FORA.tv

Link to video of Emerson Bowyer lecture

In a celebrated passage from his Histoire de la Révolution Française, historian Jules Michelet (1833–1867) asserted that the French Revolution left no lasting monuments, only empty space. Pierre-Jean David d’Angers (1788–1856), perhaps the greatest sculptor of the early nineteenth century, made it his life’s work to fill that void. This lecture follows David’s attempts to reinvigorate and adapt the notion of a historical monument to the new social and political landscape of modernity.

Link to video of Nathaniel Silver lecture

During a career spanning nearly sixty years, Piero della Francesca worked in almost every major center across the Italian peninsula, although nowhere did he accept more commissions than in Borgo San Sepolcro. Like his native city, Piero's paintings are possessed of a character that is neither Florentine nor Sienese but entirely unique. On the closing weekend of the special exhibition, the show's curator discusses Piero's career in Borgo and explores how some of his masterpieces created for that city reached American shores. This lecture is made possible by the Robert H.

Link to video of Scott Nethersole lecture

The landscapes in Piero's paintings, particularly his Baptism of Christ (The National Gallery, London), are often thought to recall the area around his hometown of Borgo San Sepolcro. In truth, they evoke the upper Tiber Valley without describing it precisely. But what did it mean to locate sacred scenes in a recognizable and local setting? Did that landscape carry any connotations for the fifteenth-century residents of Borgo San Sepolcro that might be lost to us today? This lecture is made possible by the Robert H. Smith Family Foundation.

Link to video of Elizabeth Easton lecture

The Kodak camera was introduced in 1888 and quickly captured the imagination of the public, amateur photographers, and artists. Thousands of photographs, only recently discovered in the attics and archives of artists working in the 1890s, reveal their fascination with this new tool. While some snapshots relate closely to their painted work, others indicate an exploration far beyond the artists' known work in oil on canvas and expand our understanding of their oeuvre.

Link to video of James Banker lecture

More often celebrated as a painter, Piero della Francesca was also a pioneering mathematician. This lecture discusses Piero’s mathematical achievements, focusing on his precocious mastery of the teachings of the Greek geometrician Archimedes. Shortly after his death, Luca Pacioli, a Franciscan friar, published two of Piero’s treatises under his own name and conveyed Piero’s knowledge of geometry to Leonardo da Vinci, who later became an expert in the subject. This lecture is made possible by the Robert H. Smith Family Foundation.

Link to video of Jay A. Clarke lecture

In the late nineteenth century, artistic visionaries saw the drawn and printed line as a signpost of modernity. Long overshadowed by oil paintings, prints and drawings created from the 1860s to the 1890s have a different story to tell, one of artistic spontaneity and experimentation.

Link to video of Machtelt Israëls lecture

During the early Renaissance, Piero della Francesca’s artistic talents were highly sought after by patrons across the Italian peninsula but nowhere more so than in his hometown of Borgo San Sepolcro. This lecture explores how Piero gradually transformed the art of painting by applying his pioneering pictorial imagination to the challenge of three gothic polyptychs and by introducing Renaissance format paintings into the domestic interior with his Virgin and Child Enthroned with Four Angels and Nativity of Christ (The National Gallery, London).

Link to video of Jonathan Marsden lecture

Around 1555 the Duke of Alba commissioned three life-sized bronze busts by the great Italian Renaissance portraitist Leone Leoni: one of himself, one of the Hapsburg emperor Charles V, and one of the emperor’s son, Philip II of Spain. Though the busts depict sitters of different rank— a duke, an emperor, and a king—Leoni presents them almost identically, as armored warriors in the cause of the Counter Reformation. For more than a century the busts have adorned the Guard Chamber at Windsor Castle, surrounded by actual weaponry and armor.

Link to video of Cornelia Homburg lecture

When Vincent van Gogh moved from Paris to the South of France in 1888, the rural environs inspired him to revisit some of the central themes of his Dutch years, such as the changing seasons and the "labors of the fields." At the same time, his work was greatly influenced by his admiration for Japanese art and culture, coupled with his ambition to create distinctly modern pictures. This lecture discusses Van Gogh's Portrait of a Peasant (Patience Escalier) in the context of

Link to video of discussion about Giovanni Bellini

The Frick Collection's St. Francis in the Desert (ca. 1475-78) by Giovanni Bellini ranks among the most important Italian Renaissance paintings in America. We invite the public to listen as a group of invited scholars discuss the painting from the perspective of the Franciscan order, which traces its origins to St. Francis of Assisi. Susannah Rutherglen, former Andrew W. Mellon Curatorial Fellow at the Frick, offers an introduction to the painting and an overview of the March 2010 technical study of the work performed by conservators at The Metropolitan Museum of Art. Fr.

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