Donatello, Feast of Herod, panel on the baptismal font of Siena Cathedral, Siena, Italy, Gilded bronze,1423--1427. Created by Beth Harris and Steven Zucker.
Donatello, Madonna of the Clouds, c. 1425--35, marble, 33.1 x 32 cm / 13 1/16 x 12 5/8 inches (Museum of Fine Arts, Boston). Created by Beth Harris and Steven Zucker.
Donatello, Mary Magdalene, c. 1455, wood, 188 cm (Museo dell'Opera del Duomo, Florence) Speakers: Dr. Steven Zucker & Dr. Beth Harris. Created by Beth Harris and Steven Zucker.
Donatello, St. Mark, 1411-13, marble, 93" (236 cm), Orsanmichele, Florence Speakers: Dr. Steven Zucker and Dr. Beth Harris. Created by Beth Harris and Steven Zucker.
"Every work of art is political because every work of art is breaking new ground," says Colombian artist Doris Salcedo. In this video, Salcedo explains why she decided to literally break new ground in Tate Modern’s Turbine Hall by splitting the floor open with a long snaking crack in her piece Shibboleth. The word “shibboleth” refers to a word or custom that can be used to differentiate one group from another, and is therefore a token of power: the power to judge and reject with violence. What might it mean to refer to such violence in an art museum? For Salcedo, the crack represents a history of racism, running parallel to the history of modernity. As Salcedo comes from a country riven by war, she has always seen conflict and the world from the perspective of the oppressed. The piece is not an attack, but rather a reminder, a question mark and a disruption of the status quo: she invites us to look down into it, and to confront discomforting truths about our world. Created by Tate
Contemporary artist Dorothea Rockburne talks about mathematics, magic, and materials. Created by The Museum of Modern Art.
Ficha comparativa de dos edificios religiosos en Catalunya: La Sagrada Familia y Sant Climent de Taüll
Ficha comparativa de dos hospitales: El Hospital de Sant Pau (Barcelona) y el Hospital de Bellevue (Nueva York)
Carlo Crivelli, Madonna and Child, c. 1480, tempera and gold on wood, 37.8 x 25.4 cm (The Metropolitan Museum of Art) A conversation between Dr. Lauren Kilroy-Ewbank and Dr. Steven Zucker.
Charcoal drawing techniques were perfected in France in the 19th century and taken to new expressive heights by artists such as Georges Seurat and Odilon Redon. This video includes a demonstration of those techniques. This video was produced in conjunction with the exhibition "Noir: The Romance of Black in 19th-Century French Drawings and Prints", on view at the Getty Center, February 9–May 15, 2016.
Thomas Cole, The Architect's Dream, 1840, oil on canvas, 134.7 x 213.6 cm (Toledo Museum of Art) speakers: Dr. Lawrence W. Nichols, William Hutton Senior Curator of European and American Painting, Toledo Museum of Art and Dr. Steven Zucker. Created by Smarthistory. Find learning related resources here: https://smarthistory.org/seeing-america-2/
Disillusionment in 1970s America. Duane Hanson, Executive, 1971, polyester resin and fiberglass, oil paint, mixed media with accessories, life size (Toledo Museum of Art, ©estate of the artist), a Seeing America video speakers: Dr. Halona Norton-Westbrook, Director of Curatorial Affairs, Toledo Museum of Art and Dr. Steven Zucker. Created by Smarthistory. Find learning related resources here: https://smarthistory.org/seeing-america-2/
Duccio, Maesta (front), 1308-11 (Museo dell'Opera Metropolitana del Duomo, Siena) Speakers: Dr. Beth Harris and Dr. Steven Zucker. During this period, and for hundreds of years, Italy was not a unified country, but rather was divided into many small countries we call city-states. Florence, Siena, Milan, Venice—these were essentially independent nations with their own governments—and they were at war with each other. These city-states also had independent cultures with their own distinct styles in painting and sculpture. Siena had a unique style that emphasized decorative surfaces, sinuous lines, elongated figures and the heavy use of gold. Duccio was the founder of the Sienese style and his work was quite different from the Florentine painter Giotto. Giotto emphasized a greater naturalism—creating figures who are more monumental (large, heavy and with a greater sense of accurate proportion) and a greater illusion of three-dimensional space.
Duccio, The Rucellai Madonna, 1285-86, tempera on panel, 177 x 114" or 450 x 290 cm (Uffizi, Florence) Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.
Duccio di Buoninsegna, The Virgin and Child with Saints Dominic and Aurea, c. 1315, tempera on wood, 42.5 x 34.5 cm (National Gallery, London). Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.
This art history video discussion examines Duccio di Buoninsegna, Madonna and Child, tempera and gold on panel, c. 1300 (Metropolitan Museum of Art).
Learn how Marcel Duchamp reconceived a standard unit of measure. To learn about other great moments in modern art, take our online course, Modern Art, 1880-1945. Created by The Museum of Modern Art.
Marcel Duchamp, Boite-en-valise (the red box), series F, 1960 (Portland Art Museum) Speakers: Bruce Guenther, Dr. Beth Harris. Created by Beth Harris and Steven Zucker.
Marcel Duchamp, Fountain, 1917/1964, porcelain urinal, paint, San Francisco Museum of Modern Art. Speakers: Dr. Beth Harris and Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.
Raymond Duchamp-Villon, Horse, 1914, bronze, 39-3/8 x 24 x 36 inches / 99 x 61 x 91.4 cm (Art Institute of Chicago). Created by Beth Harris and Steven Zucker.