ArtCurious Podcast

ArtCurious Podcast

United States

Think art history is boring? Think again. It's weird, funny, mysterious, enthralling, and liberating. Join us as we cover topics from ancient art through the present day. Who is Banksy, really? Did Van Gogh actually kill himself? And why were the Impressionists so great? Subscribe to us here, and follow us at www.artcuriouspodcast.com for further information and fun extras. © 2017 Jennifer Dasal // Find us on Twitter and Instagram: @artcuriouspod

Episodes

Episode #24: American Propaganda Posters of WWII (Season 2, Episode 4)  

This episode is sponsored by Audible: get a free audiobook download and a free 30-day trial here. Thank you for supporting our show!

If I was to choose the single most recognizable figure from World War Two for an average American to identify, I would ask you to picture a brunette with an arched eyebrow,  her hair tied up neatly in a red-and-white polka-dot kerchief, flexing her right arm, baring her bicep, and fiercely making eye contact with the viewer. The words “We can do it!” blare in a dark blue word bubble over her head to confirm her determination. Yep. You know her. You love her. She’s colloquially referred to as “Rosie the Riveter,” even though the term is a misnomer here, and her image was created by illustrator J. Howard Miller in 1943 for the Westinghouse Electric corporation as a design to boost morale internally. Today, it is one of the most widely recognizable and widely disseminated images of the 20th century. 

The funny thing about the “We Can Do It” poster is that its current ubiquity is in contrast with its actual usage back in the 1940s. It was only one of the posters printed for Westinghouse Electric’s morale-boosting campaign, each poster-- about 40 in all-- were only on display in the Westinghouse factories in Pittsburgh and in midwestern Cities for two weeks. Two weeks- that’s not a very long time to have a motivational poster up on display. This makes it almost an oddity, compared to other propaganda posters in the United States during the Second World War. And that’s not all-- it’s also one of the calmer and more positive, both in terms of message and in gender politics, than most-- because as we’re about to see, others were more graphic, more manipulative...and sometimes, far more terrifying.

On this episode, we're going to take on American World War Two propaganda posters: what they were, who created them, and how America was fighting the war via words and pictures, as well as manpower.

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Episode Credits

Production and Editing by Kaboonki Creative. Theme music by Alex Davis. Research assistance by Stephanie Pryor. Social media assistance by Emily Crockett.

"Coffee and Time" by P C III is licensed under BY 4.0 (Based on a work at www.pipechoir.com); "Onistwave" by P C III is licensed under BY 4.0; "Pulsars" by Podington Bear is licensed under BY-NC 3.0; "The Soul Leaves The Body In Eternal Glory" by Jozef van Wissem is licensed under BY-NC-ND-3.0; "soli" by Kai Engel is licensed under BY-NC 4.0___________________________________________________________________

Want more art-historical goodness? Check out the links below:

Oberlin College: Representations of Women in WWII Propaganda

Women of WWII: Recruitment Posters

Museum of Modern Art: Press release for War Poster Exhibition

Museum of Modern Art: National War Poster Competition (1942-43)

Museum of Modern Art: The Museum and the War Effort

National Archives Exhibition: Powers of Persuasion: Poster Art from World War Two

ArtCurious is sponsored by Anchorlight, an interdisciplinary creative space, founded with the intent of fostering artists, designers, and craftspeople at varying stages of their development. Home to artist studios, residency opportunities, and exhibition space Anchorlight encourages mentorship and the cross-pollination of skills among creatives in the Triangle.







Episode #23: Combat Artists of WWII (Season 2, Episode 3)  

Today's episode is brought to you by Audible - get a FREE audiobook download and 30 day free trial at www.audibletrial.com/artcurious. Over 180,000 titles to choose from for your iPhone, Android, Kindle or mp3 player. 

In the winter of 1945, a World War II infantryman for the United States would be supplied with gear that was to be carried and trekked from location to location, regardless of weather, ailment, or occurrence. All of this gear alone could easily weigh a good 50 to 60 pounds. Add on a rifle or pistol, bullets and any appropriate add-ons needed to maintain, clean, and restock a weapon, and you are talking a serious load to haul around. To a handful of these men, however, it wasn’t their guns, their helmets, or their first aid kits that were the most significant pieces of equipment that they transported to the battlefield. No-  there was a more specialized tool of utter importance. As one soldier, Edward Reep, noted, quote, “I fought the war more furiously perhaps with my paintbrush than with my weapons.”

Today, we're discussing a group of dedicated and talented artists who threw themselves in the middle of war in order to capture the experience and create art about it.

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Want more art-historical goodness? Check out the links below:

PBS: They Drew Fire Documentary resources

Smithsonian: Edward Reep Biography

Historynet.com: Fire for Effect: The Price

El Paso Times: Coverage of Tom Lea exhibition  (2016)

Hektoen Journal: Peleliu as a Paradigm for PTSD: The Two-Thousand Yard Stare

Episode Credits

Production and Editing by Kaboonki Creative. Theme music by Alex Davis. Research assistance by Stephanie Pryor. Social media assistance by Emily Crockett. 

Music credits: "Lacrima D'esperide" by Damiano Baldoni is licensed under ; "Hope" by Borrtex is licensed under BY-NC 4.0; "Demonstrations (ID 526)" by Lobo Loco is licensed under BY-NC-NC 4.0; "Broken Photosynthesis" by Kyle Preston is licensed under BY-NC 4.0

 

ArtCurious is sponsored by Anchorlight, an interdisciplinary creative space, founded with the intent of fostering artists, designers, and craftspeople at varying stages of their development. Home to artist studios, residency opportunities, and exhibition space Anchorlight encourages mentorship and the cross-pollination of skills among creatives in the Triangle.


Photograph of George Biddle at Work, 1930s
Edward Reep, Soldier Taking a Bath
Combat Artist Sketching (date unknown)
Richard M. Gibney, Sketch of Dead Soldiers, date unknown
Franklin Boggs, Race Against Death, 1944
Tom Lea, The Price, 1944. Oil on canvas
Tom Lea's The Price as presented in Life Magazine, 1944
Tom Lea, The 2,000-Yard Stare, 1944. Oil on canvas.
Episode #22: Hitler the (Failed) Artist (Season 2, Episode 2)  

This episode is sponsored by 80Fresh: Get 20% off of your first order by using the code "ARTCURIOUS" here. This episode is also sponsored by Audible: get a free audiobook download and a free 30-day trial here. Thank you for supporting our show!

Please note that some might find this episode offensive. I discuss Adolf Hitler as a person and have opted to show images of his artworks here. Note that by no means do I condone Hitler as a person, but I simply choose to place his interest in art in historical context. 

In June 2015, an auction house in Nuremberg, Germany, made headlines for a group of 14 small works sold for a sum of around $450,000. But when it comes to art and art auctions, we have to face a truth: a grand total of four hundred and fifty thousand dollars, spread out over the sale of fourteen separate pieces of mediocre quality, at a small auction house in Europe? Really, that isn't a fantastic haul, and shouldn't have garnered too much media interest. And yet it was a big deal. Why? What was so great about them? Well, it actually wasn't about quality or greatness at all. It was more about notoriety, because the artist was one of the most abhorrent human beings in all of history. The artist was Adolf Hitler.

In this episode, we contemplate the way that fine art inspired, affected, and ultimately molded the man who would become the biggest architect of terror in the 20th century. 

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Want more art-historical goodness? Check out the links below:

Artnet.com: Hitler's Artwork Sells for $450,000 at Nuremburg Auction

Hyperallergic: Hitler’s Failed Art Portfolio Goes to Auction

LA Times Blog: Would You buy this painting by Adolf Hitler?

The Telegraph: Hitler Sketches that Failed to Secure His Place at Art Academy to be Auctioned

The Telegraph: Adolf Hitler Art Portfolio to Be Auctioned (Pictures) 

Episode Credits

Production and Editing by Kaboonki Creative. Theme music by Alex Davis. Research assistance by Stephanie Pryor. Social media assistance by Emily Crockett. 

Music: "Maroon" by Misha Dixon is licensed under BY-NC 4.0 (edited for time); "Like the sky" by Damiano Baldoni is licensed under BY 4.0; "Utopia's Darkness" by Julie Maxwell's Piano Music is licensed under BY-ND 4.0 (based on a work at http://www.juliemaxwell.com); "Chance" by Kai Engel is licensed under BY-NC 4.0; "Realness" by by Kai Engel is licensed under BY-NC 4.0

ArtCurious is sponsored by Anchorlight, an interdisciplinary creative space, founded with the intent of fostering artists, designers, and craftspeople at varying stages of their development. Home to artist studios, residency opportunities, and exhibition space Anchorlight encourages mentorship and the cross-pollination of skills among creatives in the Triangle.


Adolf Hitler, The Courtyard of the Old Residency in Munich, 1914, watercolor on paper, originally from: Adolf Hitler: Bilder aus dem Leben des Führers
Adolf Hitler, Neuschwanstein, undated, watercolor on paper. Photo: Weidler
Adolf Hitler, Vase Mit Blumen, 1912, oil on paper. Photo: Nate D. Sanders Fine Autographs and Memorabilia
Adolf Hitler, Munich City Hall, 1914, watercolor on paper.
Detail of signature from Munich City Hall.
BONUS EPISODE: Happy Birthday, ArtCurious Podcast!  

Today marks the one year anniversary since we launched our very first episode! This is a special episode for you, our listeners. Many of you called, emailed, and contacted us on social media to ask questions big and small. Here are some of my favorites.

Most of all, thank you. I do this for you, and without your ears, we wouldn't be here. Thank you for a year of love and support!

Bonus images referred to in this episode: Pablo Picasso's masterpiece, Guernica, from 1937:

Artist unknown (School of Fontainebleau), Portrait présumé de Gabrielle d'Estrées et de sa soeur la duchesse de Villars, circa 1594: 

Episode #21: Season Prologue- The Relationship Between Art and War (Season 2, Episode 1)  

This episode is sponsored by 80Fresh: Get 20% off of your first order by using the code "ARTCURIOUS" here. This episode is also sponsored by Audible: get a free audiobook download and a free 30-day trial here. Thank you for supporting our show!

It was the most widespread war in history, involving the participation of more than one hundred million people from around the world, including the greatest powers across the globe: the United States, Great Britain, France, Germany, China, Japan, Italy, and the Soviet Union. It affected life in myriad ways: economically, politically, industrially, scientifically, ideologically. And its reach was one of the most horrible. Between the deaths on the battlefield and the mass killings of civilians, an estimated 50 to 85 million fatalities occurred, making it the deadliest conflict in all of recorded human history.  And yet, at the same time, it spurred on glimpses of positivity in the midst of this darkness: giving rise to the so-called Greatest Generation, and leading to advances in medicine and aviation, in information technology, and many other sectors.

This was World War Two. But what did the war have to do with art? And how are the effects of the war still being felt today?

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ArtCurious is sponsored by Anchorlight, an interdisciplinary creative space, founded with the intent of fostering artists, designers, and craftspeople at varying stages of their development. Home to artist studios, residency opportunities, and exhibition space Anchorlight encourages mentorship and the cross-pollination of skills among creatives in the Triangle.

Episode Credits

Production and Editing by Kaboonki Creative. Theme music by Alex Davis. Research assistance by Stephanie Pryor. Social media assistance by Emily Crockett. 

"The heaven is far" by Damiano Baldoni is licensed under BY 4.0; "machinery" by Kai Engel is licensed under BY-NC 4.0; "aspirato" by Kai Engel is licensed under BY-NC 4.0; "бить настоящим" by Kosta T is licensed under BY 4.0; "Dancing Sparrows A (ID 609)" by Lobo Loco is licensed under BY-NC-NC 4.0; "world of ruin" by Damiano Baldoni is licensed under BY 4.0


The Alexander Mosaic, by Philoxenus of Eretria (presumed), 101 BCE, 272 cm × 513 cm (8 ft 11 in × 16 ft 9 in), National Archaeological Museum, Naples (since 1843), House of the Faun, Pompeii
Eugène Delacroix, Massacre at Chios, oil on canvas, 1824, The Louvre
Francisco Goya, The Disasters of War, 1810-1820, plate 4: Las mujeres dan valor (The women are courageous). A struggle between civilians and soldiers
Francisco Goya, The Disasters of War, Plate 3: Lo mismo (The same). A man about to cut off the head of a soldier with an axe.
Francisco Goya, The Disasters of War, 1810-1820, plate 62: Las camas de la muerte (The beds of death). A woman walks past dozens of wrapped bodies awaiting burial.
Marcel Duchamp, Fountain, 1917–1917, ceramic
Piet Mondrian, Composition C (No.III) with Red, Yellow and Blue, 1935, Tate Modern © 2007 Mondrian/Holtzman Trust c/o HCR International, Warrenton, VA
Announcements from ArtCurious!  

Hi ArtCurious listeners,  I’m so excited to announce that I’m coming back to you with a whole new season of episodes beginning on Monday, July 31st. I’ve loved working on this project and can’t wait to share it with you, so mark your calendars now and be sure to subscribe to us on iTunes or the podcatcher of your choice to guarantee that you don’t miss this or any of our future episodes.

I also have another exciting opportunity for you. Next month,  we will be celebrating our one year anniversary! To commemorate it, I’ll be releasing a special “ask me anything” mini-episode, and YOU are invited to participate. Send me any questions or comments that you like, and I will try and answer as many as I can. And you get a chance to be part of our history!

Here’s how it’s done:

1. Email me at artcuriouspodcast@gmail.com with "AMA" in the subject line

2. Contact us via the website

3. Hit us up on Twitter or Instagram @artcuriouspod, or leave us comments on our Facebook site

4.  If you want to leave us a voice message (and possibly hear your own voice on the show), call and leave a message at area code 919-526-0212.

DEADLINE: July 26

Thank you, all, for an exciting first year and a thrilling second season. Looking forward to sharing more with you soon.

CURIOUS CALLBACK: Episode #5: Death and Disaster, Warhol and Weegee  

This is a rebroadcast of our fifth episode, which was originally released on October 13, 2016. Subscribe now to the podcast so that you don't miss our new episodes beginning in late July.

This episode is sponsored by 80Fresh: Tasty. Healthy. Simple. Get 20% off of your first order by using the code "ARTCURIOUS" here

Death has always been a part of art history. That's one of the beautiful things about art-- it can detail and document and celebrate every facet of our existence. And so much of the great art that we know and love today works in the capacity to stave off one of the terrible side effects death-- being forgotten. Portraits, stone monuments, ancient coins-- they all aim to ensure that the subjects depicted will be remembered and revered for all eternity.

But Andy Warhol’s take on mortality wasn't about memorializing. He instead focused on the direct causes of death, or the aftermath of a terrible accident. His series, Death and Disaster, is one of the most well-known and polarizing of his career. But Warhol wasn't the first artist to focus on the everyday tragedy of death as a subject to quite this revealing and exploitative extent. No, that honor might very well belong to someone else-- an immigrant photographer working in Manhattan in the 1930s and 1940s.

 In this episode, we discover the subject matter and motivations behind Andy Warhol's Death and Disaster series, and relate them to the work of the greatest crime scene photographer in history, Weegee. 

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Recommended reading: Buy our recommended books from Barnes and Noble, below. ArtCurious has a relationship with Barnes and Noble, and will receive a small percentage of sales. Please support our podcast by purchasing from them- and you get FREE SHIPPING if you spend $25 or more! 

Want even MORE information? Check out the links below:

Weegee as Witness

The Original Nightcrawler

Weegee's Day at the Beach

Art Portfolio: Weegee

Death and Death and Death by Warhol

Andy Warhol, the Death and Disaster Series and Prestige


Weegee (Arthur Fellig), Self Portrait
Weegee's Photo Credit
Weegee perched on a fire escape, New York. Photo by Leigh Wiener.
Weegee (Arthur Fellig), Girl jumped out of car, and was killed, on Park Ave., circa 1938
Weegee (Arthur Fellig), Their First Murder, c. 1941
Andy Warhol, 32 Soup Cans, 1961-62 Synthetic polymer paint on thirty-two canvases, each 50.8 x 40.6 cm. The National Gallery of Art, Washington, DC
New York Mirror front page, inspiration for Warhol's 129 Die in Jet
Andy Warhol, 129 Die in Jet, 1962, acrylic and pencil on canvas, 100 x 72 in. (254 x 182.9 cm.)
Andy Warhol, Silver Car Crash (Double Disaster), 1963, acrylic screenprint on canvas, 8 by 13 feet, private collection.
Andy Warhol, 5 Deaths, 1963, stamped 'Andy Warhol' (on the overlap), silkscreen ink and acrylic on canvas 44 x 33 in.
CURIOUS CALLBACK: Episode #3: The Semi-Charmed Life of Elisabeth Vigeé Le Brun  

This is a rebroadcast of our third episode, which was originally released on September 12, 2016. Subscribe now to the podcast so that you don't miss our new episodes beginning in late July.

This episode is sponsored by 80Fresh: Tasty. Healthy. Simple. Get 20% off of your first order by using the code "ARTCURIOUS" here

Marie Antoinette, Queen of France, had an image problem: she was seen as frivolous, silly, and out-of-touch. In order to combat her poor press, the royal court commissioned a series of portraits of the queen to make her more relatable and sympathetic. Such images act as excellent propaganda machines, giving Marie Antoinette a much-needed positive spin. But what is even more marvelous is the backstory of the artist who created these portraits-- because the painter who was chosen to portray the highest woman in the land was… another woman.

Talk about a revolution. 

In the third episode of the ArtCurious Podcast, we'll look at the lucky and semi-charmed life of Elisabeth Vigée Le Brun, one of the most popular painters of 18th-century France and the official court painter of Marie Antoinette. 

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And follow us on Twitter and on Instagram for more artsy goodness:

Instagram: https://www.instagram.com/artcuriouspod/                                                                  Twitter: https://twitter.com/artcuriouspod

Recommended reading: Buy our recommended books from Barnes and Noble, below. ArtCurious has a relationship with Barnes and Noble, and will receive a small percentage of sales. Please support our podcast by purchasing from them- and you get FREE SHIPPING if you spend $25 or more! 

 

Want even MORE information? Check out the links below:

Elisabeth Vigée Le Brun's memoirs

 She Painted Marie Antoinette (and Escaped the Guillotine)

The Praise and Prejudices Elisabeth Vigée Le Brun Faced in her Exceptional 18th-Century Career

Vigée Le Brun: Woman Artist in Revolutionary France


Elisabeth Vigée Lebrun,
Detail of Marie Antoinette and Her Children, 1787
Elisabeth Vigée Lebrun, Self-Portrait, 1790, oil on canvas, Uffizi Gallery
Elisabeth Vigeé Le Brun, Self-Portrait, circa 1781-1782, oil on canvas, Kimbell Art Museum
Elisabeth Vigée Lebrun, Marie Antoinette, 1778, oil on canvas, Kunsthistoriches Museum
Elisabeth Vigée Lebrun, Self-Portrait, after 1782, oil on canvas, National Gallery, London
Elisabeth Vigée Lebrun, Self-Portrait with her Daughter, Julie, 1786, oil on panel, Musée du Louvre
Elisabeth Vigée Lebrun, Self Portrait with Her Daughter, 1789, oil on canvas, Musée du Louvre
Elisabeth Vigée Lebrun, Peace Bringing Back Abundance, ca. 1798, oil on canvas, Musée du Louvre
Elisabeth Vigée Lebrun, Marie Antoinette in a Muslin Dress, 1793, oil on canvas, Schloss Wolfsgarten
Elisabeth Vigée Lebrun, Hubert Robert, 1788, oil on canvas, Musée du Louvre
Episode #20: Sofonisba Anguissola: Great (Woman) Artist  

Earlier this spring, I saw a hashtag making the rounds online, especially on Twitter and Instagram. Half the time, I only just vaguely pay attention to the trending terms on social media, but this one hit me right away. For a lot of people, including myself, it was like seeing an old beloved friend again- because this isn’t a new hashtag. It’s over a year old and was initiated originally by the National Museum of Women in the Arts in Washington, D.C. in conjunction with Women’s History Month, celebrated every year in March.  It read #5WomenArtists and was meant as a kind of dare. As the museum’s digital editorial assistant, Emily Haight, posted on their blog, “Ask someone to name five artists and responses will likely include names such as Warhol, Picasso, van Gogh, Monet, da Vinci—all male artists. Ask someone to name five women artists, and the question poses more of a challenge.”

It’s a sad, but true, statement. Can many of us--especially those without in-depth artistic training or interest-- really name five or more women artists? Maybe, if you’re lucky, you can remember Frida Kahlo or Georgia O’Keeffe. And bonus points if you can recall our previous discussion on Elisabeth Vigee Le Brun. But especially in terms of artists who were around prior to the 20th century, the game grows much harder.

Why? What’s the problem of the woman artist? And how can we fix it?  Today, we’re talking about women artists-- the historical difficulties in becoming an artist, the challenges present therein, and the limitations and legacies of one very important Renaissance painter.

Today’s special episode of ArtCurious is the end result of a collaboration with art historian Ellen Oreddson and her excellent blog, How to Talk About Art History. Ellen has her own contribution to this topic on her site, where she lists five artists, inspired by the five women artists hashtag, and briefly discusses why each has been left out of the traditional art historical canon. Don't miss this insightful and fascinating post!

// Please SUBSCRIBE and REVIEW our show—we can’t thank you enough! Check our website for images from today’s show, as well as information about our other episodes. And come find us on Twitter and Instagram!

Want more art-historical goodness? Check out the links below:

Italy Magazine: Sofonisba Anguissola- A Renaissance Woman

Smarthistory: Sofonisba Anguissola

ArtNews: Why Have There Been No Great Women Artists?

National Museum of Women in the Arts Blog: Challenge Accepted: Can You Name Five Women Artists?


Sofonisba Anguissola, Self-portrait, 1554. Oil on canvas.
Sofonisba Anguissola, Self-Portrait holding a medallion with the Letter's of her Father's Name, early 1550s.
Sofonisba Anguissola, Self-Portrait, 1556. Oil on canvas.
Sofonisba Anguissola, The Chess Game, 1555. Oil on canvas.
Sofonisba Anguissola, Portrait of Elizabeth of Valois Holding a Portrait of Philip II, 1561 - 1565. Oil on canvas.
Sofonisba Anguissola, Philip II, 1573. Oil on canvas.
Anthony van Dyck, sketchbook page featuring drawing of Sofonisba Anguissola, 1624.
Anthony van Dyck, Sofonisba Anguissola, 1624. Oil on panel.
Episode #19: Conservation and Controversy  

Conservators are art heroes: they transform damaged or dirty works of art into beautiful, fresh works for public consumption. Then why is it that conservation has been at the center of some of the biggest art historical controversies of the last fifty years? What does a conservator really do, and what happens when conservation goes too far?          

// Please SUBSCRIBE and REVIEW our show—we can’t thank you enough! Check our website for images from today’s show, as well as information about our other episodes. And come find us on Twitter and Instagram!

Many thanks to the incredible Stephanie Pryor for research assistance!

There are some excellent books that I used for this episode. You can buy them at Better World Books, a bookstore for the socially conscious consumer. Click the links below for more information at a fair price. Please note: The ArtCurious Podcast is affiliated with Better World Books and will receive a small commission off of book sales. 

Want more art-historical goodness? Check out the links below:

NPR: Art Conservators at Work: A Living Exhibit

Smithsonian Magazine: "True Colors"

Hyperallergic: With Its Own Arts Center, Beast Jesus Rises Again

Huffington Post: “Elderly Woman’s Hilarious Failed Attempt At Restoring A 19th Century Fresco In Borja, Spain.”

ArtNet News: “Appalling Restoration Destroys Giotto Frescoes at the Basilica of Saint Francis in Assisi Parts of the priceless medieval frescoes are now lost forever.”


Does your family Bible look like this? I'd recommend calling a conservator.
The Parthenon Today, Athens, Greece
Computer Simulation of the Original Appearance of the Parthenon, Ancient Greece
The Sistine Chapel, Post-Restoration
Michelangelo's Daniel, before restoration (left) and after restoration (right)
Michelangelo's Creation of Adam, comparative images pre- and post-restoration
Michelangelo's Jesse Spandrel from the Sistine Chapel-- note that some details, including Jesse's eyes, are now missing, post-restoration (right)
Elias Garcia Martinez, Ecce Homo comparison-- original, before restoration, and after "restoration"
BONUS EPISODE: What is Art? (With A Thousand Things to Talk About)  

We are incredibly thrilled to release a bonus episode with our friend, Andrea Parrish, at A Thousand Things to Talk About! This daily podcast is the perfect start to your morning, with a brief 2-3 minute episode with thought-provoking questions and research. A Thousand Things to Talk About also offers the occasional "deep dive," and we're so excited to be a part of this one-- What is Art? It's a question that seems simple, but in reality, is it?

Listen here, and subscribe and review A Thousand Things to Talk About. Follow the show at the links below! And don't forget to  SUBSCRIBE and REVIEW our show along the way, too!

@musetopics on Twitter

@musetopics on Instagram

@musetopics on Facebook

Want more art-historical goodness? Check out the links below:

The Art Story on Dada

The New York Times: Is it Art? Is it Good? And Who Says So?

The Brooklyn Rail: Is it Possible to Define Art?

Stanford Encyclopedia of Philosophy: The Definition of Art

First Principles: The Treasonous Clerk: St. Augustine and the Meaning of Art

Book recommendation: Mosche Barasch, Modern Theories of Art 2: From Impressionism to Kandinsky

MoMA: "But is it Art?" Constantin Brancusi vs. the United States

Obscenity Case Files: Miller vs. California

Art on Trial: The Arts, the 1st Amendment, and the Courts


Claude Monet, Impression: Sunrise, 1872, oil on canvas (Musée Marmottan Monet, Paris)
Marcel Duchamp, 'Fountain' 1917, replica 1964, urinal and black paint
Constantin Brancusi, Bird in Space, series from 1923-1940, polished brass (this example: Guggenheim Museum, New York)
Episode #18: Diagnosis: Art History  

Over the centuries, there have been numerous examples of fine artists creating works of art that deliberately work with and within contemporaneous medical thought, portraying people with particular ailments or diseases. But what about if we turn that concept around a little bit? What happens when those in the medical field turn to paintings or sculptures from the past and retroactively investigate the health of the individuals depicted therein? What happens when art history turns into a diagnosis?                

// Please SUBSCRIBE and REVIEW our show—we can’t thank you enough! Check our website for images from today’s show, as well as information about our other episodes. And come find us on Twitter and Instagram!

Want more art-historical goodness? Check out the links below:

Boston Globe: Monet? Gaugin? Using Art to Make Better Doctors

New York Times: Studying Art with the Eye of a Physician

Wall Street Journal: Doctors Enlist Paintings to Hone Skills

The Guardian: The Fine Art of Medical Diagnosis

The Guardian: Did the Mona Lisa Have Syphilis?


Théodore Géricault, Portrait of a Kleptomaniac, 1822, oil on canvas, 61 x 50 cm (Museum of Fine Arts, Ghent)
Théodore Géricault, Portait of a Woman Suffering from Obsessive Envy (The Hyena), 1822, oil on canvas, 72 x 58 cm (Musée des Beaux-Arts, Lyons)
Detail of Night, Michelangelo, Tomb of Giuliano di Lorenzo de' Medici with Night and Day, 1533, Florence, Italy
Quentin Massys, The Ugly Duchess (c. 1513), Oil on wood, 64.2 × 45.5 cm. National Gallery, London
Vincent Van Gogh, Sunflowers Arles, 1888, oil on canvas, 92.5 x 73 cm, Vincent van Gogh Foundation / National Museum Vincent van Gogh, Amsterdam
Vincent van Gogh, The Starry Night, 1889, oil on canvas, 73.7 x 92.1 cm. (The Museum of Modern Art)
Vincent van Gogh, Portrait of Dr. Gachet, 1890, Oil on canvas, 23.4 in × 22.0 in, Private collection
Piero di Cosimo, The Death of Procris c. 1500 Oil on panel, 65 x 183 cm
Leonardo da Vinci, Mona Lisa (La Joconde), c. 1504, Oil on poplar wood, 76.8 × 53 cm (30.2 × 20.9 in), Musée du Louvre, Paris
Episode #17: The Casino of the Spirits  

Venice-- it's the most serene and beautiful city in Italy, and possibly the whole world. But Venice at night-- all darkened and quiet-- takes up the most space in my imagination. I seriously love the depictions of Venice as enigmatic, shadowy, and even dangerous. Without cars or streetlights or other modern comforts, you might feel like you’ve stepped back in time and that around any given corner, you could find… anything. All of this lends Venice this air of inscrutability and mystery. And over time, locals and visitors alike have reveled in this sensation as fodder for myth-making and storytelling. Some stories really stick, lasting for centuries and becoming embedded into the city itself, through its buildings, monuments, and specific locations. And there’s one building that has had plenty of legends built around it. This particular elegant structure had an illustrious past, having once been a meeting place where Italian Renaissance artists discussed their craft, caroused, and gambled. But it’s also the location where relationships soured, crimes were committed, and death inevitably followed. Today, some people won’t even enter this particular building because it is feared to be haunted, cursed… or both.

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Want more art-historical goodness? Check out the links below:

Glory of Venice exhibition at the North Carolina Museum of Art

Read Vasari's take on Morto da Feltre

Wikipedia's Entry on Morto da Feltre

Mysterious Venice: The Casino of the Spirits (In Italian)

Italian Mysteries: Haunted Venice

 


The Casino degli Spiriti, as seen from the water, Venice, Italy
The Casino degli Spiriti, as seen from the back garden, Venice, Italy
Carlo Lasino, after Lorenzo Luzzo, Portrait of Morto da Feltre, color mezzotint, ca. 1789
Morto da Feltre, Virgin and Child, Virgin and Child, Civic Museum of Feltre
Giorgione, Self-Portrait, 1510
Giorgione, Madonna and Child between Saint Nicasius and Saint Francis, also known as Castelfranco Madonna, c. 1502, tempera on panel
Detail of the Castelfranco Madonna, based on Cecilia
Episode #16: The Muse  

Sometimes when I am looking at a particularly fascinating work of art, I find myself overwhelmed with awe-- for the creative act itself and the technical prowess that was needed to bring it to fruition. I’ve often had those moments where I have thought to myself, “Wow. How did this all come about? What is the inspiration behind this piece?” And any conversation about inspiration in the arts inevitably brings up a discussion about muses. This episode looks at the relationship--and occasional romance-- between artists and their muses, with a particular emphasis on one woman whose connection to two brothers illustrates this exchange in a compelling way. 

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Want more art-historical goodness? Check out the links below:

Artventures Blog: Manet and Morisot: The Tale of Love and Sadness in the Portraits

Saper Galleries: The Women of Pablo Picasso

Huffington Post: Ten Amazing Female Artists and Their Male Muses

The Telegraph: Picasso's Muses

Projection Systems Blog: The Origin of Painting


Joseph Wright of Derby, The Corinthian Maid, 1782–1784
Artist and Model, photography, c.1900
Giulio Romano's depiction of the Muses in Dance of Apollo and the Muses, 1540
Pablo Picasso, Girl Before a Mirror, 1932
Pablo Picasso, The Dream, 1932
Photograph of Édouard Manet, c. 1875
Photograph of Berthe Morisot, c. 1875
Édouard Manet, Berthe Morisot with a Bouquet of Violets (in mourning for her father), 1872
Édouard Manet, The Repose, 1870
Édouard Manet, The Balcony (Le balcon), 1868
Berthe Morisot, Eugene Manet on the Isle of Wight, 1875
Berthe Morisot, Julie and Eugene Manet
Episode #15: Hans-Joachim Bohlmann and Serial Art Vandalism  

A few months ago, I began looking into occurrences of art vandalism-- the purposeful destruction or harm of works of art that have occurred consistently, especially throughout the 20th century. As I read up, I saw that most of these events were one-offs: single moments where one person made a rash and ridiculous choice to lash out at a particular work of art. But then, I began to notice one name popping up over and over again- a German man who, over his lifetime, damaged over fifty works of art, creating a name for himself and a lasting impression on the art world. This episode, in a continuation of our Bigger Picture series, digs deeper into art attacks and examine the life and legacy of the vandal Hans-Joachim Bohlmann.

// Please SUBSCRIBE and REVIEW our show—we can’t thank you enough! Check our website for images from today’s show, as well as information about our other episodes. And come find us on Twitter and Instagram!       

                                                  









Episode #15: Hans-Joachim Bohlmann and Serial Art Vandalism  

A few months ago, I began looking into occurrences of art vandalism-- the purposeful destruction or harm of works of art. Along the way, I learned that so many of the most famous artists and works of art have been affected by these terrible actions: Van Gogh, Picasso, Rembrandt, Leonardo da Vinci. And as I read up, I saw that most of these events were one-offs: single moments where one person made a rash and ridiculous choice to lash out at a particular work of art. But then, I began to notice one name popping up over and over again. Just as there are famous artists who rise to the top of the canon of art history, it turns out that there was a granddaddy of all of the art vandals in the world-- a German man who, over his lifetime, damaged over fifty works of art, creating a name for himself and a lasting impression on the art world. In this episode, And today, in a continuation of our Bigger Picture series, we are going to dig deeper into art attacks and examine the life and legacy of the vandal Hans-Joachim Bohlmann.

// Please SUBSCRIBE and REVIEW our show—we can’t thank you enough! Check our website for images from today’s show, as well as information about our other episodes. And come find us on Twitter and Instagram!       

Want more art-historical goodness? Check out the links below:

Art Damaged Tumblr page

Cabinet Magazine's Partial Guide to the Tools of Art Vandalism

Durer's Virgin on Show Again After Acid Attack (2010)

Washington Post: Museums' Fine Art of Protecting Masterpieces

Hans-Joachim Bohlmann Profile in Der Spiegel (in German)










Episode #14: Samuel F. B. Morse's Gallery of the Louvre  

How many know that the inventor of the telegraph and co-creator of Morse code--Samuel F. B. Morse-- was a successful artist, too? And crazily enough, one of his paintings in particular, foreshadowed his interest in communication tools, providing the impetus for revolutionizing communication--and, indeed, the world as we know it. Listen in for details on Morse's masterpiece, Gallery of the Louvre.               

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If you're based in the Southern U.S., do not miss the exhibition Samuel F. B. Morse's Gallery of the Louvre and the Art of Invention at Reynolda House Museum of American Art. Buy your tickets here and check this site for further details! 

Want more art-historical goodness? Check out the links below:

The National Gallery of Art's exhibition page: with video, exhibition brochure, and more great info

The History Blog's Profile on Morse the Artist

Samuel Morse's Other Masterpiece: Smithsonian Magazine

Samuel Morse's Early Works

Six Things You May Not Know about Samuel Morse: History.com

Samuel Morse website for more details: Samuelmorse.net

                                                               









Episode #13: Diego and Frida, Part 2  

Glamour. Curiosity. Excitement. A love story for the ages. Such are the types of descriptors that you hear when you ponder the life and love of Frida Kahlo and Diego Rivera. Truly, in the pantheon of great artistic relationships, they are one of the top couples out there. And they had the great fortune, or whatever you want to call it, of living their exciting lives in front of the camera, as well as on canvas. Google them, and all kinds of lovey-dovey images come up-- images of Diego nuzzling Frida, images of them kissing, of her embracing him around his wide middle section. But what some people neglect, or possibly even forget, is that their relationship was by no means perfect. There were great ups, of course, but the downs? Incredible. Even Diego Rivera himself was aware of this fact, later writing, quote, “If I ever loved a woman, the more I loved her, the more I wanted to hurt her. Frida was the most obvious victim of this disgusting trait.” Harsh words. But would they always be that way?                       

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Want even MORE information? Check out the links below:

http://kcur.org/post/tempestuous-relationship-between-frida-kahlo-and-diego-rivera#stream/0

http://www.vanityfair.com/culture/1995/09/frida-kahlo-diego-rivera-art-diary













Episode #12: Diego and Frida, Part 1  

There’s something a little strange about the pairing of Frida Kahlo and Diego Rivera. Certainly it’s the surprise of a pairing of seeming opposites, at least from a physical standpoint-- she the small, seductive, and somewhat frail painter whose subject matter referred to the most intimate sides of her own life; he, the large and somewhat brutish muralist whose large-scale works touched upon revolution and justice and larger issues of Mexican history. There’s almost a Beauty and the Beast quality there, and for many of us, the relationship between these two artists is just as intriguing as their creative output. And especially when it comes to Frida’s art, it’s very hard to separate their love from their artistic legacy. But how did it begin? And what is it about these two that makes them so fascinating, even 60 years later?

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Want even MORE information? Check out the links below:

http://kcur.org/post/tempestuous-relationship-between-frida-kahlo-and-diego-rivera#stream/0

http://www.vanityfair.com/culture/1995/09/frida-kahlo-diego-rivera-art-diary











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