National Gallery Of Art | Audio

  • Autor: Vários
  • Narrador: Vários
  • Editor: Podcast
  • Duración: 2163:22:40
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Sinopsis

This audio series offers entertaining, informative discussions about the arts and events at the National Gallery of Art. These podcasts give access to special Gallery talks by well-known artists, authors, curators, and historians. Included in this podcast listing are established series: The Diamonstein-Spielvogel Lecture Series, The Sydney J. Freedberg Lecture in Italian Art, Elson Lecture Series, A. W. Mellon Lectures in the Fine Arts, Conversationricans with Artists Series, Conversations with Collectors Series, and Wyeth Lectures in Ame Art Series. Download the programs, then visit us on the National Mall or at www.nga.gov, where you can explore many of the works of art mentioned. New podcasts are released every Tuesday.

Episodios

  • A Sculptor Looks at Rodin's Work

    15/01/2013 Duración: 53min

    January 2013 - Sidney Geist, sculptor, and professor of sculpture, New York Studio School of Drawing, Painting, and Sculpture. In conjunction with the exhibition Rodin Rediscovered, on view at the National Gallery of Art from June 28, 1981, to May 2, 1982, Sidney Geist highlights some of the 366 catalogued works by Auguste Rodin that filled spaces on each of the East Building's four levels. With works from about 40 American and European collections, the exhibition recreated a typical Paris Salon of the 1870s. Twenty-nine sculptures filled the Upper Level Galleries, continued downward through the building with nine sections devoted to different themes of Rodin's work, and ended on the Concourse with a new eight-ton bronze cast of The Gates of Hell with its 186 figures. In this lecture recorded on September 27, 1981, Geist brings his unique perspective as a sculptor to the examination of Rodin's work, expressing how difficult it is to separate Rodin's technical ability from the mystical quality of his sculpture

  • Truth, Lies, and Photographs

    15/01/2013 Duración: 52min

    March 2013 - Mia Fineman, assistant curator, department of photographs, Metropolitan Museum of Art The urge to modify camera images is as old as photography itself—only the methods have changed. Faking It: Manipulated Photography before Photoshop is the first major exhibition devoted to the history of manipulated photographs before the digital age. The exhibition, on view at the National Gallery of Art from February 17 to May 5, 2013, offers a provocative new perspective on the history of photography. In this lecture recorded on February 24, 2013, exhibition curator Mia Fineman traces photographic manipulation from the 1840s through the 1980s and shows that photography is—and always has been—a medium of fabricated truths and artful lies.

  • Art and Espionage: Michael Straight's Giorgione

    08/01/2013 Duración: 39min

    January 2013 - David Alan Brown, curator of Italian and Spanish paintings, National Gallery of Art. In 1974, Michael Whitney Straight, scion of the Whitney family and an American arts administrator, donated Giorgione's portrait titled Giovanni Borgherini and His Tutor to the National Gallery of Art. At the time of the donation, Straight was serving as deputy chairman of the National Endowment of the Arts. Straight's legacy as an art collector is often overshadowed by his self-admitted involvement within the Communist party. In this lecture given on October 1, 2012, David Brown sheds light on Straight's vocation as a collector by attempting to connect his activities as a Soviet sympathizer and agent with his interest in the Giorgione painting and the technical evidence gathered about it.

  • Concerning America, and Alfred Stieglitz, and Myself

    08/01/2013 Duración: 01h05min

    January 2013 - Emmet Gowin, photographer and professor of visual arts, Princeton University. In the first of two lectures honoring the exhibition Stieglitz in the Darkroom, on view at the National Gallery of Art from October 4, 1992, to February 14, 1993, photographer Emmet Gowin shares the relevance of Alfred Stieglitz's (1864-1946) work to his own. The exhibition of 75 photographic prints, chosen from the "key set" of 1,600 photographs given to the Gallery by Georgia O'Keeffe in 1949 and 1980, spanned Stieglitz's career. It demonstrated how a photographer can alter the aesthetics of his art and meaning through cropping, scale, tone, paper selection, and printing process—and also the extraordinary commitment a photographer has to his work. One of the most important photographers of his generation, Gowin (born 1941) is the son of a Methodist minister and considered America and Alfred Stieglitz (1934) to be his second bible. For this lecture recorded on November 29, 1992, Gowin used the title of his undergradu

  • Picasso and the Concept of the Masterpiece

    01/01/2013 Duración: 55min

    January 2013 - Arthur C. Danto, Jonathan Professor Emeritus of Philosophy, Columbia University, and art critic, The Nation. In this lecture recorded on September 19, 1993, at the National Gallery of Art, Arthur C. Danto assesses early works in Pablo Picasso's (1881–1973) career as a starting point for considering the concept of the masterpiece. The understandable but obsessive tendency of Picasso scholarship has been to treat even his simplest works as evidence that his cognitive powers had almost mythic dimensions. Danto argues that much of Picasso's early work became part of history only retrospectively because he became a great artist—mythic a priori. An artist makes certain choices in materials when he believes himself to be embarking on a masterpiece. By investing in a large-scale canvas, its lining, and other expensive materials for a painting, an artist demonstrates the meaning this particular work intended to have relative to his other works so far. It is a conservation gesture—not part of the interna

  • Viewing History Through the Filmmaker's Lens

    01/01/2013 Duración: 51min

    December 2013 - Revered director and screenwriter Agnieszka Holland discusses her latest narrative feature In Darkness (2011) and the HBO Europe miniseries Burning Bush (2013). Both works are based on historic events—the struggle to survive in Nazi-occupied Poland and the revolutionary reaction to the Soviet invasion of Czechoslovakia in 1968, respectively—and illustrate with empathy the humanitarian and existential plight of various individuals. This event is made possible by funds given in memory of Rajiv Vaidya. With thanks to the Embassy of the Republic of Poland.

  • Painting in Emilia

    25/12/2012 Duración: 01h05min

    December 1, 2012 - Sydney J. Freedberg, chief curator, National Gallery of Art In honor of The Age of Correggio and the Carracci: Emilian Painting of the Sixteenth and Seventeenth Centuries exhibition, on view from December 19, 1986, to February 16, 1987, at the National Gallery of Art, Sydney J. Freedberg explains the genesis of the exhibition and introduces many of its masterpieces, including 79 paintings created in the northern Italian province of Emilia between 1500 and 1700. Sir John Pope-Hennessy (then of the Metropolitan Museum of Art) chose the 16th-century works and Freedberg selected those painted in the 17th century. In this lecture recorded on December 26, 1986, Freedberg leads the audience through the exhibition, promising that even though his tour begins with the grandeur of Correggio, there are marvelous surprises of equal mastery to come.

  • Living with the Dead in France: Nineteenth-Century Tomb Sculpture

    25/12/2012 Duración: 46min

    December 2012 - Suzanne G. Lindsay, adjunct associate professor in the history of art, University of Pennsylvania Professor Suzanne G. Lindsay explores some of the most celebrated avant-garde sculpture of 19th-century France as originally conceived and used as tombs and ritual centers. In this lecture recorded on December 9, 2012, at the National Gallery of Art, Lindsay argues that radical changes in 19th-century French tombs owe much to France's renewed desire for a close relationship between the living and their dead following the inhumanities of the revolution. Fueled by this new desire, the French citizenry demanded reform for urban burials after decades of worsening conditions, and reexamined the use of architecture, gardens, and sculpture in the funerary arts of modern France. These issues provide the vital frame for a little commented art-historical phenomenon that occurred in France like nowhere else in Europe: the revival of a powerful and historical form of funerary sculpture inspired by medieval an

  • Tony Smith at 100 Symposium: Introductory Remarks and "Dream of the Proper Context": Tony Smith, the Abstract Expressionists' Architect

    18/12/2012 Duración: 41min

    Decemberr 2012 - Introductory Remarks, Faya Causey, head of academic programs, National Gallery of Art and Kiki Smith, artist; "Dream of the Proper Context": Tony Smith, the Abstract Expressionists' Architect, Eileen Costello, editor and project director, The Catalogue Raisonné of the Drawings of Jasper Johns, The Menil Collection. Tony Smith was an architect-turned-sculptor who defied stylistic categories. His objects, at once imposing and playful, left a lasting mark on postwar art and raised public sculpture to a new level of ambition. On the occasion of what would have been his 100th year, this symposium, recorded on December 1, 2012, at the National Gallery of Art, takes a new look at Smith's achievement from the diverse perspectives of artist, art historian, and curator. Featured speakers include scholar Eileen Costello, sculptor Charles Ray, and curator Harry Cooper. This program was held in collaboration with Kiki Smith, Seton Smith, and the Tony Smith Estate.

  • Tony Smith at 100 Symposium: Tony Smith: X Marks the Spot

    18/12/2012 Duración: 27min

    December 2012 - Tony Smith: X Marks the Spot, Charles Ray, artist. Tony Smith was an architect-turned-sculptor who defied stylistic categories. His objects, at once imposing and playful, left a lasting mark on postwar art and raised public sculpture to a new level of ambition. On the occasion of what would have been his 100th year, this symposium, recorded on December 1, 2012, at the National Gallery of Art, takes a new look at Smith's achievement from the diverse perspectives of artist, art historian, and curator. Featured speakers include scholar Eileen Costello, sculptor Charles Ray, and curator Harry Cooper. This program was held in collaboration with Kiki Smith, Seton Smith, and the Tony Smith Estate.

  • Tony Smith at 100 Symposium: The Tony Smith Experience and Q and A Session

    18/12/2012 Duración: 54min

    December 2012 - The Tony Smith Experience, Harry Cooper, curator and head, department of modern art, National Gallery of Art; Q and A Session, featuring Kiki Smith. Tony Smith was an architect-turned-sculptor who defied stylistic categories. His objects, at once imposing and playful, left a lasting mark on postwar art and raised public sculpture to a new level of ambition. On the occasion of what would have been his 100th year, this symposium, recorded on December 1, 2012, at the National Gallery of Art, takes a new look at Smith's achievement from the diverse perspectives of artist, art historian, and curator. Featured speakers include scholar Eileen Costello, sculptor Charles Ray, and curator Harry Cooper. This program was held in collaboration with Kiki Smith, Seton Smith, and the Tony Smith Estate.

  • The Sydney J. Freedberg Lecture on Italian Art: Lodovico Carracci: Observations on a Faulted Genius

    11/12/2012 Duración: 01h04min

    December 2012 - Sydney J. Freedberg, Arthur Kingsley Porter Professor of Fine Arts, and acting director, Fogg Art Museum, Harvard University. At the time of the exhibition Prints and Related Drawings by the Carracci Family, on view from March 18 to May 20, 1979, at the National Gallery of Art, Sydney J. Freedberg presented his observations on Lodovico Carracci (1555-1619), the oldest of the family of Bolognese artists that included cousins Agostino (1557-1602) and Annibale (1560-1609). Together the Carracci profoundly altered the course of Italian art in the later years of the 16th century and laid the basis for the baroque style that would dominate the century to come. In this lecture recorded on April 8, 1979, Freedberg opposes the perception of Lodovico as a flawed artist outdistanced by his younger cousins. Providing a more comprehensive account, Freedberg argues that the artist's expressive capacity— seen in his sensuous handling of paint, powerful evocations of form, and innovative chiaroscuro—was both

  • Collecting for Quality: The Kaufman Collection of American Furniture, 1725-1825

    11/12/2012 Duración: 51min

    December 2012 - Wendy A. Cooper, director, The DeWitt Wallace Decorative Arts Museum, Colonial Williamsburg. In honor of the exhibition opening for American Furniture from the Kaufman Collection on October 12, 1986, curator Wendy A. Cooper presented this lecture highlighting works collected by Mr. and Mrs. George M. Kaufman over a period of 25 years. The exhibition, on view through April 19, 1987, at the National Gallery of Art, showed 101 examples of American furniture made between 1690 and 1840. The collection, one of the largest and most refined in private hands, includes chairs, desks, tables, high chests, mirrors, clocks, and sconces from the major style centers of Boston, New York, Philadelphia, Newport, and Charleston. The Kaufmans recognized this furniture as one of the earliest American art forms, as well as an expression of their love for and strong pride in our nation's creative and artistic heritage. Each and every object that they desired to acquire and live with is an extraordinary example of hi

  • George Bellows Symposium: The Late Work of George Bellows and the Question of Modernity

    04/12/2012 Duración: 32min

    December 2012 - Mark A. White, Eugene B. Adkins Curator and Chief Curator, Fred Jones Jr. Museum of Art, University of Oklahoma. When George Bellows died at the age of forty-two in 1925, he was hailed as one of the greatest artists America had yet produced. The exhibition George Bellows, on view at the National Gallery of Art from June 10 to October 8, 2012, provides the most complete account of his achievements to date. Bellows was a leading figure in the generation of artists who negotiated the transition from the Victorian to the early modern era in American culture. In this public symposium, held in conjunction with the exhibition on October 5-6, 2012, and coordinated with the Columbus Museum of Art, curators and scholars examine the remarkable scope of Bellows' career and assess his contributions to the first wave of twentieth-century American modernism.

  • The Lion in Great Age: Titian's Last Painting

    04/12/2012 Duración: 01h04min

    December 2012 - Sydney J. Freedberg, Arthur Kingsley Porter Professor of Fine Arts emeritus, Harvard University, and chief curator, National Gallery of Art. In honor of the exhibition Titian: The Flaying of Marsyas on view at the National Gallery of Art from January 17 to April 20, 1986, chief curator Sydney J. Freedberg revealed how he arranged this special showing of Titian's last painting in the United States. In 1983 the work had been lent by the State Museum in Kromeriz, Czechoslovakia, for the first time in 300 years to the Genius of Venice exhibition at London's Royal Academy of Arts. Freedberg persuaded authorities to permit the painting to travel to the National Gallery of Art, in what he described as its second emergence from exile. In this lecture recorded on January 26, 1986, Freedberg provides the context for The Flaying of Marsyas (c. 1550-1576) and the later years of Titian's career.

  • George Bellows Symposium: The Ashcan Goes to War: Bellows, Belligerence, and the Rape of Belgium

    27/11/2012 Duración: 32min

    November 2012 - David Lubin, Charlotte C. Weber Professor of Art, Wake Forest University. When George Bellows died at the age of forty-two in 1925, he was hailed as one of the greatest artists America had yet produced. The exhibition George Bellows, on view at the National Gallery of Art from June 10 to October 8, 2012, provides the most complete account of his achievements to date. Bellows was a leading figure in the generation of artists who negotiated the transition from the Victorian to the early modern era in American culture. In this public symposium, held in conjunction with the exhibition on October 5-6, 2012, and coordinated with the Columbus Museum of Art, curators and scholars examine the remarkable scope of Bellows' career and assess his contributions to the first wave of twentieth-century American modernism.

  • The Collecting of African American Art IX: Collecting Black: An Anachronism

    27/11/2012 Duración: 01h03min

    November 2012 - Darryl Atwell, collector, and Jeffreen M. Hayes, Andrew W. Mellon Curatorial Fellow in African American Art, Birmingham Museum of Art. Darryl Atwell, a collector based in Washington, DC, has been acquiring works by artists of the African diaspora for the last eight years. His conversation with curator Jeffreen M. Hayes, recorded on November 18, 2012, as part of the National Gallery of Art lecture series The Collecting of African American Art, provides an overview of Atwell's important collection. They also discussed the collecting of African American art by others and the rise of contemporary African American artists. Hayes is a scholar whose research interests are African American visual culture, contemporary representations of race, and art museums.

  • George Bellows Symposium: "The infant terrible of painting": Bellows by the River

    20/11/2012 Duración: 32min

    November 2012 - Carol Troyen, Kristin and Roger Servison Curator Emerita of American Paintings, Museum of Fine Arts, Boston. When George Bellows died at the age of forty-two in 1925, he was hailed as one of the greatest artists America had yet produced. The exhibition George Bellows, on view at the National Gallery of Art from June 10 to October 8, 2012, provides the most complete account of his achievements to date. Bellows was a leading figure in the generation of artists who negotiated the transition from the Victorian to the early modern era in American culture. In this public symposium, held in conjunction with the exhibition on October 5-6, 2012, and coordinated with the Columbus Museum of Art, curators and scholars examine the remarkable scope of Bellows' career and assess his contributions to the first wave of twentieth-century American modernism.

  • George Bellows Symposium: Sunday in the Park with George Bellows

    20/11/2012 Duración: 32min

    November 2012 - David Park Curry, senior curator of decorative arts and American painting and sculpture, The Baltimore Museum of Art. When George Bellows died at the age of forty-two in 1925, he was hailed as one of the greatest artists America had yet produced. The exhibition George Bellows, on view at the National Gallery of Art from June 10 to October 8, 2012, provides the most complete account of his achievements to date. Bellows was a leading figure in the generation of artists who negotiated the transition from the Victorian to the early modern era in American culture. In this public symposium, held in conjunction with the exhibition on October 5-6, 2012, and coordinated with the Columbus Museum of Art, curators and scholars examine the remarkable scope of Bellows' career and assess his contributions to the first wave of twentieth-century American modernism.

  • The Sydney J. Freedberg Lecture on Italian Art "Not a painting, but a Vision!": Raphael's Sistine Madonna Turns Five Hundred

    20/11/2012 Duración: 50min

    November 2012 - Andreas Henning, curator of Italian paintings, Gemäldegalerie Alte Meister Staatliche Kunstsammlungen Dresden Hardly any other Italian Renaissance work is as well-known as Raphael's Sistine Madonna. All the evidence suggests that Pope Julius II commissioned Raphael to paint this altarpiece in the summer of 1512. For more than 240 years, the painting hung almost completely unremarked in its original position in the San Sisto Church in Piacenza, Italy. In this 16th annual Sydney J. Freedberg Lecture on Italian Art recorded on November 11, 2012, at the National Gallery of Art, Andreas Henning reveals how the Sistine Madonna only gradually became known to a growing audience after it was acquired for Dresden's Royal Gallery in the mid-18th century. This lecture not only presents Raphael's masterpiece and outlines the conditions that led to its creation 500 years ago, but also considers the many different forms that its reception has taken in art, literature, craft work, and kitsch to popularize the

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