American Views, Viewpoints, and Manipulations (from Yale University Art Gallery)

source: Yale University Art Gallery     2017年10月31日
In each of the six lectures in this series, John Walsh selects an American painting in the Gallery’s collection and examines the similarities and differences between depiction and reality.
To read more: https://artgallery.yale.edu/programs/american-views-viewpoints-and-manipulations

1 1:05:51 Thomas Cole’s Catskills
2 1:01:03 Frederic Church in the Maine Wilderness
3 53:01 Sanford Gifford Creates “Darkness Visible”
4 51:10 Albert Bierstadt Follows the Sun
5 1:01:38 Joseph Stella and the View from Brooklyn
6 1:07:03 At Edward Hopper’s Doorstep

Fall 2017 Programs (from Yale University Art Gallery)

source: Yale University Art Gallery     2018年1月13日
The Gallery offers a variety of lectures, panel discussions, and talks that place our collection and exhibitions in the broader context of history and culture. Speakers include curators, scholars, artists, critics, writers, and others engaged with the world of art and ideas. Programs range from lectures for a general audience to symposia with a scholarly focus. Concerts, film screenings, dramatic performances, and literary readings connect the art on view at the Gallery with other forms of expression. Master classes provide an opportunity to explore works of art in an intimate classroom setting with a curator, educator, or guest scholar.
Please check our online calendar for a full listing of lectures and other events http://artgallery.yale.edu/programs-archive

1 20:40 Highlights from: Barikan: A Wayang Ritual Drama with Gamelan and Shadow Puppets
2 2:17:29 Barikan: A Wayang Ritual Drama with Gamelan and Shadow Puppets
3 1:07:03 At Edward Hopper’s Doorstep
4 1:16:24 Experiments at the Intersection of Art, Law and Innovation
5 1:01:38 Joseph Stella and the View from Brooklyn
6 51:10 Albert Bierstadt Follows the Sun
7 53:01 Sanford Gifford Creates “Darkness Visible”
8 1:23:51 An-My Lê and Peter van Agtmael
9 1:01:03 Frederic Church in the Maine Wilderness
10 1:05:51 Thomas Cole’s Catskills
11 1:00:34 Changing Times, Changing Tastes: Collecting American Art from the 1950s to Today
12 1:08:26 A Withdrawal from Appearance: Modernism and Exile in the 20th Century
13 1:11:40 The Heart Is a Muscle

Lumia: Thomas Wilfred and the Art of Light

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source: Yale University Art Gallery    2017年2月24日
Lumia: Thomas Wilfred and the Art of Light
This series of videos presents short segments of many of the works in the exhibition “Lumia: Thomas Wilfred and the Art of Light.”
"Lumia: Thomas Wilfred and the Art of Light" is the first exhibition on this groundbreaking artist and his spellbinding light compositions in more than forty years. As early as 1919, well before the advent of consumer television and video technology, Wilfred began experimenting with light as his primary artistic medium, developing the means to control and project colorful, luminous forms that have been compared to the aurora borealis—and which he referred to collectively as "lumia." The exhibition features nearly half of the extant light works by Wilfred representing each phase of his career, from early at-home instruments made for individual viewers to his most ambitious public installation, "Lumia Suite, Op. 158," commissioned by the Museum of Modern Art, New York, in 1963 and recently restored in a joint conservation project by the Gallery and MoMA. Also included in the exhibition are sketches and diagrams from the artist’s archive, now in Yale University Library’s Manuscripts and Archives collection. Recognized as an innovator by artists of his time such as Jackson Pollock, László Moholy-Nagy, and Katherine Dreier, Wilfred has since disappeared from the story of American modernism. "Lumia" restores this avant-garde artist to his rightful place at the forefront of kinetic and light art.

Thomas Wilfred, "Luccata, Op. 162" 10:23 Thomas Wilfred, "Luccata, Op. 162," 1967–68. Metal, glass, electrical and lighting elements, and a frosted-glass screen in a hinged wood cabinet, indefinite playing time. Carol and Eugene Epstein Collection
Thomas Wilfred, "Counterpoint in Space, Op. 146" 10:23
Thomas Wilfred, "Visual Counterpoint, Op. 140" 10:25
Thomas Wilfred, "Unit #50, Elliptical Prelude and Chalice," from the "First Table Model Clavilux” 5:25
Thomas Wilfred, "Spacetime Study, Op. 153" 10:24
Thomas Wilfred, "Untitled, Op. 161" 10:26
Thomas Wilfred, "Unit #86," from the "Clavilux Junior (First Home Clavilux Model)" series 10:23
Thomas Wilfred, "Unit #167," from the "Clavilux Home Instrument" series 5:12
Thomas Wilfred, "Multidimensional, Op. 79" 10:24
Thomas Wilfred, "Abstract, Op. 91 (The Firebird)" 1:21
Thomas Wilfred, "Tranquil Study, Op. 92" 4:51
Thomas Wilfred, "Vertical Sequence, Op. 136" 10:22
Thomas Wilfred, "Lumia Suite, Op. 158" 10:25
Thomas Wilfred, "Nocturne, Op. 148" 10:26
Thomas Wilfred, "Study in Depth, Op. 152" 10:21

Spring 2017 Programs at Yale University Art Gallery

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source: Yale University Art Gallery      2017年2月17日
The Gallery offers a variety of lectures, panel discussions, and talks that place our collection and exhibitions in the broader context of history and culture. Speakers include curators, scholars, artists, critics, writers, and others engaged with the world of art and ideas. Programs range from lectures for a general audience to symposia with a scholarly focus. Concerts, film screenings, dramatic performances, and literary readings connect the art on view at the Gallery with other forms of expression. Master classes provide an opportunity to explore works of art in an intimate classroom setting with a curator, educator, or guest scholar. Please check our online calendar for a full listing of lectures and other events http://artgallery.yale.edu/programs-archive

The Prayer Pilgrimage for Freedom: Racial Justice Activism in 1957 and Beyond 1:21:04
William P. Jones, La Tanya S. Autry, and others
Thursday, January 19, 2017, 5:30 pm
In dialogue with Yale University students, historian William P. Jones, Professor of History at the University of Minnesota and author of The March on Washington: Jobs, Freedom, and the Forgotten History of Civil Rights, relates the roots and organizing methods of the 1957 Prayer Pilgrimage for Freedom to the renowned March on Washington of 1963. The panelists also discuss how these historic mass demonstrations inspired the current activist strategies of the Black Lives Matter movement. Generously sponsored by the Martin A. Ryerson Fund.
The Astonishing Richness of Igbo Art: Beauties, Beasts, and Others 52:36
An Evening of Albers: Conversations on Small-Great Objects 1:03:28
Art and Education in Apartheid South Africa 1:09:03
What Is a Screen?: Screening Nature 1:31:55
What Is a Screen?: Projection and Protection 1:31:16
What Is a Screen?: Material. Human. Divine. Notes on the Vertical Screen 1:44:07
Amazigh Women’s Arts: Visual Expressions of Berber Identity 1:14:07
After Wilfred: The Influence of Lumia on the Joshua Light Show 1:08:56
The Dutch Abroad and What They Brought Back, Nautilus Cups in Holland: East Embraced by West 1:02:59
[deleted video]
“The Carryers of the World”: Trade and Luxury Goods in the Dutch Golden Age 55:38
Fragile Matters: Fascination for Ceramic in the Early Modern Period 1:00:15
The Lemon’s Lure
The Domestic Material World of New Netherlands 1:13:42
West Meets East in Miniature 1:00:10

Yale University Art Gallery (videos of June 2017)

source: Yale University Art Gallery
1:00:10 West Meets East in Miniature Ruth Barnes
Friday, May 5, 2017, 1:30 pm
In the second half of the 17th century, it became fashionable for wealthy women in the Netherlands to commission dollhouses replicating the domestic interi...
1:13:42 The Domestic Material World of New Netherlands Edward S. Cooke, Jr.
Friday, April 28, 2017, 1:30 pm
Unlike their English contemp

The Dutch Abroad and What They Brought Back

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source: Yale University Art Gallery    2017年4月6日

Nautilus Cups in Holland: East Embraced by West 1:02:59 John Walsh
Friday, March 31, 2017, 1:30 pm
During the Golden Age of Dutch prosperity and culture in the 17th century, silver- and goldsmiths from Florence to London supplied the ultimate luxury item to adorn their tables and shelves: shells of Nautilus pompilius—the famous chambered nautilus—turned into drinking cups held aloft in elaborate gilt-silver mounts. The shells, brought home by Dutch ships from the South China Sea, located 15,000 miles away, flaunted the worldwide mercantile prowess of the Dutch Republic, and Dutch painters made them star items in their still-life pictures. The cups are small masterpieces of sculpture that combine wit and craftsmanship to celebrate a wonder of nature. John Walsh, B.A. 1961, Director Emeritus of the J. Paul Getty Museum, in Los Angeles, looks at the amazing variety of surviving nautilus cups and suggests what—besides wealth—they may have signified for their owners.
“The Carryers of the World”: Trade and Luxury Goods in the Dutch Golden Age 55:38
Fragile Matters: Fascination for Ceramic in the Early Modern Period 1:00:15
The Lemon’s Lure 1:08:30
The Domestic Material World of New Netherlands 1:13:42
West Meets East in Miniature 1:00:10

Rembrandt Today: Six Lectures by John Walsh (2016)

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source: Yale University Art Gallery    2016年12月15日
http://artgallery.yale.edu/rembrandt-today-six-lectures-j...
No Dutch artist produced a larger number of important works than Rembrandt van Rijn, and none has provoked more debate among art historians. In this series of six lectures, John Walsh, B.A. 1961, Director Emeritus of the J. Paul Getty Museum, in Los Angeles, presents an overview of Rembrandt’s career. Each lecture explores a single picture, first focusing on its details, then on its context. The series is prompted by the yearlong loan by Rose-Marie and Eijk van Otterloo of Rembrandt’s Portrait of Aeltje Uylenburgh.
Generously sponsored by the Martin A. Ryerson Fund.

The Jewish Bride: Rembrandt’s Surfaces and Depths 53:49
Thursday, December 8, 2016, 5:30 pm
Few people stand in front of The Jewish Bride (Portrait of a Couple as Isaac and Rebecca; ca. 1665–69) for long and walk away unmoved. Examining this picture and other works that Rembrandt made in his last years, John Walsh, B.A. 1961, Director Emeritus of the J. Paul Getty Museum, Los Angeles, shows how the artist combined expressive body language, rich color, broken paint, and exotic costumes to restage historical events and charge them with emotional weight. Generously sponsored by the Martin A. Ryerson Fund. Followed by a reception.
Rembrandt’s Syndics and His Later Portraits 54:48
Rembrandt Presents Himself 1:01:24
The “Most Bizarre Manner”: Rembrandt’s Etchings 1:08:16
Rembrandt the Dramatist and the Heart of the Matter 1:01:12
Rembrandt’s Debut in Amsterdam 1:04:12

Art and Industry in Early America: Rhode Island Furniture, 1650–1830

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source: Yale University Art Gallery     2017年3月1日
August 19, 2016–January 8, 2017
This groundbreaking exhibition presents a comprehensive survey of Rhode Island furniture from the colonial and early Federal periods, including elaborately carved chairs, high chests, bureau tables, and clocks. Drawing together more than 130 exceptional objects from museums, historical societies, and private collections, the show highlights major aesthetic innovations developed in the region. In addition to iconic, stylish pieces from important centers of production like Providence and Newport, the exhibition showcases simpler examples made in smaller towns and for export. The exhibition also addresses the surprisingly broad reach of Rhode Island’s furniture production, from the boom of the export trade at the turn of the 17th century and its steady growth throughout the 18th century to the gradual decline of the handcraft tradition in the 19th century. Reflecting on one of New England’s most important artistic traditions, Art and Industry in Early America encourages a newfound appreciation for this dynamic school of American furniture making.
Exhibition organized by Patricia E. Kane, Friends of American Arts Curator of American Decorative Arts. Made possible by generous support from an anonymous donor; Lulu C. and Anthony W. Wang, B.A. 1965; Jeanie Kilroy Wilson; Jane P. Watkins, M.P.H. 1979, and Helen D. Buchanan; and the Henry Luce Foundation. Additional support provided by Jerald Dillon Fessenden, B.A. 1960; Judith and John Herdeg; Sarah Jeffords Radcliffe; Gayle and Howard Rothman; the National Endowment for the Arts; the Wunsch Americana Foundation; the Friends of American Arts at Yale Exhibition and Publication Funds; and the David and Rosalee McCullough Fund.

Exhibition Tour: Art and Industry in Early America 22:25
Making a Claw-and-Ball Foot, Shell, and Dovetails 7:27
Making a Wainscot Chair 9:02
Making a Banister-Back Chair 6:57
Studying American Furniture in the Present 49:35
Early Rhode Island Upholstery 4:39
Friendship, Enslavement, and Persistence: Indigenous Relations with the “Wautaconâuog-Coatmen” 52:22
Yale University Art Gallery: Furniture Study 8:29
American Irony: Religious Freedom and Slavery in Colonial Newport 1:24:23
Tall Case Clock with Automated Dial 4:02
Possessions of the Noyes Family of Westerly, Rhode Island 5:27
“To Bigotry No Sanction” 51:41

Yale University Art Gallery (videos of April 2017)

source: Yale University Art Gallery
1:08:30 The Lemon’s Lure Mariët Westermann
The artfully peeled lemon, baring its spongy pith and shiny flesh, was one of the most beloved motifs of Dutch still-life
1:08:30 The Lemon’s Lure Mariët Westermann
The artfully peeled lemon, baring its spongy pith and shiny flesh, was one of the most beloved motifs of Dutch still-life painters in the 17th century. Why did the lemon become s...
55:38 “The Carryers of the World”: Trade and Luxury Goods in the Dutch Golden Age Femke Diercks
In 1728 the Englishman Daniel Defoe described the Dutch as “The Carryers of the World, the middle Persons of Trade, the Factors and Brokers of Europe.” In this lecture, Femke Diercks...
1:00:15 Fragile Matters: Fascination for Ceramic in the Early Modern Period Femke Diercks
Chinese porcelain caused a sensation from the moment it entered Europe. While the first rare pieces were acquired for important princely collections, Dutch merchants began importing ...
1:12:14 Keynote for Writing/Curating the Middle East Wael Shawky
The celebrated Egyptian artist Wael Shawky interrogates the real and mythic histories of the Arab world through film, performance, and storytelling. His recent film trilogy, Cabaret Cr...
1:02:59 The Dutch Abroad and What They Brought Back, Nautilus Cups in Holland: East Embraced by West John Walsh
Friday, March 31, 2017, 1:30 pm
During the Golden Age of Dutch pros

Yale University Art Gallery (videos of March 2017)

source: Yale University Art Gallery
1:08:56 After Wilfred: The Influence of Lumia on the Joshua Light Show Joshua White
Friday, February 24, 2017, 1:30 pm
Artist Joshua White tells the fascinating story of how Thomas Wilfred’s lumia objects have played a critical role in the genesis and evolution of t...
1:14:07 Amazigh Women’s Arts: Visual Expressions of Berber Identity Cynthia Becker
Friday, January 20, 2017, 1:30 pm
Amazigh people (Berbers) are indigenous to North Africa. In Berber culture, women play a central role in creating the aesthetic and symbolic forms...
1:44:07 What Is a Screen?: Material. Human. Divine. Notes on the Vertical Screen Noam Elcott, with Keely Orgeman
Friday, February 17, 2017, 1:30 pm
Join Noam Elcott, Associate Professor of Modern and Contemporary Art and Media, Columbia University, in conversation with Keely ...
10:21 Thomas Wilfred, "Study in Depth, Op. 152" Thomas Wilfred, "Study in Depth, Op. 152," 1959. Projector, reflector units, electrical and lighting elements, and a projection screen, 142 days, 2 hrs., 10 mins. Hirschorn Museum and Sculpture Gar...
10:26 Thomas Wilfred, "Nocturne, Op. 148" Thomas Wilfred, "Nocturne, Op. 148," 1958. Metal, glass, electrical and lighting elements, and a frosted-glass screen in an oak cabinet, 5 yrs., 359 days, 19 hrs., 20 mins., 48 secs. Carol and Euge...
1:31:16 What Is a Screen?: Projection and Protection What Is a Screen?: Projection and Protection: On the Deep Optical and Ballistical Intersections of Screens
John Durham Peters, with Kathryn Lofton
Thursday, February 16, 2017, 1:30 pm
Join John ...
1:31:55 What Is a Screen?: Screening Nature What Is a Screen?: Screening Nature
W. J. T. Mitchell, with Francesco Casetti, Rüdiger Campe, and Craig Buckley
Wednesday, February 15, 2017, 1:30 pm
Join W. J. T. Mitchell, the Gaylord Donnelle...
22:25 Exhibition Tour: Art and Industry in Early America August 19, 2016–January 8, 2017
Curator Patricia Kane leads a tour of this groundbreaking exhibition that presents a comprehensive survey of Rhode Island furnitur

Let This Be A Lesson (2013) at Yale University Art Gallery

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source: Yale University Art Gallery     2014年7月21日
For six centuries, history painting—pictures based on stories from myth, scripture, and ancient and modern history—was the most prestigious work a painter could do. Renaissance artists and writers laid down the definitions, goals, and rules. We outline these and look at many examples of how they changed as pictorial narrative evolved until its eclipse in the 19th century.

Let This Be A Lesson (2013)
In fall 2013 John Walsh, Director Emeritus of the J. Paul Getty Museum in Los Angeles, presented a popular semester-long public lecture series that took a close look at eleven important paintings from Yale’s art museums that represent scenes from history, myth, scripture, or literature. The lectures traced the tradition of “history painting”—the category to which all of these works belong—from the Renaissance on through its rise to official dominance, its fall from privilege in the eras of Realism in the 19th century and abstract art in the 20th, and its reappearances in the 21st.

Lecture 1 - Introduction to History Painting 1:03:08
Lecture 2 - Unintended Consequences: Antonio del Pollaiuolo's Hercules and Deianira 1:01:00
Lecture 3 - Darkness to Light: Garofalo's The Conversion of Saint Paul 51:02
Lecture 4 - "But, Lord, He Stinketh!": Marco Pino's The Resurrection of Lazarus 1:06:13
Lecture 5 - Against Nature: Peter Paul Rubens's Hero and Leander 1:00:16
Lecture 6 - "To Paint the Way the Spartans Spoke": Gavin Hamilton's The Death of Lucretia 1:04:25
Lecture 7 - Benjamin West's Agrippina Landing at Brundisium with the Ashes of Germanicus 57:09
Lecture 8 - John Trumbull and Historical Fiction: The Battle of Bunker's Hill, June 17, 1775 55:55
Lecture 9 - Find the Hero: Ary Scheffer's Retreat of Napoleon's Army from Russia in 1812 1:00:32
Lecture 10 - Handwriting on the Wall: John Martin's Belshazzar's Feast 1:00:29
Lecture 11 - History at the Academy & the Salon: Jean-Léon Gérôme's Ave Caesar! Morituri te salutant 1:03:29
Lecture 12 - History Painting after Two World Wars: Anselm Kiefer's Die Ungeborenen 1:11:02

A History of Dutch Painting in Six Pictures (2015)

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source: Yale University Art Gallery     2015年1月28日
A History of Dutch Painting in Six Pictures (2015)
John Walsh, B.A. 1961, Director Emeritus of the J. Paul Getty Museum in Los Angeles and a specialist in Dutch paintings, offered a series of six lectures that explored the art of the Dutch Republic during its extraordinary flowering in the 17th century. By focusing on a single work each week and examining its artistic, intellectual, and political contexts, the audience became familiar with six great paintings and the artists who made them. Three of the works are on view at the Gallery and the others are in Dutch museums. Walsh examined the artists’ intentions, the role of competition in the art market, and the development of styles. The lecture series was free and open to the public, and it coincided with the loan of thirty important Dutch and Flemish paintings to the Gallery from the collection of Rose-Marie and Eijk van Otterloo.
See more: http://artgallery.yale.edu/programs/d...

Lecture 1: Abraham Bloemaert’s Deluge and the Dawn of the Golden Age 1:03:08
Abraham Bloemaert’s Deluge (ca. 1590–95) and the Dawn of the Golden Age
Friday, January 23, 2015, 1:30 pm
This arrangement of almost life-size nudes—an unusual subject for a Dutch painting—is by a master who lived long into the 17th century and was famous for his virtuosity and skill as a teacher. The painting in the Gallery’s collection, a spectacular ballet of fear and impending doom, exemplifies the ideals of the first generation of great Dutch artists.
Lecture 2: Jan Steen’s Card Players and Dutch Genre Painting 1:04:17
Lecture 3: Jacob van Ruisdael’s Windmill at Wijk bij Duurstede and Dutch Landscape 59:12
Lecture 4: The Night Watch: Rembrandt, Group Portraiture, and Dutch History 1:07:43
Lecture 5: Frans Hals’s Portrait of a Preacher: Virtuosity and the Rough Style 59:10
Lecture 6: Johannes Vermeer’s View of Delft: The Prose and Poetry of View Painting 1:04:40

Views on Dutch Painting of the Golden Age (2015/16)

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source: Yale University Art Gallery    2015年10月6日
Views on Dutch Painting of the Golden Age (2015/16)
Painters in the Dutch Republic in the 17th century pushed the possibilities of art far beyond previous limits. They observed the visible world closely and mastered techniques for representing it. They found new meanings in old stories—mythical, historical, and biblical—and staged and restaged scenes from the everyday human comedy. In this lecture series, presented in conjunction with an installation of paintings from the superb collection of Rose-Marie and Eijk van Otterloo and taking place from September 2015 through March 2016, nine leading scholars in the field of Dutch art speak about these and other subjects

Food for Thought: Pieter Claesz. and Dutch Still Life 1:06:58
The Dutch are famous for still-life paintings. These began with sober arrangements of objects chosen to remind viewers of the brevity of life, as can be seen in the early works of the pioneer Pieter Claesz. Later artists went on to paint sumptuous compositions of expensive objects that reflect the confidence and pride of the Golden Age. John Walsh, B.A. 1961, Director Emeritus of the J. Paul Getty Museum, Los Angeles, and a specialist in Dutch paintings, explores the motives for still-life painting and the likely responses of 17th-century audiences.
Consider the Lilies: Virtue and Virtuosity in Flower Paintings by Jan Davidsz. de Heem and Others 59:54
Appearance and Reality in Dutch Art 49:12
Seascape in the Dutch Golden Age 56:15
Rank and Status in the Dutch Golden Age 1:05:58
Gerrit van Honthorst in America: What Took So Long? 57:06
How Dutch Painters Invented Atmosphere 1:01:36
Rembrandt’s “Three Crosses” 1:02:33
Frans Post: Bringing Home the New World 37:17
Peter Paul Rubens, Rembrandt van Rijn, and the Spousal Model-Muse 52:24

2015 Programs at Yale University Art Gallery

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source: Yale University Art Gallery    2015年11月3日
The Gallery offers a variety of lectures, panel discussions, and talks that place our collection and exhibitions in the broader context of history and culture. Speakers include curators, scholars, artists, critics, writers, and others engaged with the world of art and ideas. Programs range from lectures for a general audience to symposia with a scholarly focus. Concerts, film screenings, dramatic performances, and literary readings connect the art on view at the Gallery with other forms of expression. Master classes provide an opportunity to explore works of art in an intimate classroom setting with a curator, educator, or guest scholar. Please check our online calendar for a full listing of lectures and other events
http://artgallery.yale.edu/archive

Fruit, Flowers, and Lucky Strikes: The Still Life in American Culture 59:56
Once disdained as possessing only “a petty, imitative monkey talent” (as described by the artist John Opie in 1848), still-life painters gained respect through the 19th century as they celebrated America’s new culture of abundance. In the post–Civil War era, painters of the first rank—John La Farge, William Michael Harnett—adopted the still life as a major mode of expression. By the 20th century, in the hands of artists such as Paul Strand, Stuart Davis, and Georgia O’Keeffe, it had become a medium for innovation. In this lecture, Carol Troyen, B.A. 1971, M.A. 1974, Ph.D. 1979, the Kristin and Roger Servison Curator Emerita of American Paintings, Museum of Fine Arts, Boston, examines the evolution of the still life from marginal subject to a genre essential to modernism. Followed by a reception. Generously sponsored by the Oswaldo Rodriguez Roque Memorial Fund.
Velázquez’s Masterpieces in Seville and Some New Proposals 1:04:44
William Kentridge: Peripheral Thinking 1:00:24
Gallery+ Newspeak 47:50
Homes of the American Presidents 1:11:48
The Challenge of Building a National Museum 1:06:48
Andrew Carnduff Ritchie Lecture, A Conversation with Mike Leigh 1:24:08
For Silver, for Country, and for Yale: Francis P. Garvan and the Politics of Collecting 35:50
Painting Techniques: From Rembrandt to Vermeer 1:08:08
Rembrandt (1936): Conversation with Francesco Casetti and John Walsh 31:19
Song without Words: The Romantic Experience 1:25:28
Attempting Impossibles: Hazlitt on Turner and Blake 1:04:27
The Material World in 17th-Century Dutch Painting 38:27

2016 Programs at Yale University Art Gallery

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source: Yale University Art Gallery    2016年9月22日
2016 Programs at Yale University Art Gallery
The Gallery offers a variety of lectures, panel discussions, and talks that place our collection and exhibitions in the broader context of history and culture. Speakers include curators, scholars, artists, critics, writers, and others engaged with the world of art and ideas. Programs range from lectures for a general audience to symposia with a scholarly focus. Concerts, film screenings, dramatic performances, and literary readings connect the art on view at the Gallery with other forms of expression. Master classes provide an opportunity to explore works of art in an intimate classroom setting with a curator, educator, or guest scholar. Please check our online calendar for a full listing of lectures and other events

Making a Masterpiece: The Royal Inca Tunic at Dumbarton Oaks 1:09:18
The royal Inca tunic at Dumbarton Oaks Research Library and Collection, in Washington, D.C., has long been recognized as the single most important artifact to have survived from the Inca civilization. Examining this tremendously complex work of art yields a richer appreciation of Inca artistic practices, aesthetics, and color theory. In this lecture, Andrew J. Hamilton, Cotsen Postdoctoral Fellow in the Society of Fellows and Lecturer in the Department of Art and Archaeology at Princeton University, New Jersey, shares new research on this fascinating object.
Presented in conjunction with the exhibition Weaving and the Social World: 3,000 Years of Ancient Andean Textiles and sponsored by the Martin A. Ryerson Fund.
Studying American Furniture in the Present 49:35
Friendship, Enslavement, and Persistence: Indigenous Relations with the “Wautaconâuog-Coatmen” 52:22
Yale at Yosemite: A Conversation across University Collections 1:08:03
American Irony: Religious Freedom and Slavery in Colonial Newport 1:24:23
Recollections of a Great Musical Weekend in New Haven 57:49
Rembrandt’s Debut in Amsterdam 1:04:12
Rembrandt the Dramatist and the Heart of the Matter 1:01:12
The “Most Bizarre Manner”: Rembrandt’s Etchings 1:08:16
Rembrandt Presents Himself 1:01:24
Past Tense 1:04:43
Rembrandt’s Syndics and His Later Portraits 54:48
The Jewish Bride: Rembrandt’s Surfaces and Depths 53:49
“To Bigotry No Sanction” 51:41
Rustic or Refined: The Arts of Renaissance France 1:02:47
The World’s Oldest Church: Bible, Art, and Ritual at Dura-Europos, Syria 1:15:24
The Nok Terracotta Enigma 1:20:25
Yale University Art Gallery 10,000 Member Celebration - June 26, 2016 5:05
Francisco Goya’s Prints in Context 55:22
Dissembling Earth in Yoruba Visual Culture 1:18:34
How Dutch Painters Invented Atmosphere 1:01:36
Rembrandt’s “Three Crosses” 1:02:33
RoseLee Goldberg on Dada and Dance 1:22:04
Frans Post: Bringing Home the New World 37:17
Peter Paul Rubens, Rembrandt van Rijn, and the Spousal Model-Muse 52:24
From Paris to Tahiti: Paul Gauguin’s Innovative Prints 1:03:25