Modern Masters: Watch BBC Series Introducing the Art of Warhol, Matisse, Picasso and Dali

Mod­ern art. Like it or not, it’s had a pro­found impact on the way our world looks. As crit­ic Alas­tair Sooke explains in this four-part series from the BBC, the great art­works of the past cen­tu­ry have exert­ed an influ­ence that extends far beyond muse­um walls.

Mod­ern Mas­ters, first broad­cast in 2010 on the main­stream chan­nel BBC One, looks at the life, work, and abid­ing influ­ence of Hen­ri Matisse, Pablo Picas­so, Sal­vador Dali and Andy Warhol. “Art dur­ing the 20th cen­tu­ry was rad­i­cal, intox­i­cat­ing, and immense­ly influ­en­tial,” says Sooke, deputy art crit­ic of The Dai­ly Tele­graph. “Matisse, Picas­so, Dali and Warhol did­n’t just change art his­to­ry; they changed the world.”

Episode one, Andy Warhol: For a series exam­in­ing the influ­ence of 20th cen­tu­ry art through the prism of celebri­ty artists, it’s fit­ting that Sooke should begin with an artist obsessed with celebri­ty. Sooke fol­lows Warhol (see above) from his impov­er­ished child­hood in Pitts­burgh to New York City, where he strug­gled as a com­mer­cial artist before becom­ing famous as a pop artist. Along the way he shows how Warhol’s aes­thet­ic sen­si­bil­i­ty now per­me­ates our cul­ture. The oth­er three episodes pro­ceed along sim­i­lar lines. Each is just under an hour long.

Episode two, Hen­ri Matisse:

Episode three, Pablo Picas­so:

http://www.youtube.com/watch?v=cU5TDkjhLNs#t=09

Episode four, Sal­vador Dali:

Relat­ed Con­tent:

Robert Hugh­es, Famed Art Crit­ic, Demys­ti­fies Mod­ern Art: From Cézanne to Andy Warhol

Simon Schama Presents Van Gogh and the Begin­ning of Mod­ern Art

Simon Schama Presents Van Gogh and the Beginning of Modern Art

We like to think of Vin­cent van Gogh as the arche­typ­al tor­tured artist. While per­haps he fits the bill, there’s more to the sto­ry, and this episode of Pow­er of Art (above) takes pains to fill out the Dutch painter’s char­ac­ter. He did­n’t slice off his entire ear, we learn — just part of it. And while he did indeed enjoy his peaks of cre­ativ­i­ty between ago­niz­ing “spasms of crazi­ness,” he expe­ri­enced both as an “insa­tiable book­worm” fueled by a deep-seat­ed reli­gious dri­ve. All this infor­ma­tion comes from the mouth of his­to­ri­an Simon Schama, author of pop­u­lar books and host of tele­vi­sion pro­grams includ­ing Land­scape and Mem­o­ry, Rem­brandt’s Eyes, and this par­tic­u­lar video’s source, Pow­er of Art. The series enters the world of eight artists through eight paint­ings. Van Gogh’s 1890 Wheat­field with Crows, accord­ing to Schama, marks the start of mod­ern art.

Two per­son­al­i­ties take us through the sto­ry of paint­ing and painter: Schama and van Gogh him­self, por­trayed in dra­mat­ic scenes that come between sec­tions of Schama’s nar­ra­tion. The pro­gram does­n’t keep these two time frames strict­ly sep­a­rate: while we hear Schama describe van Gogh’s pecu­liar­ly ener­getic use of the brush, we also hear the brush itself, loud­ly and clear­ly, as we watch van Gogh wield it. (Pow­er of Art’s sound design shows an uncom­mon atten­tion to detail.) Lat­er, we see van Gogh lament the episodes of insan­i­ty that have him eat­ing dirt off the floor. Cut to Schama: “It’s worse, actu­al­ly.” A har­row­ing extend­ed shot fol­lows of the painter eat­ing his paint. Nev­er has tele­vi­sion taught art his­to­ry quite so dra­mat­i­cal­ly.

All episodes of The Pow­er of Art are avail­able on YouTube. It’s also avail­able in one tidy col­lec­tion on Ama­zon:

Relat­ed con­tent:

The Art His­to­ry Web Book

Robert Hugh­es, Famed Art Crit­ic, Demys­ti­fies Mod­ern Art: From Cézanne to Andy Warhol

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

Rembrandt’s Facebook Timeline

The Rijksmu­se­um, locat­ed in Ams­ter­dam, hous­es famous paint­ings by Rem­brandt, Ver­meer, and oth­er Dutch mas­ters. Recent­ly, the 212-year-old muse­um decid­ed to get a lit­tle mod­ern when it imag­ined what Rem­brandt’s Face­book Time­line might look like. “I made a self-por­trait. Let me know what you think!,” Rem­brandt announces (in Eng­lish!) 384 years ago — to which Peter Paul Rubens, a con­tem­po­rary, responds, “Nice one!” And lat­er Rem­brandt announces, “Look what Johannes [Ver­meer] made!,” point­ing to the The Milk Maid, which already has over 5,000 “Likes.” And so the video goes.

You can find The Rijksmu­se­um on Face­book here, and our stim­u­lat­ing Face­book Page here, where we share our posts every day.

via Sci­ence Dump

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Salvador Dalí’s Illustrations of Dante’s The Divine Comedy

In 1957, the Ital­ian gov­ern­ment com­mis­sioned Sal­vador Dalí to paint a series of 100 water­col­or illus­tra­tions of Dante’s Divine Com­e­dy, the great­est lit­er­ary work writ­ten in the Ital­ian lan­guage. The illus­tra­tions were to be fin­ished by 1965, the 700th anniver­sary of the poet­’s birth, and then repro­duced and released in lim­it­ed print edi­tions. The deal fell apart, how­ev­er, when the Ital­ian pub­lic learned that their lit­er­ary pat­ri­mo­ny had been put in the hands of a Spaniard. Unde­terred, Dalí pushed for­ward on his own, paint­ing illus­tra­tions for the epic poem that col­lec­tive­ly recount Dante’s sym­bol­ic trav­els through Hell, Pur­ga­to­ry and Heav­en. After Dalí did his part, the project was hand­ed over to two wood engravers, who spent five years hand-carv­ing 3,500 blocks used to cre­ate the repro­duc­tions of Dalí’s mas­ter­piece. Almost 50 years lat­er, print edi­tions can still be pur­chased online. And the paint­ings them­selves still trav­el the globe, mak­ing their way to muse­ums large and small. You can view images from the col­lec­tion at this Cor­nell Uni­ver­si­ty web­site.

Relat­ed Con­tent 

Sal­vador Dalí’s Haunt­ing 1975 Illus­tra­tions for Shakespeare’s Romeo and Juli­et

The Most Com­plete Col­lec­tion of Sal­vador Dalí’s Paint­ings Pub­lished in a Beau­ti­ful New Book by Taschen: Includes Nev­er-Seen-Before Works

Alice’s Adven­tures in Won­der­land, Illus­trat­ed by Sal­vador Dalí in 1969, Final­ly Gets Reis­sued

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A Soft Self-Portrait of Salvador Dali, Narrated by the Great Orson Welles

The sur­re­al­ism of Sal­vador Dali knew no bound­aries. It went straight from his paint­ings and into his per­son­al life. Every­thing was a spec­ta­cle. The pub­lic loved Dali for it, but jour­nal­ists always wres­tled with his show­man­ship, won­der­ing how to extract seri­ous answers from the man. (Watch Dali toy with Mike Wal­lace here.) And, of course, some­one like Dali posed chal­lenges for biog­ra­phers. Could you make Dali con­form to the con­ven­tion­al bio­graph­i­cal form? In 1970, the French direc­tor Jean-Christophe Aver­ty trav­eled to Spain, to the lit­tle sea­side vil­lage of Portl­li­gat, where he shot a 52 minute doc­u­men­tary called A Soft Self-Por­trait of Sal­vador Dali. Orson Welles nar­rates the film and lay­ers in some tra­di­tion­al bio­graph­i­cal ele­ments. But, oth­er­wise, the film does­n’t both­er try­ing to fit a round peg into a square hole. It embraces Dal­i’s schtick and goes along for the sur­re­al­ist ride. In this sep­a­rate video you can take a tour of Sal­vador Dal­i’s sea­side home.

You can find A Soft Self-Por­trait of Sal­vador Dali per­ma­nent­ly housed in our col­lec­tion 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

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The “Collapse” of the Sydney Opera House Sails

Mul­ti-award win­ning Ger­man design col­lec­tive URBANSCREEN spe­cial­izes in large-scale pro­jec­tion on urban sur­faces. Their first great inter­na­tion­al suc­cess was “555 KUBIK — How it would be if a house was dream­ing,” a bril­liant media instal­la­tion using the façade of the Kun­sthalle Ham­burg. This project quick­ly found its way to all major blogs and sites on the Inter­net and gained so much fame that it sur­passed the pop­u­lar­i­ty of lol­cat videos for almost an hour.

This year, URBANSCREEN was com­mis­sioned to trans­form the sails of the icon­ic Syd­ney Opera House as part of Vivid Syd­ney, a fes­ti­val of light, music and ideas. The tru­ly amaz­ing pro­jec­tions explore the sculp­tur­al form of the Opera House and its place as a home for music, dance and dra­ma. The con­clu­sion is not to be missed.

By pro­fes­sion, Matthias Rasch­er teach­es Eng­lish and His­to­ry at a High School in north­ern Bavaria, Ger­many. In his free time he scours the web for good links and posts the best finds on Twit­ter.

All Eyes on Ai Weiwei: Life Under Surveillance … and on Twitter … After His Arrest

As the one-year anniver­sary of Chi­nese artist and dis­si­dent Ai Wei­wei’s release from jail draws near, the whole world seems to be watch­ing his every move. The whole world, that is, except for the Chi­nese peo­ple.

Ai is cut off from most of the pop­u­la­tion of his own coun­try after the gov­ern­ment shut down his blog and stopped him from using Chi­nese social media. When he was released from jail on June 22 of last year, after 81 days of deten­tion, Ai found that the gov­ern­ment had installed sur­veil­lance cam­eras all around his Bei­jing home and stu­dio. He count­ed 15 with­in a 100-meter area. In response, he set up four of of his own cam­eras inside his home ear­li­er this spring and began stream­ing a 24-hour live webfeed, called “Wei­wei Cam.” The regime quick­ly shut that site down, too.

But the Chi­nese author­i­ties have not com­plete­ly cut off Ai’s access to the world out­side of Chi­na. More than 147,000 peo­ple fol­low him on Twit­ter, one of the many West­ern sites blocked in Chi­na, and a steady stream of for­eign jour­nal­ists have been mak­ing their way to his Bei­jing com­pound for inter­views. Last week The New York Times pub­lished a har­row­ing account of the day in April, 2011, when police pulled a hood over Ai’s head and drove him to an undis­closed deten­tion cen­ter. And this week Slate pub­lished an arti­cle, “Some­one’s Always Watch­ing Me,” along with videos (above and below) of an inter­view with Ai con­duct­ed by Slate Group Edi­tor-in-Chief Jacob Weis­berg on May 14. “I feel that what makes them most fright­ened,” Ai told Weis­berg, refer­ring to the Chi­nese gov­ern­ment, “is my inter­na­tion­al pro­file, my inter­views with West­ern media.”

Ai is restrict­ed to Bei­jing until June 22. When­ev­er he leaves his house he must tell the police where he is going and who he will meet. “I basi­cal­ly obey their orders,” he told Evan Osnos of The New York­er in Jan­u­ary, “because it does­n’t mean any­thing. I also want to tell them I’m not afraid. I’m not secre­tive.” Every week he has to meet with the Pub­lic Secu­ri­ty Bureau for a chat. Like the for­eign jour­nal­ists, the Chi­nese police are eager to learn what Ai plans to do when restric­tions on his move­ment are lift­ed lat­er this month. “They asked me what I would do next when I met them last week­end,” Ai told a reporter for The Tele­graph this week. “They tried to make it very casu­al. After a chat, they said, ‘What comes next?’ I said: ‘It is an inter­est­ing ques­tion. What does this nation do next?’ ”

Download David Hockney’s Playful Drawings for the iPhone and iPad

Last year, the Roy­al Ontario Muse­um (ROM) in Toron­to staged an exhib­it of David Hock­ney’s play­ful draw­ings pro­duced with/for the iPhone and iPad. Hock­ney became an ear­ly adopter of Apple’s pop­u­lar devices and start­ed cre­at­ing fin­ger-drawn images (using the Brush­es app) in 2008. Ini­tial­ly, the Eng­lish painter only shared his dig­i­tal draw­ings with a small cir­cle of friends. Then he decid­ed to make them avail­able to the larg­er world, pre­sent­ing them first in Paris in 2010, and then lat­er in Toron­to. Here, Hock­ney explains the basic think­ing behind his Fresh Flow­ers exhi­bi­tions.

Through­out the Cana­di­an exhi­bi­tion, the ROM invit­ed the pub­lic to down­load a series of free images by Hock­ney. They’re all still online, and we’ve gath­ered them below. What will you do with them? Put them on your iPhone or iPad, of course. (Find instruc­tions here and here.) Or what­ev­er oth­er device you please.

via coudal.com

 

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