I came across the work of Oscar Ghiglia in a visit to the museum of Villa Mimbelli in Livorno years ago. Since then I never had enough of looking at his work.  
Oscar Ghiglia,  b.1876, came from a very poor family in Tuscany and lived in poverty for most of his life.

He was self taught and started painting in his early youth while doing all sorts of odd jobs. In those years he lived in Livorno, a city on the Tuscan coast. Ghiglia was able to bravely overcome his humble origins and his lack of formal education, and became part of the cultural elite of Tuscany. He wrote that his sordid existance of the first years of his life "is when my character was being delineated, in that I always believed best to communicate with objects than people"- as an explanation for his love of the still life genre. 

In his youth he befriended the painter Llewellyn Lloyd among others, and Modigliani who was a little younger and from a very different background. Through Modigliani he came in contact with many jewish families to whom he was close and loyal for the rest of his life, including during the hard years of racial persecution.

It was not until 1901 that he moved to Florence and started attending the Scuola del Nudo, led by painter Giovanni Fattori, the star painter of the time. Fattori respected him as an artist and they paid each other studio visits, but Ghiglia did not belong to his students' group nor ever ascribed to the divisionist painting language that many Tuscan painter were adopting.

In Florence he also joined a group of intellectuals, including Papini and Prezzolini who will eventually form the core of the Futurists. He was well aware of the social and political situation at the time however his art was deliberately apolitic, and he disliked the -isms of that time. He did not share the fascination for modern machines and speed that was at the core of Futurism, and later on openly condemned fascism and war. 
Another vital meeting of the end of the century was with his wife Isa: her devotion and affection supported him throughout his life providing the serene atmosphere that is so well depicted in his paintings.
Ghiglia's artistic breakthrough happend in 1901 when his self portrait was included in the prestigious Esposizione Universale in Venice. In the meantime he was making real progress, studying the old masters preferring Titian and Rembrandt rather than the Florentines.
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LISTEN BELOW FOR THE CORRECT PRONOUNCIATION OF HIS NAME

I like listening to podcasts when I am not in the studio, as some of them are so interesting that they distract me from painting, but some times while I work I listen again to the ones that I found more inspiring or motivating to see if they generate ideas or throw new light on the painting I am working on.

I originally drafted this list for my old blog in 2015 and it is lovely that many are still going ! Here's my updated list :


PAINTERS TALKING ABOUT PAINTING

- Studio Break
It's a new find for me, I got there following the guys from Printeresting, a printmaking blog, and had a look around to find two interviews with FB friend Joe Morzuch so started listening. The interviewer, artist David Linneweh is very good at conducting the conversation and asks the same questions I would ask. Update 2018: I since have been interviewed by David ! 

-Savvy Painter
Features artists in conversation with painter artist Antrese Wood. She touches on practical aspects of painting such as promoting the work, as well as asking interviewees about their career path or their daily studio practice. Artists that have been interviewed include Israel Hershberg, James Bland, Stuart Shils, Mitchell Johnson, Stanka Kordic, Karen Kaapke, Dean Fisher and many others.

-John Dalton Gently Does It
John  is another very good interviewer. His podcass feature many well known painters and are quite long so they go deeper into the conversation. John has also started a subscriber page on Patreon, asking for just a dollar a month to sustain the podcast: an easy way to donate.

-Suggested Donation
Generally focussed on classically trained artists, Only six women interviewees in more than forty episodes !  

- Art Grind Podcast 
Long conversations among artists conducted in person by three interviewers, very nice atmosphere and interesting considerations. 

-Artist Decoded 
Host Yoshino interviews a variety of artists, not only painters. Urban feel.
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- The Studio-
Interviewer Danny Grant also focusses mainly on classically trained painters.

MARKETING FOR ARTISTS

- Artists Helping Artists. 
Lots of tips to navigate social networks, ideas and tricks to be well organised in the studio, useful apps and more.

ART HISTORY AND EXHIBITIONS

National Gallery of Art (US)
Great collection of lectures recordings from the NGA education programs.

The Modern Art Notes Podcast 
Thoughtful interviews with artists, curators, art historians and authors

Getty Art + Ideas 
A variety of interviewees often linked with current exhibitions at the Getty Museum. 




NO LONGER UPDATED BUT STILL AVAILABLE

- The Newington-Cropsey Cultural Studies Center 
Features a variety of artists in conversation with the art critic Peter Trippi. Includes artists such as William Bailey, Lois Dodd, Gillian Pederson Krag and my friend Alexandra Tyng.
- The Royal Academy 
Features academic introductions to shows by curators or artists, interviews and conversations.
The recent conversation between Tim Marlow and  Frank Auerbach is probably THE perfect podcast.


I hope you like my selection. Alternatively here's some cardio class entartainment:

Sprezzatura is an Italian words but very few Italians nowadays would understand its meaning, although it sounds quite similar to "disprezzare" ( to despise) and "sprezzante"(contemptuous).
The term was coined by Baldassarre Castiglione, an important character of Italian Renaissance, a political counsellor and the author of Il Cortigiano, a manual in which he outlines the characteristics of the perfect gentleman at court. The book, together with Macchiavelli's The Prince, marks an important shift in culture, when interest turns away from medieval metaphysics and turns to society. Il Cortigiano was one of the best-sellers of the century, and Francis I had it translated in French too.
 The book was written in Urbino  between 1513 and 1524 and finally published in 1528, when in Italy courts such as the ones in Ferrara, Urbino, Mantua were at their peak. Courts were not only a centre of political power but cultural hubs where intellectuals, writers, poets, musicians and artists came together. In Il cortigiano, Castiglione talks about grace as the most important quality that a courtier should possess. The courtier was a gentleman who was supposed to know how to ride, lead a pleasant conversation, be a scholar, dance, dress up and have impeccable table manners as well as fighting skills.
All these activities, says Castiglione, must be naturally performed without effort, and this is what sprezzatura means, a certain detachment and non-chalance that should dissimulate any strain; in Castiglione's words, make the viewer believe that one just can't go wrong. In the book he cites as an example a dancer who puts so much attention in what he does that he can be clearly seen counting his steps and is therefore an ungraceful and unpleasant partner.

At the core of sprezzatura is not effortlessness though, but the ability at feigning it, the skill of dissimulating it. This is the other aspect of its influence on painting: bear in mind that the word "arte" in ancient Italian has the wider meaning of modus operandi, and it's at the root of words such as artifice. 

Not only sprezzatura is a behavioural quality of a painted sitter, but the term can be applied to the piece of art itself, made in a seemingly easy way and almost without thinking, with non-chalant virtuosism as if it sprang not from a long and arduous training and painstaking work but purely from natural flair.
It was in those years that sprezzatura became a positive quality for the artist and nowadays we still hear the words "raw talent" enthusiastically spoken about as if the lack of effort or formal training was the most desirable characteristic. 

​Roberto Calasso ( an Italian scholar) sees Tiepolo as a perfect example of an artist who practices sprezzatura: light and fluid touch, fast execution, confident and flamboyant brushwork.