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Rank #143 in Visual Arts category

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Visual Arts

National Gallery of Art | Audio

Updated 4 days ago

Rank #143 in Visual Arts category

Arts
Visual Arts
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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.

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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.

iTunes Ratings

60 Ratings
Average Ratings
37
13
6
2
2

Fantastic show

By HagenThomann - Jun 27 2019
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I just recently stumbled into this podcast but I couldn’t be happier I did! Fantastic episodes and lots of interesting content. Can’t wait to go back to DC and see ‘The Life of Animals in Japanese Art’! Thank you and keep up the great work!

Love the lectures but

By 铿兑有 - Aug 24 2018
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Would be wonderful if the audience could see the pictures.

iTunes Ratings

60 Ratings
Average Ratings
37
13
6
2
2

Fantastic show

By HagenThomann - Jun 27 2019
Read more
I just recently stumbled into this podcast but I couldn’t be happier I did! Fantastic episodes and lots of interesting content. Can’t wait to go back to DC and see ‘The Life of Animals in Japanese Art’! Thank you and keep up the great work!

Love the lectures but

By 铿兑有 - Aug 24 2018
Read more
Would be wonderful if the audience could see the pictures.
Cover image of National Gallery of Art | Audio

National Gallery of Art | Audio

Latest release on Feb 18, 2020

The Best Episodes Ranked Using User Listens

Updated by OwlTail 4 days ago

Rank #1: The East Building at Forty: Reflections from Curators Past and Present

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Panelists include E. A. Carmean Jr., a canon in the Episcopal Church and former curator and head of 20th-century art, National Gallery of Art (1974–1984); Jack Cowart, founding executive director, Roy Lichtenstein Foundation, and former curator and head of 20th-century art, National Gallery of Art (1984–1993); Mark Rosenthal, independent curator, former head of modern and contemporary art, Philadelphia Museum of Art, and former curator and head of 20th-century art, National Gallery of Art (1993–1997); Marla Prather, former curator of modern and contemporary art, Metropolitan Museum of Art, and former curator and head of 20th-century art, National Gallery of Art (1996–1999); and Jeffrey Weiss, former senior curator, Solomon R. Guggenheim Museum, New York, and former curator and head of modern and contemporary art, National Gallery of Art (1999–2007). The National Gallery of Art was conceived and given to the people of the United States by Andrew W. Mellon (1855–1937). In 1936 Mellon wrote to President Franklin D. Roosevelt offering to donate his art collection for a new museum and his own funds to construct a building for its use. With the president’s support, Congress accepted Mellon’s gift and established the Gallery in March 1937. Andrew Mellon had anticipated that the collections would grow beyond the capacity of the original building, and at his request, Congress had set aside an adjacent plot of land for future use. In 1967 Andrew Mellon’s children, Paul Mellon and Ailsa Mellon Bruce, offered funds for a second building, and architect I. M. Pei (b. 1917) was selected to design it. Construction of the East Building began in 1971, and artists such as Henry Moore and Alexander Calder were commissioned to create works for the space. On June 1, 1978, Paul Mellon and President Jimmy Carter dedicated the new museum to the people of the United States. To celebrate the East Building’s 40th anniversary on June 1, 2018, the Gallery’s current and former head curators of 20th-century art gathered to reflect upon their experiences acquiring art and planning special exhibitions.

Jun 05 2018

51mins

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Rank #2: Tintoretto Lecture Series, Part 1—Tintoretto in Context: Framing Tintoretto: Sixteenth-Century Venetian Painting

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Eric Denker, senior lecturer and manager of gallery talks and lectures for adults, National Gallery of Art On the occasion of the exhibition of Tintoretto: Artist of Renaissance Venice, Eric Denker, senior lecturer at the National Gallery of Art, presents a four-part lecture series examining Jacopo Tintoretto’s work in the context of 16th-century Venetian art, history, and culture. In the first lecture, “Tintoretto in Context: Framing Tintoretto: Sixteenth-Century Venetian Painting,” held on April 16, 2019, Denker discusses Venetian Renaissance painting beginning with Giovanni Bellini, his workshop, and his followers, in the second half of the 15th century. Giorgione and Titian were among his most prominent pupils, developing out of Bellini’s linear style the more atmospheric color, light, and shadow characteristic of Venetian High Renaissance oil painting. Though Titian would dominate the painting of large-scale altarpieces and decorations in Venice during the first half of the 16th century, rivals influenced by contemporary central Italian art appeared in Venice by the 1520s and ’30s. Artists including Pordenone and Andrea Schiavone provided alternative sources of style and imagery for both painters and patrons.

Jul 02 2019

51mins

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Rank #3: Vermeer and the Masters of Genre Painting: New Insights and Discoveries

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Arthur K. Wheelock Jr., curator of northern baroque paintings, National Gallery of Art. Exhibitions always provide opportunities for seeing works of art with fresh eyes. Rarely, however, have the comparisons of much-beloved paintings, such as those brought together in Vermeer and the Masters of Genre Painting: Inspiration and Rivalry, yielded so many insights about artistic achievement and the creative process. The landmark exhibition examines the artistic exchanges among Johannes Vermeer and his contemporaries from the mid-1650s to around 1680, when they reached the height of their technical ability and mastery of genre painting, or depictions of daily life. In this lecture held on January 7, 2018, Arthur K. Wheelock Jr. discusses some of these revelations and how they help explain the enduring impact of Vermeer's paintings. Vermeer and the Masters of Genre Painting is on view at the National Gallery of Art through January 21, 2018.

Jan 23 2018

51mins

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Rank #4: Edvard Munch: Spiritualism, Science, and Color

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Valerie Hellstein, independent scholar, and Elizabeth Prelinger, Keyser Family Professor of Art History and Modern Art, Georgetown University, in conversation with Mollie Berger, curatorial assistant, department of prints and drawings, National Gallery of Art. This conversation, held on September 10, 2017, in conjunction with the exhibition Edvard Munch: Color in Context, aims to connect the highly charged and personal art of Edvard Munch (1863–1944) with contemporary notions of spirituality. Mollie Berger, Valerie Hellstein, and Elizabeth Prelinger explore how theosophy influenced Munch’s art, specifically his use of color. In addition, the discussion examines the ways in which advances in various scientific fields impacted the spread of spiritualism and how artists responded to these cultural shifts. Edvard Munch: Color in Context is on view at the National Gallery of Art from September 3, 2017, through January 28, 2018.

Sep 12 2017

51mins

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Rank #5: When No One Liked Jacques Louis David

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Philippe Bordes, professor emeritus of art history, Université Lyon 2. Museums today give the painter Jacques Louis David (1748-1825) the same preeminent recognition that he enjoyed during his lifetime, as the creator of a commanding neoclassical style and a persuasive Napoleonic imagery. For about a century after his death, however, he was mostly rebuked by collectors and critics. In this lecture held on June 11, 2017, in conjunction with the exhibition America Collects Eighteenth-Century French Painting at the National Gallery of Art, Philippe Bordes accounts for these dramatic shifts in taste and perception. Bordes explains that it is necessary to invoke changing attitudes toward the prestige of antique models and toward an artist whose political concerns found expression in his works. Often at stake were fundamental debates as to what made a work of art attractive and how to construct a history of 18th-century French painting. The highs and lows of the critical reception of David’s paintings are a reminder that our own perceptions are bound to evolve over time. Bringing together 68 paintings that represent some of the best and most unusual examples of French art of that era held by American museums, America Collects Eighteenth-Century French Painting is on view from May 21 through August 20, 2017.

May 30 2017

51mins

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Rank #6: Abstraction and Its Capacities

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David Getsy, Goldabelle McComb Finn Distinguished Professor of Art History and chair, department of art history, theory, and criticism, School of the Art Institute of Chicago. To celebrate the publication of Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender, David Getsy presented a lecture at the National Gallery of Art on October 25, 2015. The book examines abstract sculpture in the 1960s that came to propose unconventional and open accounts of bodies, persons, and genders. Drawing on transgender and queer theory, Getsy offers innovative and archivally rich new interpretations of artworks by, and critical writing about, four major artists—Dan Flavin (1933–1996), Nancy Grossman (b. 1940), John Chamberlain (1927–2011), and David Smith (1906–1965). Abstract Bodies makes a case for abstraction as a resource in reconsidering gender’s multiple capacities and offers an ambitious contribution to this burgeoning interdisciplinary field.

Oct 27 2015

51mins

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Rank #7: Bunny Mellon: The Pursuit of Perfection

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Meryl Gordon, director of magazine writing, Arthur L. Carter Journalism Institute, New York University, and author of The Phantom of Fifth Avenue: The Mysterious Life and Scandalous Death of Heiress Huguette Clark (2014) and Mrs. Astor Regrets: The Hidden Betrayals of a Family Beyond Reproach (2008). Rachel Lowe Lambert Lloyd Mellon (1910–2014), also known as Bunny Mellon, was an American gardener, horticulturalist, philanthropist, and art collector. She represented the epitome of American aristocratic self-taught taste. With an unerring eye and an unlimited budget, she brought a modern sensibility to the extraordinary art collection that she and her husband Paul Mellon amassed, which included many works now in the collection of the National Gallery of Art. Acclaimed for designing the White House Rose Garden for her friend John F. Kennedy and famed as a garden designer and fashion trendsetter, Mellon was press shy during her lifetime. To write Bunny Mellon: The Life of an American Style Legend, the first biography of this influential woman, author Meryl Gordon drew on Mellon’s journals and letters and interviewed more than 175 people. In this lecture held on October 15, 2017, Gordon discusses the interplay between the public and the private Bunny Mellon, as well as her close friendship with Jacqueline Kennedy Onassis.

Nov 28 2017

51mins

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Rank #8: Reflections on the Collection: The Edmond J. Safra Visiting Professors at the National Gallery of Art: Nancy J. Troy on Piet Mondrian, Tableau No. IV: Lozenge Composition with Red, Gray, Blue, Yellow, and Black (c. 1924/1925)

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Nancy J. Troy (Victoria and Roger Sant Professor in Art at Stanford University and former Edmond J. Safra Visiting Professor at the National Gallery of Art) discusses Piet Mondrian’s painting Tableau No. IV: Lozenge Composition with Red, Gray, Blue, Yellow, and Black (c. 1924/1925). Troy describes the history and previous iterations of this diamond composition and the work’s powerful influence within popular and artistic spheres.

May 14 2019

51mins

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Rank #9: German Expressionism and Degenerate Art

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David Gariff, senior lecturer, National Gallery of Art. Germany around 1900 was a volatile contradiction—modernizing rapidly, yet deeply conservative in values. This was fertile ground for the birth of German expressionism represented by the paintings and sculptures of Ernst Barlach, Max Beckmann, Ernst Ludwig Kirchner, Franz Marc, Otto Müller, Emil Nolde, and others. With the rise of national socialism in the 1930s in Germany, many of these avant-garde artists and the movements of which they were a part came to be labeled “degenerate.” The recent gift of the Arnold and Joan Saltzman collection of German expressionist art has transformed the Gallery’s holdings of modern art in this area. In this lecture presented on May 4, 2018, at the National Gallery of Art, senior lecturer David Gariff explores the nature of German expressionist art against the backdrop of two important exhibitions mounted by the Nazis in 1937: The Great German Art Exhibition, on July 18, and the Entartete Kunst (Degenerate Art) exhibition, on July 19. Through these two exhibitions and their related documents and propaganda, the Nazis sought to establish and support the reputation of the approved art of the Third Reich, while at the same time to unleash a destructive “tornado” (as Hitler referred to it) against modern art.

Aug 07 2018

51mins

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Rank #10: Watching Thinking: Self-Reflection and the Study of Process in Drawing

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Charles Ritchie, artist and associate curator, department of modern prints and drawings, National Gallery of Art As an artist who has worked behind the scenes with the prints and drawings collections of the National Gallery of Art for 35 years, associate curator Charles Ritchie relishes his unique vantage point for watching artists think. He has an intimate view of everything from the sketching, erasing, and refining at the core of drawing, to studying the sequences of proof impressions that record the development of a print. On March 25, 2019, as part of the Works in Progress series at the National Gallery of Art, Ritchie shares how his own drawing, journal keeping, and printmaking have been influenced by what he’s learned. The presentation offers a collection of his observations.

Apr 16 2019

51mins

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Rank #11: Elson Lecture 2016: Cecily Brown

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Cecily Brown, artist, in conversation with Harry Cooper, curator and head, department of modern art, National Gallery of Art. Born in London in 1969, Cecily Brown attended the Slade School of Fine Art in the early 1990s, just when such "Young British Artists" as Damien Hirst and Tracey Emin were dominating the scene with provocative work. While Brown shared interests with some of them in feminism, sexuality, and mass media, her commitment to the history and practice of painting was distinctive. She moved to New York City in 1994 and has lived and worked there ever since. Brown paints with a fine balance of control and abandon, mining art history and the suggestions of the paint itself. For her inspiration, Brown relies on a variety of two-dimensional sources—from magazines and record album covers to children's books, movies, and a library of exhibition catalogs and monographs including studies of El Greco, Velázquez, Goya, Picasso, Delacroix, Manet, and, present in her most recent work, Degas. Brown's ability to create dense, intricate spaces in which figures emerge from abstraction has earned her recognition as one of the most important contemporary painters. Her work is represented in the National Gallery of Art collection by Girl on a Swing (2004). Brown participated in the 23rd annual Elson Lecture with Harry Cooper on March 10, 2016.

Mar 22 2016

57mins

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Rank #12: The Artist's Sketchbook: A Personal View

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Charles Ritchie, artist, and former associate curator, department of modern prints and drawings, National Gallery of Art In this lecture held on October 27, 2019, in conjunction with the month-long Sketching is Seeing program at the National Gallery of Art, Charles Ritchie presents varied approaches to collecting ideas. For example, do artists fill a sketchbook from front to back or do they open it to an empty space and begin working? Does writing accompany the drawings and how might it relate to the images? Are the drawings and/or writings employed for developing skill, or are they compost for the creation of other works, or does the book document completed works? Using his experience as a keeper of a sketchbook/journal, Ritchie explores the creative practices of some of his favorite artists including Isabel Bishop, Paul Cézanne, Eugène Delacroix, Alberto Giacometti, and Edward Hopper, among others, and he touches on formative manuscripts by Emily Dickinson, Jack Kerouac, and Wallace Stevens. The presentation concludes with a meditation on some of the forces at the core of drawing and writing: the desire to remember, the spirit of play and improvisation, and the essential ingredient―curiosity.

Jan 21 2020

51mins

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Rank #13: Abstract Expressionism

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David Gariff, senior lecturer, National Gallery of Art, August 14, 2018. From the mid-1940s through the 1950s painters in New York imbued their work with a heady new confidence, scale, and energy. Before and during World War II European émigrés poured into New York, including artists Max Ernst, Fernand Léger, Piet Mondrian, and the writer and surrealist leader André Breton. Their influence led to the exploration of biomorphic forms, archaic themes, and accidental processes designed to unleash the unconscious, like dripping and scraping. It is in the large canvases of the 1950s, by Jackson Pollock and others, that what one critic called “the triumph of American painting” can really be felt. These paintings increased ambition and introduced new techniques: Pollock’s rhythmic pours and drips, Clyfford Still’s dry palette-knifing, Newman’s masking-taped “zips,” Franz Kline’s chiseled gestures, and Joan Mitchell’s flurries of strokes. This generation of artists revealed new horizons in the practice of painting and the experience of viewing. As part of the series Celebrating the East Building: 20th-Century Art, senior lecturer David Gariff explores the triumph of American painting in postwar America. This lecture was presented on August 14, 2018, at the National Gallery of Art.

Sep 11 2018

51mins

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Rank #14: Thomas Hart Benton: Painting the Song

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Leo G. Mazow, associate professor of art history, University of Arkansas, and guitarist, The Coverlets; Brittany Stephenson, singer, The Coverlets. American artist Thomas Hart Benton (1889–1975) used folk and popular song as source material for several of his best-known murals, easel paintings, and prints. Borrowing from such classic tunes as “Jesse James,” “John Henry,” “Wreck of the Old ’97,” and “Frankie and Johnnie,” Benton found in music and lyrics artistic material that could help preserve a quickly vanishing past. In this lecture and music performance presented on November 22, 2015, at the National Gallery of Art, Leo G. Mazow and Brittany Stephenson offer a survey of Benton’s sonic subjects—including train whistles, gunshots, and musical instruments—that figure prominently in his work.

Dec 01 2015

51mins

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Rank #15: Pop without Pretense: Mass Media and the Art of James Castle

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Diana Greenwald, Andrew W. Mellon Postdoctoral Curatorial Fellow, departments of American and British paintings and American and modern prints and drawings, National Gallery of Art. Self-taught artist James Castle (1899–1977) lived in remote rural Idaho until moving to the outskirts of Boise in his thirties. Not only was he isolated geographically, he was also born deaf. For Castle—like many “outsider” artists—past scholarship used biography and his marginalized social status to interpret his work. On December 3, 2018, as part of the Works in Progress series at the National Gallery of Art, Diana Greenwald argues that the progressive integration of visual culture—nationally and globally—is key to understanding this artist’s work. Greenwald considers Castle through the same art historical lens applied to mainstream artists of the period who were similarly engaged with mass-circulated visual culture. Classifying Castle as a pop artist, although one without the pretense to distinguish “high” from “low” visual sources, moves away from the myth-making rhetoric that pervades discussion about outsider artists and makes an important contribution to the literature.

Mar 26 2019

51mins

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Rank #16: From the Cathedral to the Billiard Room: Tracing the History of a Medieval Stained Glass Window from the William A. Clark Collection

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Elizabeth Dent, exhibition associate, National Gallery of Art. In 2014 the National Gallery of Art acquired a thirteenth-century French stained glass window from the Corcoran Gallery of Art. Originating in Soissons Cathedral in northern France, the window came into possession of Senator William A. Clark of Montana (1839–1925) around the turn of the century and was installed in the billiard room of his 121-room mansion on Fifth Avenue in New York City, popularly referred to as “Clark’s Folly.” In this lecture, as part of the Works in Progress Lecture Series, on April 15, 2019 Elizabeth Dent discusses the iconography and history of the window, from its original devotional contexts at Soissons to its acquisition by Clark and its role within the decorative scheme of the mansion.

Jul 23 2019

51mins

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Rank #17: The Sixty-Seventh A. W. Mellon Lectures in the Fine Arts: Positive Barbarism: Brutal Aesthetics in the Postwar Period, Part 2: Jean Dubuffet and His Brutes

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Hal Foster, Townsend Martin, Class of 1917, Professor of Art and Archaeology, Princeton University. In the six-part lecture series Positive Barbarism: Brutal Aesthetics in the Postwar Period, Hal Foster explores the pervasive turn, from the mid-1940s to the early 1960s, to the brut and the brutalist, the animal and the creaturely, as these are manifest in the early work of five artists. In the second lecture, “Jean Dubuffet and His Brutes,” held on April 15, 2018, Foster asks why Dubuffet invented the notion of art brut and how the artist could imagine an art “unscathed” by culture.

May 01 2018

51mins

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Rank #18: Celebrating the Old Master Collections of the National Gallery of Art: Venetian Painting, 1350–1800

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Eric Denker, senior lecturer, National Gallery of Art The 2019 Summer Sunday Lecture Series, Celebrating the Old Master Collections of the National Gallery of Art, takes a closer look at the many treasures housed in the Gallery’s permanent collection. Works by Italian, French, Dutch, and American artists are featured in this visual tour. New insights and surprising discoveries await, featuring Gallery favorites and recently acquired works. In this second lecture in the series, presented on July 21, senior lecturer Eric Denker discusses the Gallery’s collection of Venetian painting. The holdings begin with rare works by Giovanni Bellini, such as his late masterpiece The Feast of the Gods , as well as works by the most important artists to emerge from Bellini’s studio, including Giorgione, Titian, and Carpaccio. Also well represented in the Gallery’s remarkable collection are Venetian paintings from the second half of the 16th century by Tintoretto and Veronese, and the 18th century, by Giovanni Battista Tiepolo and Canaletto.

Nov 12 2019

51mins

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Rank #19: Cézanne's Portraits: Doubt, Certainty, and Painting in Series

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John Elderfield, chief curator emeritus of painting and sculpture, Museum of Modern Art, New York, and Allen R. Adler, Class of 1967, Distinguished Curator and Lecturer, Princeton University Art Museum. Bringing together some 60 paintings drawn from collections around the world, Cézanne Portraits is the first exhibition devoted exclusively to this often-neglected area of Paul Cézanne’s work. His portraits were widely thought to be shockingly inept when they were first exhibited, but were understood by a small circle of artists and critics to be extremely radical works. In this lecture held on June 3, 2018, at the National Gallery of Art, John Elderfield discusses how Cézanne’s extended, methodical style of painting—“one stroke after the other” is how the artist described it—readily led to the creation of one painting after the other of the same subject. Elderfield also explains how indifferent Cézanne was to the “personality” or “character” of his sitters—long thought to have been necessary aims of portraiture—wanting simply to paint the objective, permanent presence of someone seen. Cézanne Portraits, in its sole American venue at the National Gallery, is on view through July 8, 2018.

Jun 19 2018

51mins

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Rank #20: John Wilmerding Symposium on American Art 2018, Part 10: Dorothea Lange’s Photographs

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Anne Whiston Spirn, author, photographer, landscape architect, and Cecil and Ida Green Professor of Landscape Architecture and Planning, Massachusetts Institute of Technology. Many of Dorothea Lange’s photographs from the recent, important gift of Daniel Greenberg and Susan Steinhauser appear in her books An American Exodus: A Record of Human Erosion (1939) and The American Country Woman (1967), in which she paired photographs to expand meaning. Speaking at the second annual John Wilmerding Symposium on American Art, held on March 23, 2018, at the National Gallery of Art, Anne Whiston Spirn looks at a selection of images from this collection in the context of the pair to which they belong and the captions that Lange wrote for them. “I used to think in terms of single photographs. The Bull’s-eye technique. No more. A photographic statement is what I now reach for. Therefore these pairs, like a statement of 2 words.” By the time she wrote this in 1958 Lange had been experimenting with pairing, sequencing, and captions for more than two decades. The John Wilmerding Symposium on American Art is made possible by a grant from the Walton Family Foundation.

Apr 17 2018

51mins

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