Baroque

ANTIQUES ROADSHOW
Philbrook Museum, Part 2 of 3

ANTIQUES ROADSHOW: Philbrook Museum, Part 2 of 3

 

Experience outstanding Oklahoma appraisals at Philbrook Museum of Art, such as a Charles Wilda ‘The Hour of Prayer’ oil, a 1950 Gibson SJ-200 guitar and a baroque bureau brise from about 1690. Learn which is a $30,000-$50,000 find.

 

Preview

 

 

 

GREAT PERFORMANCES
Vienna Philharmonic Summer Night Concert 2018

 

Enjoy the world-renowned Vienna Philharmonic’s annual open-air concert from Austria’s Imperial Schönbrunn Palace, featuring conductor Valery Gergiev and internationally acclaimed soprano Anna Netrebko as a guest soloist.

 

 

GREAT PERFORMANCES
Vienna Philharmonic Summer Night Concert 2017

 

Led by German pianist and conductor Christoph Eschenbach, the world-renowned Vienna Philharmonic returns for its 14th annual open-air concert from Austria’s Imperial Schönbrunn Palace Gardens. In a program inspired by fairy tales and myths, soprano Renée Fleming performs arias from two operas by Antonin Dvořák as well as three songs by Sergei Rachmaninoff.

 

ANTIQUES ROADSHOW
Fort Worth, TX, Part 3 of 3

ANTIQUES ROADSHOW: Fort Worth, TX, Part 3 of 3

 

Highlights from the Roadshow floor include an 1864 Civil War statue hilt presentation sword, a 1936 Joe Fortenberry Olympic gold medal, and James Madison’s personal seal, ca. 1828. Which item is worth $100,000-$175,000?

 

ANTIQUES ROADSHOW
Fort Worth, TX, Part 2 of 3

ANTIQUES ROADSHOW: Fort Worth, TX, Part 2 of 3

 

Discover Fort Worth’s hidden treasures, including a Felipe Orlando abstract oil, ca. 1980, a German baroque lockbox from around 1625 and a Green Bay Packers championship group, ca. 1965. Can you guess which is valued at $75,000-$200,000?

 

THE STORY OF WOMEN AND ART
Parts 1 – 3

 

In this three-part series, Professor Amanda Vickery explores the story of female creativity through the ages with a fascinating art history tour from the Renaissance to the 20th century. Vickery shows how a familiarity with female artistry helps us to understand the ways societal attitudes toward women and their artistic endeavors have evolved throughout the years.

 

Part 1 of 3
Sat., April 9, 8:00 pm

 

Professor Vickery begins her journey in Florence, cradle of the Renaissance. This was a world where women’s private lives and creativity were well hidden behind closed doors. Vickery encounters intrepid art historians who, as they have discovered long-forgotten works in basements, storeroom and convents, also uncover the incredible stories of female artists who fulfilled their artistic ambitions, despite myriad social constraints placed upon them. Leaving the opulence and excess of Catholicism behind, Vickery heads north, discovering how the Protestant Reformation created a very different artistic landscape.

 

Part 2 of 3
Sat., April 9, 9:00 pm

 
Professor Vickery turns the spotlight on Britain – a new world leader in innovation, manufacturing and commerce, and France – home to the finest and most extravagant court of the 18th century. It’s a world defined by male artists like Joshua Reynolds and Thomas Gainsborough. Yet this was a world shaped, styled and designed by women. Much of the art produced by women had the status of “amateur” – a word that had yet to acquire the negative connotations it holds today.

 

Part 3 of 3
Sat., April 9, 10:00 pm

 

Professor Vickery explores the explosion of creative opportunities seized by women from the mid-19th to the mid-20th century. At a time when women were beginning to demand greater social and economic freedoms and boldly forge independent paths, female creativity would not only triumph in traditionally male-dominated artistic arenas but redefine the very notion of what art could be. One artist, in particular, forged the most unconventional of paths while using conventional mediums: Georgia O’Keefe. O’Keefe founded an artistic movement from her New Mexico retreat, proving that with courage and talent women could be recognized as world class artists.

 

GREAT PERFORMANCES
Mark Morris Dance Group: L’Allegro


Merriment and Milton are hardly synonymous, but the poet who penned Paradise Lost also inspired Handel’s L’Allegro, il Penseroso ed il Moderato, which concludes “Mirth, with thee we mean to live.” Choreographer Mark Morris garnered international fame for this 1988 “work of genius” (The New York Times) set to Handel’s Baroque masterpiece, in which a colorful array of dancers embodies the ecstasy of art that transforms.

 

GREAT PERFORMANCES
Mark Morris Dance Group: L’Allegro

 

Merriment and Milton are hardly synonymous, but the poet who penned Paradise Lost also inspired Handel’s L’Allegro, il Penseroso ed il Moderato, which concludes “Mirth, with thee we mean to live.” Choreographer Mark Morris garnered international fame for this 1988 “work of genius” (The New York Times) set to Handel’s Baroque masterpiece, in which a colorful array of dancers embodies the ecstasy of art that transforms.