Podcasts about Thomas Eakins

From All Bones Considered: Laurel Hill Stories #073, part 5 George W. Melville was the MacGyver of his day, seemingly creating something out of nothing when the situation called for it. As an engineer he was unsurpassed. He was one of only a few survivors of the ill-fated attempt to reach the North Pole by the ship Jeannette, captained by George DeLong. He then went back to recover the bodies of those who had been left behind. He has a statue at the Naval Yard and was twice painted by Thomas Eakins. 

(A obra do cartaz é o "A Clínica Agnew", do artista Thomas Eakins). Para ficar por dentro dos acontecimentos envolvendo as diversas temáticas jurídicas, siga, no Instagram, o perfil oficial do Prof. Lenio Streck (⁠⁠@lenio_streck⁠⁠) e do Streck & Trindade Advogados (⁠⁠@strecketrindade⁠⁠), além do perfil do X (⁠⁠@LenioStreck⁠⁠), e acompanhe as colunas do Senso Incomum, no site do ⁠⁠Conjur⁠⁠.

Brad is a resident of Cincinnati, Ohio, Davis' paintings aim to uncover and uplift the discarded and overlooked within his urban surroundings. The city's rich history and character manifest themselves in the architecture and inhabitants of his daily life, thus providing the platform for his work. Layers of urban decay give insight into the city's past and work to form a residue of existence that can often mimic the painting process. Through sensitive and careful construction, he utilizes methods of traditional oil painting and an aesthetic pulling from American painters such as John Sloan, Edward Hopper, and Thomas Eakins. https://www.instagram.com/braddavisartist/https://www.braddavisartist.com/

Become an Ivory Tower Boiler Room Café subscriber to watch the unedited video: patreon.com/ivorytowerboilerroom Ignacio Darnaude, a queer male art historian and film producer, joins Andrew in The Ivory Tower Boiler Room to open up conversations about the queer male art world. Ignacio starts by dissecting what he has coined "Breaking the Gay Code in Art." He uses the analogy of "Don't Ask, Don't Tell" to dig into why the closet has to be thrown open in the art world. For example, why do so many audience members, in his art lectures, audibly gasp when he reveals that a canonical male artist is in fact sexually interested in men. Throughout the interview, Ignacio explains the nuances of labelling a male artist or his work as "gay," "homoerotic," or "queer." And, you better be taking notes since we talk about queer art all the way from ancient Greece to the 20th century. A few key figures include Michelangelo, Donatello, Thomas Eakins, J.C. Leyendecker, and Tom of Finland. Head to our Instagram to see some of these artists and their homoerotic works. Ignacio's writing has appeared in the Gay and Lesbian Review where he has explored the queer art of Paul Cadmus, John Singer Sargent, Michelangelo, and Grant Wood. You can find his Gay and Lesbian Review writing here: https://glreview.org/?s=ignacio+darnaude Be sure to follow Ignacio's queer art scholarship on Instagram, @breakingthegaycodeinart where you'll find a link to his YouTube channel, and follow his personal account @ignaciolosangeles. Follow the Gay and Lesbian Review on IG, @theglreview, and Twitter, @GLReview. Discover new things about gay and lesbian literature, history, and culture with a subscription to The Gay & Lesbian Review, a bimonthly magazine of history, culture, and politics that publishes essays in a wide range of disciplines as well as a slew of reviews of books, plays, and movies, and a number of special features., such as artist's profiles and its popular Art Memo column. To subscribe, visit glreview.org. Click Subscribe, and enter promo code ITBR to receive a free copy with any print or digital subscription. Follow Ivory Tower Boiler Room on Instagram, @ivorytowerboilerroom, TikTok, @ivorytowerboilerroom, and Twitter, @IvoryBoilerRoom! Many thanks to the Ivory Tower Boiler Room podcast team: Andrew Rimby, Executive Director; Mary DiPipi, Chief Contributor; Kimberly Dallas, Editor Thanks to Anne Sophie Andersen and Meghan Ames for our theme song, "Loverman." --- Support this podcast: https://anchor.fm/ivorytowerboilerroom/support

When Confederate cannons fired on Fort Sumter in April 1861, the United States Army was comprised of only 16,000 soldiers. Its medical staff was numbered just 113 doctors. And here's another fun fact: taking into account all of the doctors then practicing in the United States, possibly as few as 300 doctors in the entire United States had witnessed surgery, or seen a gunshot wound.  Over the next four years all of those numbers would dramatically increase. To meet the unprecedented casualties of the American Civil War, American medicine had to make unprecedented changes. As my guest Carole Adrienne describes in her new book Healing a Divided Nation: How the American Civil War Revolutionized Western Medicine, these changes are reflected “in every ambulance, every vaccination, every woman who holds a paying job, and in every Black university graduate.” Carole Adrienne received her B.F.A. from Moore College of Art and Design in Philadelphia.  She has organized an archive for Old St. Joseph's National Shrine, twice chaired “Archives Week” in Philadelphia and has served on advisory panels for the Philadelphia Archdiocesan Historic Research Center, The Mutter Museum's “Civil War Medicine” exhibit and its “Spit Spreads Death: The 1918 Flu Epidemic” exhibit.  She is working on a documentary film series on Civil War medicine and lives in Philadelphia, PA.   For Further Investigation You might think of this conversation as a prequel to Episode 252: The Great War and Modern Medicine; the Civil War changed the culture of American medicine, and possibly accelerated the postwar changes in the field. The Great War–the First World War–changed nearly everything about medicine everywhere. For another related discussion, this time on rabies and medicine in the late 19th century United States, see Episode 133: Mad Dogs and Other New Yorkers. The United States Sanitary Commission  Frederick Olmstead and the United States Sanitary Commission Clara Barton National Historic Site Clara Barton Missing Soldiers Museum A video introduction to Thomas Eakins' Portrait of Dr. Samuel Gross (The Gross Clinic) Dorothea Dix, Social Reformer, Superintendent of Nurses Cornelia Hancock  

https://www.marioarobinson.com Mario Andres Robinson was born in Altus, Oklahoma, where he resided with his family before relocating to New Jersey at the age of twelve. Robinson studied at the prestigious Pratt Institute in Brooklyn, New York. In 2014, Robinson was chosen to be a Brand Ambassador for Winsor and Newton art materials. He is the author of "Lessons in Realistic Watercolor," a comprehensive guide of the artist's watercolor techniques (Monacelli Press).    The work of Mario Andres Robinson fits squarely within the tradition of American painting. Robinson's finished works bear a close affinity to the masters of the realist tradition, Andrew Wyeth and Thomas Eakins. Containing few references to modern life, Robinson's work has a timeless and universal quality, and exhibits a distinct turn-of-the-century stylistic aesthetic. The images he chooses, which refer to a bygone era where solitude and reflection were abundant, also provoke frequent allusions to the paintings of Winslow Homer and Edward Hopper. Mario Andres Robinson is an Exhibiting Artist Member (EAM) of The National Arts Club, an Artist Member of The Salmagundi Club and a Signature Member of The Pastel Society of America. His work has been featured several times in The Artist's Magazine, The Pastel Journal, Watercolor Magic, American Art Collector, Fine Art Connoisseur and on the cover of American Artist magazine. In the February, 2006 issue of The Artist's Magazine, Mario was selected as one of the top 20 realist artists under the age of 40.

https://www.marioarobinson.com Mario Andres Robinson was born in Altus, Oklahoma, where he resided with his family before relocating to New Jersey at the age of twelve. Robinson studied at the prestigious Pratt Institute in Brooklyn, New York. In 2014, Robinson was chosen to be a Brand Ambassador for Winsor and Newton art materials. He is the author of "Lessons in Realistic Watercolor," a comprehensive guide of the artist's watercolor techniques (Monacelli Press).    The work of Mario Andres Robinson fits squarely within the tradition of American painting. Robinson's finished works bear a close affinity to the masters of the realist tradition, Andrew Wyeth and Thomas Eakins. Containing few references to modern life, Robinson's work has a timeless and universal quality, and exhibits a distinct turn-of-the-century stylistic aesthetic. The images he chooses, which refer to a bygone era where solitude and reflection were abundant, also provoke frequent allusions to the paintings of Winslow Homer and Edward Hopper. Mario Andres Robinson is an Exhibiting Artist Member (EAM) of The National Arts Club, an Artist Member of The Salmagundi Club and a Signature Member of The Pastel Society of America. His work has been featured several times in The Artist's Magazine, The Pastel Journal, Watercolor Magic, American Art Collector, Fine Art Connoisseur and on the cover of American Artist magazine. In the February, 2006 issue of The Artist's Magazine, Mario was selected as one of the top 20 realist artists under the age of 40.

“He's not a dusty antique from the past; he's the beginning of now”  That's how Marc Shaffer describes the subject of his film, Exposing Muybridge.  Mike and Marc explore the strange and varied career of Eadweard Muybridge (just one of the many versions of the name he gave himself over the years).  Born in Britain, he moved to New York to sell books, and then to San Francisco to become an early photographer of the American West as well as its native inhabitants.  He then had the fortune (both good and mis-) to garner Leland Stanford, rail tycoon and Californian politician, as a patron.  He started with photographs of Stanford's family, but then moved on to the series of pictures that would make him a known worldwide:  Proving the long-argued notion that at some point in full gallop, all 4 of a horse's hooves leave the ground.  Disavowed by Leland Stanford just as he was about to be honored by the Royal Society of his home country, Muybridge returned to America and supported by the likes of painter Thomas Eakins, took up residency at The University of Pennsylvania.  Here he continued his motion studies, but as Shaffer and his experts demonstrate, in a manner that revealed as much about the mores and prejudices of his day as they do about the nature of motion. Aided by the exemplary explanatory mode of none other than Muybridge fan and collector Gary Oldman, Schaffer reveals much about Muybridge's life, technique, and art.  And he demonstrates the impact on our culture from Francis Bacon, to The Matrix, to Jordan Peele. “Exposing Muybridge” screenings at the Minneapolis St. Paul International Film Festival Monday, May 9 | 4:40 PM | The Main Tuesday, May 10 | 1:45 PM | The Main Friday, May 13 | 1:50 PM | The Main For more information about the Festival, go to: https://mspfilm.org/festivals/mspiff/   Hidden Gem: Hearts of Darkness

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the first in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists' playing with ideas of Blackness and Indigeneity; childhood's incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Performing Innocence: Belated Abstract: Why did terms like innocence, naïveté, and artlessness have currency for US artists working in fin-de-siècle Paris? This lecture examines the language employed by artists and critics that applied these terms to Franco-American art exchange. Professor Burns traces the concepts' emergence and expansion at the end of the US Civil War. Linking the mass exodus to France for study to attempts at cultural rejuvenation, innocence reveals a culture triggered by the realities of war, failed Reconstruction, divisive financial interests, and imperial ambition. The impossibility of innocence gave the myth its urgency and paradox. Engaging with artists from Thomas Eakins and Robert Henri to writers Mark Twain, Henry James and Edith Wharton, as well as journalists, the lecture frames the definitions and stakes of claiming to be innocent and naïve in Paris. In performing these characteristics, these artists and writers built an idea that American culture was belated compared with Europe; the lecture contextualizes this idea of strategic belatedness alongside similar projections in other emergent national contexts. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Peter Gibian teaches American literature and culture in the English Department at McGill University (Montréal, Canada), where he has won four teaching awards. His publications include Mass Culture and Everyday Life (editor and contributor, Routledge 1997) and Oliver Wendell Holmes and the Culture of Conversation (Cambridge UP 2001; awarded the Best Book Prize in 2001-02 by NEASA, the New England branch of the American Studies Association) as well as essays on Whitman, Poe, Melville, Hawthorne, Twain, Dr. Holmes, Justice Holmes, Bayard Taylor, Washington Irving, G. W. Cable, Edward Everett Hale, Wharton and James, John Singer Sargent, Michael Snow and shopping mall spectacle, the experience of flânerie in 19th-century shopping arcades, and cosmopolitanism in nineteenth-century American literature. He is currently at work on two book projects: one exploring the influence of two competing speech models—oratory and conversation—on Whitman's writing and his notions of public life; the other tracing the emergence of a “cosmopolitan tradition” in American culture over the course of the long nineteenth century.

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the first in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Performing Innocence: Belated Abstract: Why did terms like innocence, naïveté, and artlessness have currency for US artists working in fin-de-siècle Paris? This lecture examines the language employed by artists and critics that applied these terms to Franco-American art exchange. Professor Burns traces the concepts’ emergence and expansion at the end of the US Civil War. Linking the mass exodus to France for study to attempts at cultural rejuvenation, innocence reveals a culture triggered by the realities of war, failed Reconstruction, divisive financial interests, and imperial ambition. The impossibility of innocence gave the myth its urgency and paradox. Engaging with artists from Thomas Eakins and Robert Henri to writers Mark Twain, Henry James and Edith Wharton, as well as journalists, the lecture frames the definitions and stakes of claiming to be innocent and naïve in Paris. In performing these characteristics, these artists and writers built an idea that American culture was belated compared with Europe; the lecture contextualizes this idea of strategic belatedness alongside similar projections in other emergent national contexts. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Peter Gibian teaches American literature and culture in the English Department at McGill University (Montréal, Canada), where he has won four teaching awards. His publications include Mass Culture and Everyday Life (editor and contributor, Routledge 1997) and Oliver Wendell Holmes and the Culture of Conversation (Cambridge UP 2001; awarded the Best Book Prize in 2001-02 by NEASA, the New England branch of the American Studies Association) as well as essays on Whitman, Poe, Melville, Hawthorne, Twain, Dr. Holmes, Justice Holmes, Bayard Taylor, Washington Irving, G. W. Cable, Edward Everett Hale, Wharton and James, John Singer Sargent, Michael Snow and shopping mall spectacle, the experience of flânerie in 19th-century shopping arcades, and cosmopolitanism in nineteenth-century American literature. He is currently at work on two book projects: one exploring the influence of two competing speech models—oratory and conversation—on Whitman’s writing and his notions of public life; the other tracing the emergence of a “cosmopolitan tradition” in American culture over the course of the long nineteenth century.

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the first in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Performing Innocence: Belated Abstract: Why did terms like innocence, naïveté, and artlessness have currency for US artists working in fin-de-siècle Paris? This lecture examines the language employed by artists and critics that applied these terms to Franco-American art exchange. Professor Burns traces the concepts’ emergence and expansion at the end of the US Civil War. Linking the mass exodus to France for study to attempts at cultural rejuvenation, innocence reveals a culture triggered by the realities of war, failed Reconstruction, divisive financial interests, and imperial ambition. The impossibility of innocence gave the myth its urgency and paradox. Engaging with artists from Thomas Eakins and Robert Henri to writers Mark Twain, Henry James and Edith Wharton, as well as journalists, the lecture frames the definitions and stakes of claiming to be innocent and naïve in Paris. In performing these characteristics, these artists and writers built an idea that American culture was belated compared with Europe; the lecture contextualizes this idea of strategic belatedness alongside similar projections in other emergent national contexts. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Peter Gibian teaches American literature and culture in the English Department at McGill University (Montréal, Canada), where he has won four teaching awards. His publications include Mass Culture and Everyday Life (editor and contributor, Routledge 1997) and Oliver Wendell Holmes and the Culture of Conversation (Cambridge UP 2001; awarded the Best Book Prize in 2001-02 by NEASA, the New England branch of the American Studies Association) as well as essays on Whitman, Poe, Melville, Hawthorne, Twain, Dr. Holmes, Justice Holmes, Bayard Taylor, Washington Irving, G. W. Cable, Edward Everett Hale, Wharton and James, John Singer Sargent, Michael Snow and shopping mall spectacle, the experience of flânerie in 19th-century shopping arcades, and cosmopolitanism in nineteenth-century American literature. He is currently at work on two book projects: one exploring the influence of two competing speech models—oratory and conversation—on Whitman’s writing and his notions of public life; the other tracing the emergence of a “cosmopolitan tradition” in American culture over the course of the long nineteenth century.

One highly visible example of French influence on the city of Philadelphia is the Benjamin Franklin Parkway, modeled on the Champs-Élysées. In "Salut!", Lynn Miller and Therese Dolan trace the fruitful, three-centuries-long relationship between the City of Brotherly Love and France. This detailed volume illustrates the effect of Huguenots settling in Philadelphia and 18-year-old William Penn visiting Paris, all the way up through more recent cultural offerings that have helped make the city the distinctive urban center it is today. "Salut!" provides a history of Philadelphia seen through a particular cultural lens. The authors chronicle the French influence during colonial and revolutionary times. They highlight the contributions of nineteenth-century French philanthropists, such as Stephen Girard and the Dupont family. And they showcase the city’s vibrant visual arts community featuring works from the Philadelphia Museum of Art, the Rodin Museum, the Barnes Foundation, and the Joan of Arc sculpture, as well as studies of artists Thomas Eakins, Mary Cassatt, and Henry Ossawa Tanner. There is also a profile of renowned Le Bec-Fin chef Georges Perrier, who made Philadelphia a renowned culinary destination in the twentieth century. Lynn Miller is Professor Emeritus of Political Science at Temple University. Therese Dolan is Professor Emerita of Art History at Temple University's Tyler School of Art and Architecture. Description courtesy of Temple University Press.

It’s hard to believe Thomas Eakin’s painting The Biglin Brothers Racing dates back to 1873. Point and click cameras weren’t yet invented. So, this action’s a straight shot from Eakins. He had to be there to capture a split second. That’s only one of the wonders at work in this piece. A striking clear portrait of a moving moment in oil paint. It’s a marvel of action and atmosphere. Thomas Eakins planned this race day portrait ahead of time. Then Philadelphia weather brought challenges. It would have been hard enough to capture this race on a sunny morning. Turns out rain held off the scheduled contest until early evening. This urgent situation may account for some of the painting’s palpable tension. Thanks to that, a thrill runs through The Biglin Brothers Racing. Careful composition gives the painting this competitive charge. For instance, the brothers’ boat edges out both sides of the canvas frame. An opponent boat peeks into the bottom corner halfway. That’s how Thomas Eakins creates suspense. We’re mid-race. The brothers row – paddles in the air. At the moment, they’re in the lead. But this could change any second. So, the painting holds us spellbound in anticipation. Click through to LadyKflo's Art Blog for the rest of this and many more masterpieces. https://www.ladykflo.com/the-biglin-brothers-racing-by-thomas-eakins/

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Piece based on "Marey Reel photographs of unidentified model" by Paul Collins. "I was initially made aware of chronophotography while at studying art school: Marcel Duchamp used Marey’s and Muybridges’ work as a direct reference for his painting, “Nu descendant l’escalier, N°2.” The chronophotograph from the Smithsonian Collection is by Thomas Eakins, who is generally recognized as having introduced photography as a tool for art students and painters in America. He used Etienne-Jules Marey’s system of a rotating cylinder mounted on a rifle-like apparatus. This “Marey Wheel” consisted of 25 views. 25 then, is the number of steps that I used to compose the sequence that structures my piece. We hear the steps of the model running, leaping through the air, landing with a thud.  "This is translated as a motif, or ostinato, that repeats itself, over and over, like multiple prints reproduced from the same negative. Besides the filmic connotation of a reel, I am referencing here the folk dance.  "All sounds in “The Marey Reel” were made using a Moog synthesizer." Part of the Smithsonian Treasures project, a collection of new sound works inspired by items from the Smithsonian Museums’ collections - for more information, see http://www.citiesandmemory.com/smithsonian

Translation of Bishop Wright's sermon provided by Judah Sali Image: Public DomainNicodemus visiting Jesus Henry Ossawa Tanner (June 21, 1859 – May 25, 1937) was an American artist and the first African-American painter to gain international acclaim. Tanner moved to Paris, France, in 1891 to study, and continued to live there after being accepted in French artistic circles. His painting entitled Daniel in the Lions' Den was accepted into the 1896 Salon, the official art exhibition of the Académie des Beaux-Arts in Paris. After his own self-study in art as a young man, Tanner enrolled in 1879 at the Pennsylvania Academy of the Fine Arts in Philadelphia. The only black student, he became a favorite of the painter Thomas Eakins, who had recently begun teaching there. Tanner made other connections among artists, including Robert Henri. In the late 1890s he was sponsored for a trip to Palestine by Rodman Wanamaker, who was impressed by his paintings of biblical themes.

Stef Russell talks to Maryville University's Germaine Murray (Professor of English & Humanities) and Dana Levin (Distinguished Writer-in-Residence) as they walk us through "Whitman: Up Close," an exhibit at the May Gallery. The show, on view through October 18, is part of "Whitmania!", a semester-long celebration of all things Whitman on the occasion of his 200th birthday. Germaine and Dana talked about why Whitman considered himself more printer than poet, his love of technology, and his surprising ties to St. Louis. Note: because this is a field recording, there's some mic noise throughout, most noticeably at the halfway point; rather than pull that section (where mic noise overlaps voices), we left it intact, because we didn't want to lose the commentary about naked Walt Whitman (!) and the photographer Thomas Eakins. "Whitmania!" wraps up on November 3 with "Whitman Set to Song," a concert in the Maryville University Auditorium.Whitmania! https://www.maryville.edu/whitmania/https://stlouispoetrycenter.org/whitmania/The Morton J. May Galleryhttps://www.maryville.edu/about/news-and-events/morton-j-may-foundation-gallery/The Walt Whitman Archive https://whitmanarchive.org

On this episode of Rendering Unconscious, I speak with Dr. Walter A. Davis, Professor Emeritus, Ohio State University. He is an actor and playwright, as well as psychoanalyst and theoretician. His many books include Art and Politics: Psychoanalysis, Ideology, Theatre. Pluto Press, London, 2007; Death's Dream Kingdom: The American Psyche Since 9-11. Pluto Press, London, 2006; Get the Guests: Psychoanalysis, Modern American Drama, and the Audience. Madison: U of Wisconsin P, 1993; and Inwardness and Existence: Subjectivity in/and Hegel, Heidegger, Marx, and Freud. Madison: University of Wisconsin Press, 1989. He describes his current work in this way: "My work, which is of a broadly interdisciplinary nature, has two unifying purposes: (1) a critique of the assumptions and concepts that underlie the humanistic traditions and (2) the construction of a radically new foundation for humanistic inquiry. That foundation is existentially grounded in what Paul Ricoeur calls "the subjectivity of the subject." It is thus dedicated to a discovery of the psychological motives that shape every act of interpretation and an explanation of why those motives have been so persistently neglected and denied. My goal is to construct a process of reflection that challenges the understanding we have of ourselves and our activities. The series of books that I've written in pursuit of this project constitute a single order of thought, a dialectical unity of progressive complication in which each book concludes with the problem that the next book addresses." For more information visit: www.walteradavis.com www.drvanessasinclair.net www.renderingunconscious.org Rendering Unconscious Podcast is hosted by psychoanalyst Dr. Vanessa Sinclair, who interviews psychoanalysts, psychologists, scholars, creative arts therapists, writers, poets, philosophers, artists & other intellectuals about their process, world events, the current state of mental health care, politics, culture, the arts & more! If you enjoy what we’re doing, please join us: www.patreon.com/vanessa23carl The song at the end of the episode is "Mad Love" words by Vanessa Sinclair & Carl Abrahamsson. Music by Carl Abrahamsson. From their album CUT TO FIT THE MOUTH: https://store.trapart.net/details/00081 Artwork: Portrait of Amelia C. Van Burenby the great 19th century American painter Thomas Eakins.

Few creators were ever as consistent in their creation as America's greatest portraitist.

W.E.B. DuBois described spirituals as “the most original and beautiful expression of life and longing yet born on American soil.” But visual culture also has much to tell us about the spirituality of African diaspora peoples in America. This series will explore spirituality as it is addressed in paintings, sculptures and photographs created by African-American artists associated with the Harlem Renaissance, and some of their forebears. February 11: People of Faith We begin by looking at the paintings of Henry Ossawa Tanner, who had been trained by Thomas Eakins, and the son of a Bishop of the A.M.E. church, who served as a mentor to younger artists. Tanner’s paintings introduce the theme of individuals captured in moments of spiritual practice.

Librarian Jason Dean and Ashley Dowling, Assistant Professor of Acarology and Molecular Systematics at the U of A share the fascinating story of Thomas Eakins’s life as an artist and amateur scientist.

Thomas Eakins’ Professor Benjamin Howard Rand is a complex painting which harbors layers of meaning about the artist and the sitter. Dr. Kevin Murphy, Curator of American Art, reveals insights into Eakins’ work.

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

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

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

A Lecture By: Amanda Mahoney The Agnew Clinic was created in 1889 by Philadelphia painter Thomas Eakins on commission from the University of Pennsylvania School of Medicine class of 1889. The large canvas, created in honor of Dr. D. Hayes Agnew, a noted surgeon, is one of Eakins' most famous works. The nurse featured as part of the surgical team in the painting, Mary V. Clymer was an 1889 graduate of the Hospital of the University of Pennsylvania School of Nursing. Her class notes and clinical journals have served an important role in the interpretation of The Agnew Clinic as a work of art and an image of its time. This lecture discusses this well-known painting and its place in the history of the University of Pennsylvania. Amanda L. Mahoney, BSN is an oncology nurse with a background in the History of Art. She is a doctoral student at the University of Pennsylvania School of Nursing.

A Lecture By: Amanda Mahoney The Agnew Clinic was created in 1889 by Philadelphia painter Thomas Eakins on commission from the University of Pennsylvania School of Medicine class of 1889. The large canvas, created in honor of Dr. D. Hayes Agnew, a noted surgeon, is one of Eakins' most famous works. The nurse featured as part of the surgical team in the painting, Mary V. Clymer was an 1889 graduate of the Hospital of the University of Pennsylvania School of Nursing. Her class notes and clinical journals have served an important role in the interpretation of The Agnew Clinic as a work of art and an image of its time. This lecture discusses this well-known painting and its place in the history of the University of Pennsylvania. Amanda L. Mahoney, BSN is an oncology nurse with a background in the History of Art. She is a doctoral student at the University of Pennsylvania School of Nursing.

UC Davis art history graduate student Lucinda White Frachtenberg reads from her master's thesis about the relatively unstudied photographs of the painter Thomas Eakins, who most known for his painting "Gross Clinic."