http://www.columbusmuseum.com The following podcast series highlights the Columbus Museum's American art and regional history collection. The following podcast series highlights the Columbus Museum's American art and regional history collection. columbus museum regional history american art Arts Visual Arts en Copyright 2009 The Columbus Museum The Columbus Museum tbrown@columbusmuseum.com no tbrown@columbusmuseum.com (The Columbus Museum) tbrown@columbusmuseum.com http://www.columbusmuseum.com/audio/podcast_icon.jpghttp://www.columbusmuseum.com Fri, 20 Feb 2009 20:03:35 GMT Fri, 20 Feb 2009 20:03:35 GMT RSS DreamFeeder v 2.2.0 During the Civil War, town slaves and freedmen were important parts of the war industry in Columbus. Many slaves were skilled artisans--carpenters, blacksmiths, iron workers, coopers, plasterers, cabinet makers, shoemakers, masons, woodworkers--trades many of them learned working on plantations in the area. Not all slaves in Columbus and other towns lived in the city all year round. Many were countrymen who were rented out to city whites by plantation owners during slack periods in the cotton season. Skilled slaves were in great demand in town because so few whites were skilled artisans. Most town slaves lived in small cabins similar to the one shown here. Often living quarters for town slaves were in the backyards of the homes of the whites. Town slaves were subject to a strict code of behavior: they could not be out at all after sundown or before sunrise; they were forbidden to move about the streets without passes or written permission. During the Civil War, town slaves and freedmen were important parts of the war industry in Columbus. Many slaves were skilled artisans--carpenters, blacksmiths, iron workers, coopers, plasterers, cabinet makers, shoemakers, masons, woodworkers--trades many of them learned working on plantations in the area. Not all slaves in Columbus and other towns lived in the city all year round. Many were countrymen who were rented out to city whites by plantation owners during slack periods in the cotton season. Skilled slaves were in great demand in town because so few whites were skilled artisans. Most town slaves lived in small cabins similar to the one shown here. Often living quarters for town slaves were in the backyards of the homes of the whites. Town slaves were subject to a strict code of behavior: they could not be out at all after sundown or before sunrise; they were forbidden to move about the streets without passes or written permission. http://www.columbusmuseum.com/audio/audiofiles/slave_house.m4v Fri, 20 Feb 2009 20:01:55 GMT The Columbus Museum The Columbus Museum manual:1235160215165:5031045691476618:http://www.columbusmuseum.com/audio/art_history_podcast.rss Alice Neel no encontró un éxito predominante hasta después de sus 70 años de edad, a pesar de haber sido pintada continuamente durante sus días como estudiante en los años 20. Ella creía en el realismo y siguió la tradición de pintar una representación liberal de la vida real. Neel eligió la pintura de retratos porque creía en la importancia de la figura humana en el arte y vio la apariencia física de la persona como una reflexión exacta del estado interno de su alma. Con frecuencia Neel pintaba retratos de personas a las que encontraba particularmente interesantes. Niñas suecas es el retrato de la joven hija de unos amigos de la artista y de su prima mayor, quien había venido de visita desde Suecia. Esta imagen es parte de una variedad de grupos familiares que Neel pintó durante este período. Alice Neel no encontró un éxito predominante hasta después de sus 70 años de edad, a pesar de haber sido pintada continuamente durante sus días como estudiante en los años 20. Ella creía en el realismo y siguió la tradición de pintar una representación liberal de la vida real. Neel eligió la pintura de retratos porque creía en la importancia de la figura humana en el arte y vio la apariencia física de la persona como una reflexión exacta del estado interno de su alma. Con frecuencia Neel pintaba retratos de personas a las que encontraba particularmente interesantes. Niñas suecas es el retrato de la joven hija de unos amigos de la artista y de su prima mayor, quien había venido de visita desde Suecia. Esta imagen es parte de una variedad de grupos familiares que Neel pintó durante este período. http://www.columbusmuseum.com/audio/audiofiles/neel_spanish.m4v Fri, 30 Jan 2009 20:21:08 GMT The Columbus Museum The Columbus Museum manual:1233346915422:5080785886187064:http://www.columbusmuseum.com/audio/art_history_podcast.rss Alice Neel did not find widespread success until she was past the age of 70, although she had been painted continuously from her days as a student in the 1920s. She believed in realism and followed the tradition of painting an unsparing depiction of real life. She chose to paint portraits because she believed in the importance of the human figure in art and saw one’s physical appearance as an accurate reflection of the inner workings of one’s psyche. Neel often painted portraits of people she found particularly interesting. Swedish Girls is the portrait of a young daughter of friends of the artist and the girl’s older cousin visiting from Sweden. The image is one of a number of family groups Neel painted in this period. Alice Neel did not find widespread success until she was past the age of 70, although she had been painted continuously from her days as a student in the 1920s. She believed in realism and followed the tradition of painting an unsparing depiction of real life. She chose to paint portraits because she believed in the importance of the human figure in art and saw one’s physical appearance as an accurate reflection of the inner workings of one’s psyche. Neel often painted portraits of people she found particularly interesting. Swedish Girls is the portrait of a young daughter of friends of the artist and the girl’s older cousin visiting from Sweden. The image is one of a number of family groups Neel painted in this period. http://www.columbusmuseum.com/audio/audiofiles/neel_english.m4v Fri, 30 Jan 2009 20:16:06 GMT The Columbus Museum The Columbus Museum manual:1233346668392:4675704106882089:http://www.columbusmuseum.com/audio/art_history_podcast.rss Durante la Guerra Civil, los esclavos y ex-esclavos de la ciudad eran parte importante de la industria de guerra en Columbus. Muchos esclavos eran artesanos expertos tales como carpinteros, herreros, trabajadores de cobre, yeseros, fabricadores de gabinetes, zapateros, albañiles, y carpinteros. Muchos de estos oficios fueron aprendidos durante sus trabajos en las plantaciones del área. No todos los esclavos de Columbus y otros pueblos vivían en la ciudad todo el año. Muchos eran campesinos que los dueños de las plantaciones le rentaban a los habitantes blancos de la ciudad durante los períodos de trabajo lento de la cosecha de algodón. Los esclavos con destrezas gozaban de gran demanda en la ciudad debido a que muy pocos blancos tenían experiencia como artesanos. La mayoría de esclavos de la ciudad vivían en cabañas pequeñas similares a la que se exhibe aquí. Con frecuencia, las instalaciones de vivienda para los esclavos de la ciudad se encontraban en los patios de las casas de los blancos. Los esclavos de la ciudad estaban sujetos a un estricto código de comportamiento: No podían salir a ningún lugar después de la puesta de sol o antes del amanecer y se les prohibía transitar por las calles sin pases o permisos escritos. Durante la Guerra Civil, los esclavos y ex-esclavos de la ciudad eran parte importante de la industria de guerra en Columbus. Muchos esclavos eran artesanos expertos tales como carpinteros, herreros, trabajadores de cobre, yeseros, fabricadores de gabinetes, zapateros, albañiles, y carpinteros. Muchos de estos oficios fueron aprendidos durante sus trabajos en las plantaciones del área. No todos los esclavos de Columbus y otros pueblos vivían en la ciudad todo el año. Muchos eran campesinos que los dueños de las plantaciones le rentaban a los habitantes blancos de la ciudad durante los períodos de trabajo lento de la cosecha de algodón. Los esclavos con destrezas gozaban de gran demanda en la ciudad debido a que muy pocos blancos tenían experiencia como artesanos. La mayoría de esclavos de la ciudad vivían en cabañas pequeñas similares a la que se exhibe aquí. Con frecuencia, las instalaciones de vivienda para los esclavos de la ciudad se encontraban en los patios de las casas de los blancos. Los esclavos de la ciudad estaban sujetos a un estricto código de comportamiento: No podían salir a ningún lugar después de la puesta de sol o antes del amanecer y se les prohibía transitar por las calles sin pases o permisos escritos. http://www.columbusmuseum.com/audio/audiofiles/Slave_House_audio-Spanish.mp3 Thu, 29 Jan 2009 21:10:10 GMT The Columbus Museum The Columbus Museum manual:1233263458186:5268956446809366:http://www.columbusmuseum.com/audio/art_history_podcast.rss During the Civil War, town slaves and freedmen were important parts of the war industry in Columbus. Many slaves were skilled artisans--carpenters, blacksmiths, iron workers, coopers, plasterers, cabinet makers, shoemakers, masons, woodworkers--trades many of them learned working on plantations in the area. Not all slaves in Columbus and other towns lived in the city all year round. Many were countrymen who were rented out to city whites by plantation owners during slack periods in the cotton season. Skilled slaves were in great demand in town because so few whites were skilled artisans. Most town slaves lived in small cabins similar to the one shown here. Often living quarters for town slaves were in the backyards of the homes of the whites. Town slaves were subject to a strict code of behavior: they could not be out at all after sundown or before sunrise; they were forbidden to move about the streets without passes or written permission. During the Civil War, town slaves and freedmen were important parts of the war industry in Columbus. Many slaves were skilled artisans--carpenters, blacksmiths, iron workers, coopers, plasterers, cabinet makers, shoemakers, masons, woodworkers--trades many of them learned working on plantations in the area. Not all slaves in Columbus and other towns lived in the city all year round. Many were countrymen who were rented out to city whites by plantation owners during slack periods in the cotton season. Skilled slaves were in great demand in town because so few whites were skilled artisans. Most town slaves lived in small cabins similar to the one shown here. Often living quarters for town slaves were in the backyards of the homes of the whites. Town slaves were subject to a strict code of behavior: they could not be out at all after sundown or before sunrise; they were forbidden to move about the streets without passes or written permission. http://www.columbusmuseum.com/audio/audiofiles/Slave_House_audio-English.mp3 Thu, 29 Jan 2009 21:08:15 GMT The Columbus Museum The Columbus Museum manual:1233263357068:946071319983245:http://www.columbusmuseum.com/audio/art_history_podcast.rss El artista Henry Schnakenberg, originario de Nueva York, quería presentar una vista realista del mundo a su alrededor, y El Oeste captura un momento de la prisa y alboroto de la vida de la ciudad. El artista observó de cerca la actividad de las figuras arremolinadas en la estación de transporte subterráneo, pintando sus trajes y las señales de la calle a su alrededor con gran atención a los detalles. A pesar de que Schnakenberg típicamente evitaba cualquier tipo de comentario social en sus pinturas, se especula que los obscuros colores y el cielo tempestuoso en El Oeste pueden hacer referencia intencional a la desolación de la época de la Depresión El artista Henry Schnakenberg, originario de Nueva York, quería presentar una vista realista del mundo a su alrededor, y El Oeste captura un momento de la prisa y alboroto de la vida de la ciudad. El artista observó de cerca la actividad de las figuras arremolinadas en la estación de transporte subterráneo, pintando sus trajes y las señales de la calle a su alrededor con gran atención a los detalles. A pesar de que Schnakenberg típicamente evitaba cualquier tipo de comentario social en sus pinturas, se especula que los obscuros colores y el cielo tempestuoso en El Oeste pueden hacer referencia intencional a la desolación de la época de la Depresión http://www.columbusmuseum.com/audio/audiofiles/Schnakenberg_audio-Spanish.mp3 Thu, 29 Jan 2009 20:52:56 GMT The Columbus Museum The Columbus Museum manual:1233262455515:18304295810619596:http://www.columbusmuseum.com/audio/art_history_podcast.rss New York artist Henry Schnakenberg wanted to present a realistic view of the world around him, and West Side captures a moment of the hustle and bustle of city life. He closely observed the activity of the figures milling around the subway station, painting their clothing and the street signs around them with great attention to detail. Although Schnakenberg typically avoided any social commentary in his paintings, some have speculated that the dark colors and stormy sky in West Side may be intentional references to the bleakness of the Depression. New York artist Henry Schnakenberg wanted to present a realistic view of the world around him, and West Side captures a moment of the hustle and bustle of city life. He closely observed the activity of the figures milling around the subway station, painting their clothing and the street signs around them with great attention to detail. Although Schnakenberg typically avoided any social commentary in his paintings, some have speculated that the dark colors and stormy sky in West Side may be intentional references to the bleakness of the Depression. http://www.columbusmuseum.com/audio/audiofiles/Schnakenberg_audio-English.mp3 Thu, 29 Jan 2009 20:46:13 GMT The Columbus Museum The Columbus Museum manual:1233262221308:39320603216439550:http://www.columbusmuseum.com/audio/art_history_podcast.rss