Allyson guides you through the eleventh-century Chinese handscroll painting Summer Mountains, (北宋 傳屈鼎 夏山圖 卷) by little-known painter Qu Ding (屈鼎).
Allyson teaches you all about québécoise painter and stained glass artist Marcelle Ferron, whose windows at the Champ-de-Mars Métro station in Montréal are a unique example of public art.
In this episode, Allyson goes down under and discusses the life of Albert Namatjira, his watercolor painting Catherine Creek, Northern Territory (circa 1950), and the situation of Aboriginal Australians in the early to mid-twentieth century.
Théodore Géricault’s 1819 painting The Raft of the Medusa is part of a larger tangled web of colonialism, incompetence, and disaster. In this episode we get into the shipwreck on which it was based as well as how it’s used today in pop cultural milestones like Beyoncé and Jay-Z’s “APES**T” video.
Hagia Sophia has had many lives over the centuries: from church, to mosque, to secular museum, it’s always taken center stage in its city, whether you call it Istanbul or Constantinople. This episode explores its history, from the violent to the serene, and how the building remains a site of change and shifts in power.
This episode gets a bit obscure and focuses on a single woodcut from David Cusick’s 1828 book Sketches of Ancient History of the Six Nations, the earliest English-language account of Iroquois history.
We’re getting spooky in this episode and looking at Henry Fuseli’s 1781 painting The Nightmare, by far one of the eeriest paintings in Western art history! Perhaps this image reminds you of something…
This episode is a bit more multidimensional, mainly because we’re talking about a sculpture! Barbara Chase-Riboud’s Malcolm X #3 is titled in memory of Malcolm X, but this abstract stele is more than just a funerary monument…
The game is afoot as we investigate the theft of Johannes Vermeer’s The Concert–or, more accurately, investigate how that theft affects how we look at the painting itself.