From dinosaurs to mammoths, when our ancient ancestors encountered the fossil bones of extinct prehistoric creatures, what did they think they were? Just like us, ancient peoples were fascinated by the giant bones they found in the ground. Historian Tom Holland goes on a journey of discovery to explore the fascinating ways in which our ancestors sought to explain the remains of dinosaurs and other giant prehistoric creatures, and how bones and fossils have shaped and affected human culture. In Classical Greece, petrified bones were exhibited in temples as the remains of a long-lost race of colossal heroes. Chinese tales of dragons may well have had their origins in the great fossil beds of the Gobi desert. In the Middle Ages, Christians believed that mysterious bones found in rock were the remains of giants drowned in Noah's Flood. Tom encounters a medieval sculpture that is the first known reconstruction of a monster from a fossil, and learns about the Native Americans stories, told for generations, which contained clues that led bone hunters to some of the greatest dinosaur finds of the nineteenth century.
The final part examines political revolution and how art was at the forefront of throwing out 1,000 years of royal rule, from its earliest revolutionary days of enthusiasm and optimism when painting died, the poster was king and the machine-made triumphed over the handmade to the dead hand of Socialist Realism. Andrew roots out great portraits of Stalin now hidden in museum storerooms and never on public view, looks at the transformation of the Moscow metro into a great public art gallery and visits the most stunning creation of post-war Communist rule, the Space Monument. Finally, he comes to the confusion and chaos of Russia today and how it is producing some of the world's strangest art - from heroic sculptures of Russian leader Vladimir Putin to the insides of a giant erotic apple; from the recreation of the Imperial royal family facing the firing squad to sculpture in liquid oil; from Russia's embrace of the commercial art market to a return to Socialist Realism. Russia seems to stand on another brink of revolution.
A journey through the dramatic and destructive years of the French Revolution, telling its history in a way not seen before - through the extraordinary story of its art. Our guide through this turbulent decade is the constantly surprising Dr Richard Clay, an art historian who has spent his life decoding the symbols of power and authority.
Every day of our lives, we are bombarded by thousands of different images,
images which affect us in countless different ways. But of all these there's one particular kind of image whose power is uniquely mesmerising, because while it terrifies us somehow it also comforts. But although it can manipulate us, it also reassures, It's the image of death.
Andrew Graham-Dixon retraces Vasari's footsteps for this captivating two-part film in a short Art of Italy season. He's an enthusiastic guide, lapsing easily into Italian conversation with the custodians of galleries and chapels who allow him a private view. From Brunelleschi's Duomo in Florence to less familiar marvels - a Donatello sculpture; Masaccio frescoes - he illustrates how rapidly ideas developed. A final treat for him - and us - is a tour of the Vasari Corridor, a rarely accessed gallery that zigzags across the Florentine rooftops.
In Classical Greece, petrified bones were exhibited in temples as the remains of a long-lost race of colossal heroes. Chinese tales of dragons may well have had their origins in the great fossil beds of the Gobi desert. In the Middle Ages, Christians believed that mysterious bones found in rock were the remains of giants drowned in Noah's Flood.
Tom encounters a medieval sculpture that is the first known reconstruction of a monster from a fossil, and learns about the Native Americans stories, told for generations, which contained clues that led bone hunters to some of the greatest dinosaur finds of the nineteenth century.