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Submit ReviewMarie-Rosalie, or Rosa, Bonheur (1822-1899) has been lauded as the most celebrated woman artist of her time. Her breathtaking animal paintings showcase not only her technical skill, but also her so-called “radical” ideals. But just how “radical” was Rosa—who has been lauded as a feminist art historical figure—actually setting out to be?
Today's Image: Rosa Bonheur, The Horse Fair (1852–55). Oil on canvas; 96 1/4 x 199 1/2 in. (244.5 x 506.7 cm). The Metropolitan Museum of Art, New York.
Wayne Thiebaud on The Horse Fair
Linda Nochlin: Why have there been no great women artists?
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Email: artofhistorypod@gmail.com
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Today, gender is largely understood as a fluid concept. And while an increasingly loud minority insist that "men are men and women are women," and that’s simply the way it’s always been…a look through the lens of art history is just one way to quickly realize how flawed that worldview just might be.
Jusepe de Ribera (1591-1652) provides that lens in his 1631 portrait of Magdalena Ventura, subtitled 'The Bearded Woman.' Is this a depiction of a woman boldly defying gender norms? Or simply a person existing with the hand they were dealt by nature?
Today's Image: Jusepe de Ribera, Magdalena Ventura with Her Husband and Son (La Mujer Barbuda) (1631). Museo Fondación Duque de Lerma, Toledo, Spain.
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Part II of Edmonia Lewis' story takes us for a closer look at her masterpiece: the 1876 sculpture, 'Death of Cleopatra.'
In an echo of Edmonia’s approach to her own biography, the work shows Egypt’s last queen “sealing her fate and having the last word on how she’ll be recorded in history.”
Today's Image: Edmonia Lewis, Death of Cleopatra (1876). Marble. Smithsonian American Art Museum.
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Today on Art of History, I am beyond thrilled to bring you two episodes of a show that has quickly become a staple in my daily podcast listening: History Daily.
Every weekday, host Lindsay Graham (American Scandal, American History Tellers) takes you back in time to explore a momentous event that happened ‘on this day’ in history. Whether it’s to remember the tragedy of December 7th, 1941, the day “that will live in infamy,” or to celebrate that 20th day in July, 1969, when mankind reached the moon, History Daily is there to tell you the true stories of the people and events that shaped our world—one day at a time.
So if you’re stuck in traffic, bored at work—wherever you are, listen to History Daily to remind yourself that something incredible happened to make that day historic. A co-production from award-winning podcasters Airship and Noiser.
Episodes: The Accident that Changed King Henry VIII and The Death of Queen Elizabeth I
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Edmonia Lewis (1844-1907) was history’s first internationally recognized sculptor of African American and Native American descent, and (as you might expect!) a woman with a multifaceted life story.
Today's Image: Edmonia Lewis, Forever Free (The Morning of Liberty) (1867). Marble, 41.25 x 22 x 17 in. Howard University Gallery of Art, Washington, D.C.
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Ilya Repin (1844-1930) was one of Russia’s leading realist painters, known for his evocative portrayals of 19th-century working conditions. He was also known for his charged depictions of episodes from Russia’s past - such as an 1885 canvas showing Ivan the Terrible moments after striking his son and heir with a deadly blow.
We’ll dive deep into this…unique father-son bond, and explore the motivations that led Repin to put this controversial image on display 300 years after the event in question took place.
Today's Image: Ilya Repin, Ivan the Terrible and his Son Ivan (1883-1885). Oil on Canvas, 78.5” x 100”. Tretyakov Gallery, Moscow.
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Two things are true of history podcasts: Everyone loves a bit of Tudor History, and everyone loves a good ghost story. Today, we explore a bit of both!
When visiting Henry VIII’s magnificent Hampton Court Palace, it’s often the darker episodes from its past that get the best reactions. Using Tudor portraiture as our guide, let’s explore the origin of some of the Palace’s ghostly tales and the lives at the center of them.
Today's images:
Jane Seymour (unfinished), after Hans Holbein the Younger (1537). Oil on panel. National Portrait Gallery, London.
Jane Seymour, by Hans Holbein the Younger (1536/37). Kunsthistorisches Museum, Vienna.
Portrait of a Lady, perhaps Katherine Howard, by Hans Holbein the Younger. (ca. 1540). Watercolor on vellum laid on playing card (the 4 of Diamonds). Royal Collection Trust.
Effigy of Dame Sybil Penn, from Hampton Church
British School, The Family of Henry VIII (c.1545). Oil on canvas. Hampton Court Palace, Royal Collection Trust.
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This episode comes to you courtesy of Kyle Wood, host of an art podcast that fans of Art of History NEED to have on their radar.
Who ARTed brings you weekly art history for all ages. Whether you are cramming for your art history exam, trying to learn a few facts so you can sound smart at fashionable dinner parties, or just looking to hear something with a more positive tone, Kyle's got you covered.
Be sure to subscribe to both Who ARTed and Art Smart, both Airwave Media Podcasts, for a weekly art history fix.
Thank you for letting me feature this episode on Han van Meegeren, Kyle. Art of History will return in its regular format, with TWO new episodes next month.
The late 1930s were a rough time in Europe. Nazis were on the rise, and museums began hiding their most treasured works or even shipping them off to safe locations. As all of these works were floating around in the art world and many pieces being hidden, Hans van Meegeren emerged as an art dealer with some lost Vermeers. As I explained in the previous episode about the Vermeer stolen from the Isabella Steward Gardner museum, there aren’t a lot of Vermeer paintings and much of his biography is unknown. There are some historians who believe Vermeer studied under an artist who was heavily influenced by Caravaggio.
Van Meegeren was celebrated for bringing the world the gift of these lost Caravaggio-influenced Vermeer paintings. The critics loved the paintings and they loved Van Meegeren for discovering these lost works. He sold them for huge amounts and over just a few years amassed a fortune of about $30 million in today’s money. The thing is Van Meegeren would sell to anyone with money, including the Nazis. Hermann Goering, Hitler's vice chancellor was an art lover. He particularly loved the Vermeer painting he got from Van Meegeren. In the 1940s, the allies came knocking to ask why Han van Meegeren was doing business with the Nazis. Now whatever they expected to hear as his response, I guarantee they were surprised. Van Meegeren declared that he deserved to be treated as a hero for his dealings with the Nazis because all of the works he sold them were fakes. He claimed that by selling and trading these forgeries he was able to get 137 authentic Dutch masterpieces from the Nazis. It was an interesting defense, that he was not a war criminal but simply a forger. It would be hard for anyone to feel sympathy for the victims of this crime but most found it too hard to believe.
You can find images of the work being discussed at www.WhoARTedPodcast.com and please leave a rating or review on your favorite podcast app. You might hear it read out on the show.
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85 years ago, a groundbreaking art exhibition was held in Munich. It showcased the work of 120 artists, many of these internationally renowned modernists. The show was attended by one million people in its first six weeks.
But this landmark show, while one-of-a-kind, is not something to be celebrated. Entartete Kunst (‘Degenerate Art’) was organized at the behest of Adolf Hitler, under Joseph Goebbels' Ministry of Propaganda, to showcase works of art that “undermined” the ideals of the Nazi regime.
The term ‘degenerate’ is making a comeback in contemporary discussions of non-traditional art and culture. The sinister undertones associated with the term could easily be missed by this generation, but to label subversive art forms ‘degenerate’ is a dangerous act. Today on Art of History, we unpack how the term was weaponized, sometimes literally, against avant-garde artists in Hitler’s Reich.
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Tulipmania has stuck in our collective memory as one of the biggest economic calamities to ever strike the western world. The popular narrative holds that in 17th century Holland, homes were mortgaged, reputations were ruined, and livelihoods were lost—all so that tulip bulbs could be bought at higher and higher prices. And when the “bubble” burst, chaos ensued.
In fact, the truth was far less sensational. But contemporary 17th-century artworks can shed some light on the real Tulip Fever, and perhaps give us some clues as to why Tulipmania continues to hold such power over our notions of the Dutch Golden Age.
Today's Images: Jan Breughel the Elder, Still Life with Tulips, Chrysanthemums, Narcissi, Roses, Irises and other Flowers in a Glass Vase (1608-1610). Oil on copper. The National Gallery, London.
and
Jan Brueghel the Younger, A Satire of Tulip Mania (c. 1640-1650). Oil on Panel. Frans Hals Museum, Netherlands.
Jan Brueghel the Younger, Allegory of Tulipomania (c. 1640-1650). Oil and gold on Panel. Private collection, France.
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Elizabeth Patterson Bonaparte (1785-1879) was one of America’s first international celebrities and self-made women. But how did this Baltimore girl come to count royalty among her in-laws—a century or two before the likes of Wallis Simpson and Meghan Markle snagged their princes? The answer may lie in her unique triple-view portrait by Gilbert Stuart…or is that only part of Elizabeth’s story?
Today's Image: Gilbert Stuart, Elizabeth Patterson Bonaparte (1804). Oil on canvas. Private collection.
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Andrew Wyeth (1917-2009) is considered one of American’s greatest modern artists. His works combine a regionalist simplicity with a surrealist view of the inner world. But without the people and places that inspired him and allowed him to channel his emotions onto the canvas, we might never have seen that inner world at all.
Let’s take a walk through the life of Andrew Wyeth, encountering the several muses that played an integral part in his creative process, as we endeavor to answer, “What is a muse?”
Today’s artwork: Andrew Wyeth, Christina’s World (1948). Tempera on Panel. Museum of Modern Art, New York.
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Sandro Botticelli (c.1455-1510) is credited as the man behind some of the greatest mythological paintings in Western art history—a great feat, especially considering that we still don’t fully know the meaning behind his most ambitious work.
Primavera, or Spring (c. 1480) is brimming with allegorical puzzle pieces. Rather than using the Primavera to tell a story from the past, this week we’ll take a step into the painting itself in an effort to demystify what was once a prized possession of Florence’s Medici dynasty.
Today's Image: Sandro Botticelli, Primavera (Spring) (c. 1480). Tempera grassa on wood. Uffizi Gallery, Florence.
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In this episode, I put my art history degree to good use (finally) as we discuss a lesser-known portrait of Elizabeth I as she appeared late in the reign of her sister, Mary I, or early in her own reign. Painted in the image of her father, Henry VIII, Elizabeth is trying to communicate many things to many people all at once in this image. How can a single portrait represent her desire to overcome the struggles of her youth and be taken seriously as a pious, powerful female monarch?
Today's Image: English School, Queen Elizabeth I (“The Hever Portrait” or “The Chawton Portrait”) (1558). Oil on Panel. Hever Castle.
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This episode has everything: snakes, missing limbs, a true crime case, and sculptor Michelangelo di Lodovico Buonarroti Simoni being annoyed.
Today’s artwork: Agesander of Rhodes, Athenodoros, and Polydorus (attr.), Laocoön and His Sons (Hellenistic Period?). Marble. Vatican Museums, Vatican City.
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The depiction of Queen Charlotte (1744-1818) as a woman of color in the Netflix series Bridgerton brought her to the forefront of a conversation about non-white historical figures. There’s been much debate over this Georgian queen’s character as a result. Was Queen Charlotte that formidable? And was she really mixed race? Much of the speculation over Charlotte’s ancestry comes from interpretations of Sir Allan Ramsay’s portraits of her, in which her features are, in one historian’s words, “conspicuously African.” We’ll examine the actual historical evidence that addresses Queen Charlotte’s background, but we’ll also try and get to know the woman behind all the spectacle and rhetoric. So, will the real Queen Charlotte please stand up?
Today’s artwork: Sir Allan Ramsay, Queen Charlotte (1762). Oil on canvas. Royal Collection Trust, U.K.
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Jean-Honoré Fragonard’s (1732-1806) painting The Swing is an icon of the Rococo era and a widely-celebrated depiction of innocent, carefree leisure. Or...is it? We’re unpacking some of the, er, erotically charged symbols that you might have missed when you first saw this painting in Disney’s Frozen. Listener discretion is advised for this episode, unless you’re a parent who is prepared to get really cool about some adult themes very quickly.
Today's Image: Jean-Honoré Fragonard, Les hasards heureux de l'escarpolette (The Happy Hazards of the Swing) (1767). Oil on Canvas, 81 x 64.2 cm. Wallace Collection, London.
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In 1872, Mary Todd Lincoln (1818-1882) visited the photography studio of one William H. Mumler (1832-1884), who claimed to be able to capture images of deceased loved ones on film. A byproduct of Mrs. Lincoln's spiritualist beliefs, the photograph on which today's episode centers offers us a glimpse at the strange practices which Civil War-era Americans would resort to in their efforts to find comfort and solace in the wake of death and tragedy.
Today's Image: William H. Mumler, “Mary Todd Lincoln,” (1872). Lincoln Financial Foundation Collection, Allen County Public Library. Fort Wayne, Indiana.
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Jules Bastien-Lepage's life-size depiction of Joan of Arc (1412-1431) shows her at the very beginning of her journey to sainthood. But a lot happened between her spiritual awakening in 1425 and her canonization as the patron saint of France in 1920. So, how did she get there? And how was her image molded by the national and spiritual needs of a nation?
Today's image: Jules Bastien-Lepage, Joan of Arc (1879). Oil on canvas. Metropolitan Museum of Art, New York.
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In the mid-1770s, the Earl of Mansfield (1705-1793) commissioned a portrait of his two great-nieces, Elizabeth Murray (1760-1825) and Dido Belle (1761-1804). But it was Elizabeth's name that would be remembered through history, and Dido's would only be rediscovered in the 1990s. In this episode, we discuss her origins, her position in her great-uncles stately home, and how she is portrayed in the only known Neoclassical portrait depicting a black woman and a white woman as equals.
Today's image: David Martin, Portrait of Dido Elizabeth Belle and Lady Elizabeth Murray (ca. 1778). Oil on canvas. Scone Palace, Scotland.
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Jean-Paul Marat (1743-1793) was a giant of the French Revolution. I guess you could say that one thing led to another, though, and he ended up dead in a bathtub. His friend, artist Jacques-Louis David (1748-1845), memorialized that gruesome event in today's artwork and in the process, spun the narrative to better serve their shared political aims.
Today's image: Jacques-Louis David, The Death of Marat (1793). Oil on canvas. Royal Museum of Fine Arts, Belgium.
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Our popular image of Queen Victoria (1819-1901) paints her as a monarch, a mother, a wife, and a widow. But today we are looking at a portrait of Victoria that shows us the woman, not her roles. Join me for a bit of historically sanctioned snooping into the hidden side of Victoria, her relationship with her hubby, and their love language of choice.
Today's image: Franz Xaver Winterhalter, Queen Victoria (1843). Oil on canvas. Royal Collection Trust, United Kingdom.
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Join me for episodes from history, viewed through great works of art. No pre-reqs required!
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