRO (00:24): Kathleen opens the show drinking a Conway's Irish Ale from Great Lakes Brewing Company in Cleveland. She reviews her weekend in Pittsburgh and Cleveland, visiting her favorite Cleveland dive bar and seeing her first Faberge egg.     TOUR NEWS: See Kathleen live on her “Day Drinking Tour.”   TASTING MENU (4:26): Kathleen samples Pennystick's Stick Pretzels, Ballreich's Buffalo Garlic Parmesan Chips, and Sarris Candies Milk Chocolate Covered Pretzel Rods.    COURT NEWS (41:12): Kathleen shares news about Dolly Parton's Songteller Hotel in Nashville confirming an opening date, and Taylor Swift is credited for Travis Kelce's return to the Kansas City Chiefs 2026 roster.    HOLLYBOBBY (25:05): HollyBobby provides the latest news in Hollywood.    UPDATES (45:00) : Kathleen shares updates on Britney Spears' DUI, stowaway Svetlana Dali sneaks on another European flight, Punch the Japanese snow monkey has outgrown his orangutan stuffed animal, Elon's proposed Tesla tunnel loop meets opposition in Nashville,     FRONT PAGE PUB NEWS (1:03:52): Kathleen shares articles on the history of Faberge eggs, Ticketmaster experiences further issues with the Metallica Sphere onsale, Southwest considers only cleaning premium seats, Costco plans to build apartments over their warehouse stores,  American Airlines could be downgrading their crew hotels, David Copperfield retires from his Vegas residency, the current owner of Epstein's island is revealed, and the woman who designed the iconic Vegas sign never made a fortune on her design.    HOLY SHIT THEY FOUND IT (1:01:35): Kathleen reads about a lost Rembrandt rediscovered in Amsterdam.    WHAT ARE WE WATCHING (42:13): Kathleen recommends watching “Love Story” on FX, and “Death By Lightening” on Netflix.    SAINT OF THE WEEK (1:32:14): Kathleen reads about St. Damien of Molokai, patron saint of lepers.    FEEL GOOD STORY (1:26:11): Kathleen shares a story about a golden doodle who gets a happy ending after being abandoned at a Las Vegas airport ticket counter. 

In this episode of Gangland Wire, I sit down with retired FBI agent Geoff Kelly, a specialist in art theft investigations who inherited one of the most notorious unsolved cases in American history—the 1990 robbery at the Isabella Stewart Gardner Museum. He recently wrote a book about this theft titled 13 Perfect Fugitives: The True Story of Mob, Murder, and the World’s Largest Art Heist. Kelly's law enforcement career began as a New York City transit police officer before transitioning to the FBI. Like many agents, he initially sought violent crime work. Instead, he was assigned to economic crimes before eventually transferring to a violent crime squad. It was there that he encountered the Gardner case—a cold case largely untouched by senior agents at the time. The robbery itself remains extraordinary: two men posing as police officers gained entry to the museum and stole 13 works of art, including masterpieces by Rembrandt. More than three decades later, none of the works have been recovered. Inside the Gardner Heist Geoff explains how art theft is often misunderstood. Popular culture portrays refined, sophisticated criminals orchestrating elaborate capers. The reality, he says, is usually more opportunistic and frequently violent. Art theft often intersects with organized crime, drug trafficking, and even homicide. Massachusetts has a documented history of art-related crimes, and several individuals connected to the Gardner investigation met violent ends. The criminal underworld surrounding stolen art is less about wealthy collectors hiding paintings in private vaults and more about leverage—using artwork as collateral in criminal negotiations. The FBI's Art Crime Evolution Following the 2003 looting of Iraq's National Museum during the Baghdad invasion, the FBI formalized its Art Crime Team. Kelly discusses how intelligence gathering, informants, and international cooperation became central tools in recovering stolen artifacts. He emphasizes that solving art crimes often depends less on forensic breakthroughs and more on human intelligence. Informants remain essential, especially in cases where organized crime overlaps with high-value theft. Kelly also discusses his upcoming book, 13 Perfect Fugitives, which explores the intersections of mobsters, murder, and the illicit art market. Organized Crime and the Reality of Stolen Art Drawing on my own experience working organized crime in Kansas City, I found clear parallels between traditional mob rackets and art theft networks. The same structures—intimidation, secrecy, and violence—apply. Once a painting disappears into criminal circulation, it becomes a liability as much as an asset. Kelly challenges the myth that thieves profit easily from masterpieces. High-profile works are difficult to sell. The black-market art world is volatile and dangerous. In many cases, the artwork becomes bargaining collateral rather than a cash windfall. A Case Still Waiting for Closure More than 30 years later, the Gardner Museum still displays empty frames where the paintings once hung. Kelly remains committed to the idea that public awareness may eventually generate new leads.  The Gardner heist stands as both a cultural tragedy and a criminal mystery—one that continues to intersect with organized crime, violence, and international intrigue. Hit me up on Venmo for a cup of coffee or a shot and a beer @ganglandwire Click here to “buy me a cup of coffee” Subscribe to the website for weekly notifications about updates and other Mob information. To go to the store or make a donation or rent Ballot Theft: Burglary, Murder, Coverup, click here To rent ‘Brothers against Brothers’ or ‘Gangland Wire,’ the documentaries click here.  To purchase one of my books, click here. Transcript [0:00] Hey, you guys, Gary Jenkins back here in studio Gangland Wire. Y’all know me. I’m a retired Kansas City Police Intelligence Unit detective and now podcaster and documentary filmmaker. I have in the studio today… Jeff Kelly, he’s a now-retired FBI agent. He was an expert in recovering stolen artifacts and art pieces. He was involved. He wasn’t involved in the original theft of the Boston art theft, the Isabella Stewart Gardner Museum, but he ended up inheriting that case. So welcome, Jeff. Hi. Thanks, Gary. Nice to be here. And guys, I need to mention this right off the bat. Jeff has a book, 13 Perfect Fugitives, The True Story of the Mob, Murder, and the World’s Largest Art Heist. Be out on Amazon. I’ll have links down below in the show notes if you want to get that book. I think it would be pretty interesting. I was telling Jeff, I just interviewed Joe Ford, the million-dollar detective, the guy that goes after classic cars, and I read that book. I love these kind of caper kind of books and caper crimes. Those are the ones I like the best is the caper crimes. And Jeff is an expert at working caper crimes. And that’s what these are, capers. So Jeff, how did you get into this? Now you came on the FBI. You were a policeman before, I believe. So tell the guys a little bit about yourself and your FBI career. Yeah, I started out with the Metropolitan Transportation Authority Police in New York City. It was a transit cop. I did that for three years. And then I got into the FBI in October of 95. [1:30] And my goal was always, I wanted to work violent crime. That’s what drew me to law enforcement in the first place, working bank robberies and kidnappings and fugitives. I had to do my five years on working economic crime, telemarketing fraud. It was interesting, but not all that exciting. And finally in 2000, I got my transfer to the violent crime squad. And I loved working it. And I did it for my entire career from then on, right up until my retirement in 2024. But back then, art theft was considered a major theft violation, [2:01] and it was worked by the Violent Crime Squad. And so in 2002… My supervisor dumped this old moribund cold case in my lap. It was the Isabella Stewart Gardner Museum heist. [2:15] Nobody wanted it on the squad, so they figured, let’s give it to the new guy. I was ecstatic to get it because I’d heard about it. I went to school in Boston. I went to Boston University and graduated the year before it happened, but I knew about it. [2:28] That’s how I started working this case, this particular case, and then the following year during the U.S., there was a, the U.S. And coalition forces invaded Baghdad in Iraq. And during a 36-hour period, more than 15,000 objects of very, very important cultural history were looted from the National Museum of Iraq. And it’s really one of the most important museums in the world in terms of our shared history. Kind of the cradle of civilization over there in the Tigers and Euphrates River. Yeah, and that was the time when the FBI kind of belatedly realized that there was no art crime team to investigate this. And of course, FBI agents have been working art theft like any other property crime since the beginning of the FBI’s existence, but there was no codified team. So they did a canvas for the team in 2004 and I applied for it because at this point I’d been working the Gardner case for a couple of years and really was fascinated by it and made the team. And so then over the next 20 years, we continued to expand the team both in size and in scope and in our intelligence base and knowledge base. And when I left the Bureau in 2024, it was and still is a tremendous team with a lot of very dedicated and professional agents and professional support. [3:51] Now, guys, if you don’t know about the Isabella Stewart Gardner case, there was a Netflix documentary on it a few years ago. It was an art museum in Boston. [4:01] Two guys showed up. They had Boston police uniforms on, and they got in. They basically, it was an armed robbery, and they took control of the museum. The guards were in there late at night and took these really valuable paintings out. I believe you told me earlier they were Remington paintings. We’ll get into that. And it was a violent crime. It was an armed robbery of paintings, and you told me about other armed robberies of paintings. I think you got into some other armed robberies of paintings. You always think of, as you mentioned before, the Thomas Crown Affair character that goes out and does these sophisticated art thefts. That’s not always true, is it? It’s never that way, but it doesn’t matter. Don’t let the facts get in the way of a good story. Everybody wants to believe that art thefts are pulled off by the Thomas Crown Affairs and these gentlemen thieves repel in through skylights and do all that fancy stuff, put it in their underground lair. That’s just not the way it works. But if you look to art theft. [4:55] Massachusetts really is a cradle of art theft in this country, and it’s very unique. The first armed robbery of a museum occurred in Boston in 1972. It was committed by a guy named Al Monday, who was a prolific art thief. And they stole four pieces from the Worcester Art Museum in central Massachusetts with a gun. They ended up shooting the guard. And one of the pieces that they stole was a Rembrandt called St. Bartholomew. [5:26] And in keeping with the milieu of true art thieves, the paintings were stored on a pig farm just over the state line in Rhode Island. And when this Connecticut safecracker by the name of Chucky Carlo, who was looking at some serious time in prison for some of the crimes that he committed, when he found out that Al Monday had these paintings, he just simply kidnapped Al Monday and stuck a gun in his ribs and said he would kill him if he didn’t give him the paintings. which is no honor among thieves. And Al turned over the paintings, Chucky returned them, and he got a very significant break on his pending jail sentence. Right here in 1972, Boston thieves see Rembrandt as a valuable get-out-of-jail-free card. [6:09] And then if we jump forward three years to 1975, there was a very skilled art thief, really a master thief by the name of Miles Conner. I interviewed Miles for my book. It was very gracious of him to sit down with me for it. And he had robbed or committed a burglary of the Woolworth estate up in Maine, the family, the five and dime family magnets. And he got caught for it because he tried to sell those paintings to an undercover FBI agent. And so he was looking at 12 years in prison for it. And he was out on bail. And he reached out to a family friend who was a state trooper. And he asked him, how can I get away with this one? How can I get out of this? Because he was in serious trouble. The trooper’s response was meant to be hyperbolic. The trooper said, Miles, it’s going to take you a Rembrandt to get out of this one. [6:57] And so Miles said, okay, I’ll go get a Rembrandt. And he got a crew together and they did a daylight smash and grab at the Museum of Fine Arts in Boston, just across the street from the Gardner. And they stole Rembrandt, the girl in a gold-trimmed cloak. [7:12] And he was able to return that painting. Instead of doing 12 years, he did 28 months. And he even managed to, he told me he even managed to get the $10,000 reward in the process. So you have this atmosphere in Massachusetts that Rembrandts are a valuable commodity, right? They can help you out in a jam. And so I think it’s no coincidence that in 1990, when the Gardner Museum heist came down, the Gardner Museum had this array of motion sensors all throughout the museum. It would alert to wherever you went, every gallery, hallway, whatever. [7:49] And we know from these motion sensors that after, as you said, the two guys went in disguised as cops and bluffed their way into the museum, they made a beeline for the Dutch room, which is the room of all things Rembrandt. They stole three Rembrandts. They stole a fourth piece called Landscape with an Obelisk, which was actually by Govard Flink, but it had been misattributed to Rembrandt until the mid 80s. And then they took a large Rembrandt oil-on-panel off the wall and it was recovered the next morning leaning against a piece of furniture. We believe they just overlooked it in the dark. So out of the 13 pieces taken, three were Rembrandt, a fourth was misattributed to Rembrandt, and there was going to be a 14th piece taken, which was also Rembrandt. It definitely falls into that theory that this was going to be a hold-on to these pieces for a while and see if you can use them for a break. [8:48] Interesting. Now, back in the 70s, for example, when somebody would work in an art robbery like that or an art theft, you got your tried and true ways of working a crime. You got to have sources, you got to have witnesses, and hopefully you can get a crime like this. You can get a source that says, hey, this guy, we had a guy in Kansas City that he was a fence for these kinds of guys. He had an antique auction and he took all this stuff and got it somewhere else. So at the time, just use your regular police methods. And what changed over the years as you’ve done this? Yeah, certainly we’ve become much more sophisticated with the techniques that we use. But at the end of the day, it’s always still going to be intelligence. But I found from working my entire career in violent crime, virtually my whole career in violent crime, the sources are crucial. Having a good informant can make and break a case. And working art theft investigations, you’re certainly going to have the same types of fences of informants, fences for stolen property and what they’re hearing about what organized crime guys are doing and what drug guys are doing. But it also opened up a whole new avenue of sources for me as working in art investigations, because now you’ve got pawn shops and gallery owners and auction houses, and they’re in a position to know when not only when stolen artwork is coming in, but also fakes and forgeries. We spoke about this, that. [10:16] Somebody comes in with one valuable piece that would be very difficult for somebody in his or her position to come across one piece like this, let alone a dozen of them. That really points to probably a fake. And so that’s really the key to solving these things is just having a good intelligence base who’s going to let us know about when something comes up that’s either stolen or it’s been forged. [10:43] Brings up a question. In my mind, did you ever work a gallery owner or a gallery [10:48] that then would filter in, knowingly filter in some fakes every once in a while? They couldn’t do it 100% of the time, but you could certainly make some extra money by filtering fakes out of it because many people would get it and they’d never know. Nobody would ever know. Listen, it is a really difficult thing when you’re working these types of crimes because unlike bank robber, you go into a bank and you stick them up with a gun and take them on. It’s not up to the government to be able to prove at trial that you knew that the bank was insured by the FDIC. You went in and you robbed it, you committed the offense. When you’re talking about interstate transportation of stolen property or possession of stolen property, there are what’s called specific intent crimes, meaning you have to prove the element of knowledge. You have to be able to prove that the person knew that that item was stolen. Not that it said it was stolen. and you had to show that they knew it. And that’s a really high hurdle to overcome. And typically what we do to try and prove that specific intent is we’re going to go through. [11:53] Recorded statements made to a source or to an undercover or emails or texts or something that we can show that this person knew that item was stolen. And so we would see that a lot in auction houses and galleries. There’s a lot of willful blindness where a lot of gallery owners and auction houses, they’re going to look the other way because it’s too lucrative to pass up. And in fact, in 2015, the art crime team, once we received information that ISIL or ISIS was using looted cultural property from Syria and Iraq as a form, a viable form of terrorism financing. And we put auction houses and gallery owners on notice in 2015, and we basically told them that if you’re selling objects of cultural patrimony or cultural heritage with a dubious provenance, like a wink and a nod, you may be unwittingly or wittingly funding terrorism. While we never charged anybody with it, hopefully it was an eye-opener that when you’re getting into this world, it’s not a victimless crime. There are very real victims involved. [13:07] And that’s one of the things that really is interesting about working our crime investigations. And I used to get ribbed by my friends who were not on the art crime team about [13:18] where like the wine and cheese squad were raised and everything. But our subjects are far from it. We’re dealing with organized crime, gangs, terrorists. This is no joke. These are serious individuals and the stakes are high. And in the Gardner case, three or four people that we believe were involved in the heist were murdered a year after the Gardner case crime occurred. Yeah, I was just going to go back to that a little bit, as we said before, a little bit like the Lufthansa case. All of a sudden, everybody that was involved in the theft. Started dropping like flies. So tell the guys about that. That is really interesting. [14:00] Yeah. So the two individuals that we believe went into the museum dressed as cops, just a week shy of the one-year anniversary, one of the guys was found dead in his apartment of an acute overdose of cocaine, intravenous. And his family admitted that he used Coke, but they said he was terrified of needles. He was scared of needles. So it really looked to be like a hotshot, an intentional overdose of cocaine. Two weeks later, the other guy who we believe went into the museum with him, his wife reported him missing. And a couple of weeks later, his bullet riddled body was recovered in the trunk of his car out by Logan Airport in East Boston. There was another member of that crew. These were all part of the same crew. This Carmelo Merlino, who was a Boston mobster, had an auto shop down in the Dorchester section of Boston. Another member of his crew, a guy named Bobby, six weeks after the heist, he brought in, he visited a jeweler in the downtown crossing jewelry district in Boston. He came in with this object and he unwrapped it. It was an eagle. [15:03] It was the finial from the Napoleonic flag that was stolen in the Gardner heist. And he asked the jeweler, how much is this thing worth? And the jeweler looked at it and he said, it’s worth nothing. Because he immediately recognized it as one of the people that had been stolen six weeks earlier from the Gardner heist. And then a few months later, Bobby was stabbed to death and nearly decapitated on the front porch of his house. And the responding police saw that his house had been broken into and ransacked like his killers had been looking for something. There was a fourth guy, Jimmy, who bragged to his girlfriend a few months after the heist that he had a couple of pieces from the Gardner Museum hidden in his attic. [15:47] And in February of 1990, 11 months after the heist, he was executed on his front porch in what the local police called a mob hit. So, yeah, these are the types of crimes that have a tendency to have a chilling effect on anybody who harbors any aspirations to come forward with information. Yeah, and we talked earlier a little bit about, like, the crime itself, and the statute of limitations is up on that, what you said, and the crime itself, but how we talked a little bit and explained to them about how this could be part of a RICO case. And you’ve got the murders and you’ve got the actual theft and whatever they did with the paintings, then maybe you could get over after a Bob boss as a Rico case. Tell the guys a little bit about doing that. Yeah. [16:32] I’ve heard it so many times in more than two decades that I worked the case and people would say, geez, why don’t people come forward? They’re just paintings. There are so many times they’re just paintings. They’re like, yeah, they are, but there’s two things about that. Number one, there’s some dead bodies on these paintings, three or four, and that there’s no statute of limitations for murder. And so if you implicate yourself in the theft or you implicate yourself in possessing or transporting these paintings at any time, the fear is that you’re then implicating yourself in a homicide. And the other aspect of this, which I think has a chilling effect, is the fact that transportation of stolen property is one of the predicate acts for RICO, racketeering influence corrupt organization case. And RICO is basically, Gary, is basically an entire organization is corrupt. Yeah. There’s no legitimate purpose. It’s what we think about the mob and the [17:27] FBI has taken down the mob in the past. So if you implicate yourself in stolen property and you’re part of organized crime, that’s one of the predicate acts for a RICO. And that’s basically life sentences. And so one of my goals in the years and years that I worked in this case was to try and convince people that you could come forward with information and the U S attorney’s offices, whether it’s up in Boston or new Haven or Philadelphia. [17:58] Would be willing to figure out a way to get the paintings back with immunity from prosecution for a RICO case. Look, that’s a high hurdle. That’s a high hurdle to convince somebody that if you come forward, you’re not going to get charged and you’re eligible for millions of dollars in reward. That’s a tough bill to swallow, but it’s the truth. I’m retired from the FBI now. I can tell you that it was, it’s a, it was, and still is a bona fide offer. And that’s one of the goals that I’ve always tried to impress on anyone is the opportunity to become a millionaire without going to jail. There you go, Jeff. Can you, now you’re not with the Bureau anymore. Can you go out, if you could go out and find them and bring them in, could you collect that reward? I would certainly hope so. [18:48] I can’t tell you how many of my friends thought that I had some of these paintings stashed in my basement. Waiting for retirement to go turn them in the next day. I think half the guys I worked with were expecting to see me pull into the parking lot of the FBI. [19:01] Big package, but no. But yeah, I suppose I could. By this point, I can tell you the amount of my very being that I put into this case over two days. Yeah. I just would love to see these paintings go back just because they need to be back at the museum. That’s where they belong. Now, these crimes, they seem, You said there’s a lot of murders attached to this. They seem a little boring. Did you have any exciting moments trying to pop anybody or do any surveillances? I know we did a big surveillance of a bunch of junkies that were going around stealing from small museums around the Midwest. And we follow them here in Kansas City. And they would have been pretty exciting had we had a confrontation with them. Did you have any exciting moments in this? It actually was a fascinating case. And for the first, there’s the really boring aspects of this job and tedious aspects. And I would say that in my, two decades working this case, I probably did, I don’t know, 50, 60, 70 consent searches, searching in attics and basements and crawling through crawl spaces and just getting sweaty and covered in cobwebs. But the break in the case for me came in 2009 when one of the guys who was part of Merlino’s crew who was deceased, his niece came forward to me and told me that the paintings. Some of them had been hidden up in this guy’s hide at his house up in Maine. I went up to Maine with Anthony Amore, who’s the director of security for the Gardner Museum. We worked on this case together for years. [20:29] And then we found that hide. And then we interviewed, right from there, we went and interviewed Guarenti. That’s the guy, Bobby Guarenti. We interviewed his widow and she broke down and admitted that he once showed her the paintings and she gave them to a guy down in Connecticut. And we identified that guy and we interviewed him. My name is Bobby Gentile. He’s a made member of the Philly Mob. He got straightened out with his crew back in the late 90s. [20:54] And he refused to cooperate. And then that’s where we really just started getting, using a lot of ingenuity to try and break it. And an agent down in the New Haven office, a guy by the name of Jamie Lawton, he joined our team and we started working this case. And he had a source who knew Gentile, Bobby Gentile, and the source started buying drugs from Gentile. Ah, there we go. We ended up arresting Gentile and we did a search warrant at his house. And it was crazy. Like we recovered, I want to say seven handguns, loaded handguns lying all over the place. He had a pump action shotgun hanging by the front door. He had high explosives. We had to evacuate the house and call him the bomb squad. But the interesting thing was he had the March 19th, 1990 edition of the Boston Herald with headlines about the Gardner heist and tucked inside that newspaper was a handwritten list of all the stolen items. With what looked like their black market values. This is in the house of a guy who swore up and down that he’d never heard of the Gardner Museum. And we were able to figure out who wrote the list. It was written by none other than Al Monday, who’s the guy that did the first armed robbery of a museum, of a Rembrandt. And we interviewed him and he told us that he wrote that list for Bobby Gentile and his buddy up in Maine, Bobby Garanti, because they had a buyer for the paintings and they wanted to know what they were worth. [22:24] So yeah, and then Gentile took 30 months. [22:28] He wouldn’t cooperate. And while he was incarcerated, we turned two of his closest friends to becoming sources. And so when he got out of prison in February or April of 2014, they started talking to him and talked about the gardener and they said they might know somebody who’d want to buy him. That’s how we then introduced an undercover agent. Gentile was introduced to Tony, this undercover FBI agent. Over six months, they had long talks about selling the paintings. Unfortunately, before Gentile would sell the paintings, he wanted to do a drug deal first, which we couldn’t allow to happen. We can’t let drugs walk on the street. So we had to take it down. And although we’d seized all these guns from Gentile back in 2012, he told the sources the FBI didn’t get all of his guns. Because of that disturbing comment, one of the sources asked Gentile if he could buy a gun for him. And Gentile sold him a loaded 38. So we arrested him again. And he still refused to cooperate. I don’t respect what he did for a living or a lot of the things that he did, but you do have to respect his adherence to his values. However, misguided they may have been, he took the code of omerta, the code of silence to heart, and he took it to his grave. He died, I think, in 2021 after going to prison a second time. [23:50] While we never got any paintings back, it was a tremendous ride, and I’m confident they will come back. It’s just going to be a question of when. Yeah, that kind of brings up the question that you hear people speculate. Did you ever run across this? Is there actually any rich old guys or an Arab sheik or somebody that buys stuff like this and then really keeps it and never shows it to anybody? Does that unicorn really exist? everybody wants that to be true i know virtually it’s not yeah there’s there’s never been a case of some wealthy what we call the doctor no theory some some reclusive billionaire with his underground lair filled with all the illicit stolen treasures of the world yeah that’s it’s never happened yeah i guess you never say never but but no look the majority statistically about three-quarters of everyone that collects art in this country does it for, and I assume it’s probably worldwide, does it for the investment potential. There’s a lot of money to be made in collecting art. It rarely, if ever, drops in value. So that’s why people collect art. If there’s somebody who has a particular piece that they want so badly that they’re going to commission its theft, it’s more the stuff of Hollywood. It could happen, but we’ve never seen that happen yet. Interesting. [25:14] We did have one case here where we had a medical doctor and he had it on the wall of his house. And it was, I believe it was a Western artist named Remington that these junkies stole out of Omaha. But it was such a minor piece that he could show it to anybody and they wouldn’t. They would say, oh, that’s cool. You got a Remington. [25:30] There’s plenty of those around. And he could afford a real deal Remington anyhow. So it wasn’t that big a deal. And that’s really what it comes down to is that art, high-end art does get stolen. It gets stolen quite often. The art market is about $60 billion, and the FBI, we estimated about $6 to $8 billion of that is illicit, whether it’s theft or fakes and forgeries. It’s a tremendous market, but it’s mostly second and third tier items. [26:02] Really valuable, well-known pieces. They do get stolen, but that’s the easy part. The easy part is stealing it. The hard part is monetizing it. That’s why you very rarely see recidivism among art thieves, high-end art thieves, because you do it once, and now you’re stuck with the thing. It’s easier to steal something else. You got to go out and boost fur coats and stuff to make a living. Exactly. Do a jewelry store robbery down there and make a living. And that’s exactly the point. That’s why you’re seeing a sea change in terms of art thefts, museum thefts. The Louvre was a great example of that. Dresden green vault robbery where 100 million euros in gems were stolen back in 2019 yeah. [26:45] Gems and jewelry, it can be broken down. It’s going to greatly diminish their value, but you can recut a gem. You can melt down the setting. You can monetize it for a greatly diminished value, but at least you can monetize it. You can’t cut up a Rembrandt into smaller pieces. [27:02] It’s only valuable as a whole complete piece. Yeah. I’m just thinking about that. We got a couple of guys, Jerry Scalise and Art Rachel in Chicago, flew to London, robbed a really valuable piece, the Lady Churchill’s diamond or something, I don’t remember, but really valuable piece and mailed it to somebody on their way to the airport and then got caught when they got back to Chicago and brought back to London and did 14 years in England and they never gave up that piece and nobody could, it never appeared anywhere, but it was just cut up and they didn’t make hardly any money off of it. Yeah. Look, there’s a, there’s much more profitable ways to. Yeah. To make an illicit living than stealing high-end artwork, but it does still get stolen. And that’s one of the cruel ironies when you’re talking about art theft is if somebody has a $20,000 piece of jewelry or a very expensive watch, they’re most likely going to lock it up in a safe in their bedroom or something. But you have a $10 million piece of artwork, you probably got it on the mantle. You’ve got it over the fireplace or in the front foyer of your house and probably doesn’t have a passive alarm system protecting it or security screws to keep it from being taken off the wall because people want to show it off. Yeah. It’s way too enticing. [28:24] Really? So, yes, you need to keep the word out there and keep this in people’s minds. And I’m sure the museum tries to do this in some ways in order, hopefully, that maybe somebody will say, oh. Yeah. [28:38] I think I saw that somewhere in this news program or on this podcast. [28:42] I’ll put some pictures on the podcast when I end up editing this. No, please do, Kerry. And that’s the thing. That’s the basis for the title of my book is it really is a fugitive investigation. And that’s how I work this case is fugitives and perfect fugitives because they’re not like their human counterparts. They’re not going to get tripped up on the silly things that we need to do as human beings, getting a driver’s license or whatnot. Yeah. [29:09] And so that’s how I worked the case. The FBI was really, I was always impressed with the FBI’s support that they gave me on this investigation. We did billboard campaigns and social media and a lot of things to get these images out there to the public, hoping it might resonate with somebody. And that’s really my goal for this book. I felt it should be written. I felt it’s an important case. Certainly, it’s something that I wanted to write about. It’s something that’s very important to me. [29:42] But it’s yet another attempt to apprehend these fugitives. And I’m hopeful that somebody, it might resonate with somebody. Somebody’s going to see something. And there’s so much disinformation and misinformation that’s out there in the media about this case. People are endlessly, all these armchair detectives, and I don’t say it in a deprecating way. Good for them. Work as hard as you can. But if you want to work this case from your armchair, great. but you should be going off accurate information because there’s a lot of bad information that’s out there on the internet. And if you want to help out, if you want to collect that $10 million reward, great, but you should be going off the most accurate factual information that’s available. Yeah. And you probably ought to go down to the deep seamy underbelly of Philadelphia or Boston or somewhere and get involved with a mob and then work your way up and make different cocaine deals and everything. And eventually you might be trusted enough that some might say, oh yeah, I’ve got those in this basement. I would suggest there’s better hobbies. [30:47] That could be hazardous to your health. I wouldn’t recommend it. Yes, it could. All right. Jeffrey Kelly, the book is 13 Perfect Tuesdays. Those are the paintings that were stolen that you’ll see on the podcast on the YouTube channel. The true story of the mob, murder, and the world’s largest art heist. Jeffrey, thanks so much for coming on to tell us about this. Thanks, Gary. Thanks for having me.

As loud explosions continue to be heard across Tehran there are reports that many residents are trying to flee the capital by car while others are stocking up on essential supplies. Israel says it's bombed Iran's presidential office and the US claims to have destroyed command facilities and missile launch sites across the country. Iran has threatened to open the gates of hell as it retaliates.Also, Leaked photo, hot tub, and Pizzagate - video of Clintons' testimony on Epstein ties released. And discovering your old painting was actually a masterpiece by Rembrandt!

#446> The Book of Esther In The Age Of Rembrandt (with Abigail Rapoport)> To purchase the book: https://amzn.to/3NbssR4> This episode is sponsored by Cancer in Halacha by Dr. Moshe Ornstein. > Purchase the book and use code CIHSC20 for an additional 15% off: https://israelbookshoppublications.com/products/cancer-in-halachah-pre-order> To join the SeforimChatter WhatsApp community: https://chat.whatsapp.com/DZ3C2CjUeD9AGJvXeEODtK> To join the SeforimChatter WhatsApp status: https://wa.me/message/TI343XQHHMHPN1>  To support the podcast or to sponsor an episode follow this link: https://seforimchatter.com/support-seforimchatter/or email seforimchatter@gmail.com (Zelle/QP this email address)Support the show

To the world, Myles Connor was a Mensa genius and a charming rock star in the Massachusetts music scene. But behind the guitar lay a master criminal who robbed over 30 museums. Security expert and author of The Rembrandt Heist, Anthony Amore, describes the audacious 1975 theft of a priceless Rembrandt and how the thief used masterpieces as the ultimate bargaining chips to stay out of jail. Follow Emily on Instagram: @realemilycompagnoIf you have a story or topic we should feature on the FOX True Crime Podcast, send us an email at: truecrimepodcast@fox.com Learn more about your ad choices. Visit podcastchoices.com/adchoices