Picasso y Rivera demostraron tener un talento especial desde niños y cada uno logróentrar a sus respectivas Academias Nacionales de Bellas Artes desde una temprana edad. La educación académica tenía como fundamento de enseñanza la estética del arte griego y romano. Esculturas como Venus de Milo eran consideradas universales y los estudiantes eran entrenados a copiar las reproducciones en yeso de la forma más exacta posible.

Picasso/Rivera: Conversaciones a través del tiempo presenta una serie de diálogos entre el pasado y el presente, entre Europa y América Latina por medio de la yuxtaposición de obras de dos de los artistas más influyentes del siglo veinte junto con el arte del antiguo mediterráneo y de Mesoamérica.

Press the play button below to hear J. Patrice Marandel, The Robert H. Ahmanson Chief Curator of European Art at LACMA, discuss nudes painted by Cranach the Elder and Cranach the Younger.
 
Both Cranachs the Elder and the Younger—there are two painters named Lucas Cranach—achieved fame with their images of nudes. They represented Lucretia, as you can see in this exhibition in a very fine work by Cranach the Elder, they represented Eve but also Venus. These were staple subjects for these two painters.

Press the play button below to hear J. Patrice Marandel, The Robert H. Ahmanson Chief Curator of European Art at LACMA, discuss Dürer’s portrait of a young man named Bernhard von Reesen.
 

Press the play button below to hear J. Patrice Marandel, The Robert H. Ahmanson Chief Curator of European Art at LACMA, elaborate on the significance of portraiture to German art during the Renaissance. Scroll down to read the transcript.
 

Press the play button below to hear J. Patrice Marandel, The Robert H. Ahmanson Chief Curator of European Art at LACMA, introduce the Arms and Armor gallery and describe their use from the 16th to 18th centuries. Scroll down to read the transcript.
 

Press the play button below to hear J. Patrice Marandel, The Robert H. Ahmanson Chief Curator of European Art at LACMA, discuss the side-by-side works on paper depicting a seven-headed Martin Luther and a seven-headed Pope creature. Scroll down to read the transcript.
 

Three works dating to 1513–14 are singled out as the crowning achievements of Albrecht Dürer’s illustrious career as an engraver: Knight, Death and the Devil; Melencolia I; and Saint Jerome in his Study. Closely related in size and complexity of execution, these three prints are known as Dürer’s Master Engravings. Press the play button below to hear Naoko Takahatake, Associate Curator of Prints and Drawings at LACMA, discuss one of these Master Engravings: Saint Jerome in his Study. Scroll down to read the transcript.