Verso: An Art History Podcast

Stéphane Breitwieser stole more than 200 works of art from the museums of Europe, hid them in his mother's attic, and swore he was never a thief. No masks, no weapons, no ransom. Just a young couple in nice clothes, walking out in broad daylight with a fortune in Renaissance paintings, silver, and ivory.
He called museums "prisons for art." He said he only stole for love, never money. This episode follows the most prolific art thief in history from his first stolen pistol to a canal full of silver, and to the fire in the Alsatian woods that no one can fully explain. It's a story about beauty, obsession, and what happens when loving something means you have to be the only one who has it.

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Suggested Further Reading:
Michael Finkel, The Art Thief: A True Story of Love, Crime, and a Dangerous Obsession (Knopf, 2023)
Vincent Noce, La Collection égoïste (J. C. Lattès, 2005)
Stéphane Breitwieser with Yves de Chazournes, Confessions d'un voleur d'art (Anne Carrière, 2006)

In 1863, the Paris Salon rejected thousands of paintings, including Édouard Manet's Déjeuner sur l'herbe, and a nervous Napoleon III made a snap political decision: exhibit the rejects and let the public decide. The Salon des Refusés became the scandal of the season, and the laughingstock exhibition quietly set off a chain of rejections, refusals, and workarounds that led straight to the first Impressionist exhibition of 1874 and the birth of modern art. The story of the emperor who accidentally changed art history, the jury that judged eighty paintings an hour, and the painters who finally stopped asking permission.

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Suggested Further Reading
Ross King, The Judgment of Paris: The Revolutionary Decade That Gave the World Impressionism (Walker & Company, 2006)
Albert Boime, "The Salon des Refusés and the Evolution of Modern Art," Art Quarterly 32 (Winter 1969)
Patricia Mainardi, Art and Politics of the Second Empire: The Universal Expositions of 1855 and 1867 (Yale University Press, 1987)
Beth Archer Brombert, Édouard Manet: Rebel in a Frock Coat (University of Chicago Press, 1996)
Charles Baudelaire, The Painter of Modern Life (1863)

Jacques-Louis David painted Antoine and Marie Anne Lavoisier in 1788, in one of the most famous portraits of the 18th century. Six years later, Lavoisier was guillotined during the French Revolution's Reign of Terror, and David, now a member of the Committee of General Security, helped run the machine that sent him there. This is the story of the painter, the chemist who founded modern chemistry, and the unanswerable question of how much David's loyalty to the Revolution cost the man he'd once painted with such tenderness. Art as propaganda, complicity in the Terror, and a portrait that still won't tell us the truth.

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Suggested Further Reading
Roberts, Warren. Jacques-Louis David, Revolutionary Artist: Art, Politics, and the French Revolution. University of North Carolina Press, 1989.
Dowd, David L. "Jacques-Louis David, Artist Member of the Committee of General Security." The American Historical Review, vol. 57, no. 4, 1952, pp. 871–892.
Schnapper, Antoine. David. Translated by Helga Harrison, Alpine Fine Arts Collection, 1982.
Centeno, Silvia A., Dorothy Mahon, and David Pullins. "Refashioning the Lavoisiers." The Metropolitan Museum of Art, 2021. https://www.metmuseum.org/perspectives/david-lavoisier-conservation

In 1966, Bob Dylan left Andy Warhol's Factory with a silver Elvis painting tied to the roof of his car, then traded it for a couch. This episode follows that Double Elvis through the Factory, the supposed Dylan–Warhol rivalry, Edie Sedgwick, and a much stranger truth, all the way to its home at MoMA and a $27 million auction that proves Dylan should've kept it. A story about myth, fame, and what we decide is worth keeping.
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Suggested Further Reading
Blake Gopnik, Warhol: A Life as Art (Ecco/HarperCollins, 2020)
Jean Stein and George Plimpton, Edie: An American Biography (Knopf, 1982)
Howard Sounes, Down the Highway: The Life of Bob Dylan (Grove Press, 2001)

In 1877, the most powerful art critic in Britain published a review calling the painter James McNeill Whistler a fraud. Whistler sued him for libel. What followed was a two-day trial in which paintings were held upside down, a jury of twelve people was asked to determine the future of art criticism, and the whole thing ended with a verdict of one farthing in damages.

Ruskin and Whistler never met. Not before the trial, not during it, and not after. Two men who had never been in the same room managed to derail each other's careers entirely from a distance, over a painting of fireworks in the dark.

This episode is about what the farthing actually cost both of them, and why the thing that ruined Whistler financially turned out to be the best thing that ever happened to his art.

Suggested Further Reading
Linda Merrill, A Pot of Paint: Aesthetics on Trial in Whistler v. Ruskin (Smithsonian Institution Press, 1992)
James McNeill Whistler, The Gentle Art of Making Enemies (1890, repr. Dover Publications, 1967)
Daniel E. Sutherland, Whistler: A Life for Art's Sake (Yale University Press, 2014)

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