A Short Film: While visiting Massa for the premiere of my feature film, The Piccirilli Factor, I was invited to walk through the historic air-raid refuge (rifugio antiaereo) near Piazza Martana. Nestled deep below the Castello Malaspina, the shelter is a massive, hand-hewn empty space. Walking through it, I felt completely sucked into an eddy—a whirlpool of history.

The Piccirilli Factor celebrates its European premiere in Massa, Italy, as the documentary begins an international tour across museums and cultural institutions.

Discover how Valencian architect Rafael Guastavino and his son transformed New York through revolutionary tile vaults found in Grand Central Terminal the City Hall subway station St. John the Divine and many other landmarks.

Ya está disponible la primera temporada de Universo Montes-Bradley: Conversaciones con Julia Montesoro

From a rainy Boston cemetery where Chadwick turned a Daniel Chester French sculpture into a symphony, Eduardo Montes-Bradley reflects on translation between the arts — and on Blasco Ibáñez and Sorolla, two friends from Valencia whose page and canvas gave us the true price of fish.

Before Valentino and before Garbo, a writer made in Valencia wrote the stories that launched them. Eduardo Montes-Bradley on Vicente Blasco Ibáñez (1867–1928) — the man behind The Four Horsemen of the Apocalypse, friend of Sorolla and Benlliure, who conquered New York in 1919 and helped invent modern mass-media fame.

Writing from Valencia, Eduardo Montes-Bradley finds Zuloaga's canvases in the Museo de Bellas Artes and, from Sorolla's dark twin to the red and black roosters of El gallo negro, traces the two Spains — from the crack of 1898 to the Civil War songs of Republican refugees in Buenos Aires.

Writing from Valencia, Eduardo Montes-Bradley traces the beginnings of modernity in Valencian art — from Francisco Domingo Marqués to Joaquín Sorolla's international triumph — the silver age that shaped Spanish painting into the twentieth century.

On July 21, 2026, Eduardo Montes-Bradley delivers a lecture at the Consulate General of Argentina in Barcelona marking the 110th anniversary of the first crossing of the Andes by hydrogen balloon, achieved in 1916 by Eduardo Bradley and Ángel María Zuloaga.

Eduardo Montes-Bradley's documentary The Piccirilli Factor: Italian Sculptors and the City Beautiful Movement will have its European premiere on August 4, 2026, in the gardens of Villa Rinchiostra in Massa, Italy — birthplace of the Piccirilli brothers, the carvers behind the Lincoln Memorial and America's most iconic monuments. Organized by the Comune di Massa and the Biblioteca Civica Stefano Giampaoli.

The Untold Story of Louis Comfort Tiffany's Global Artistic Empire and How America's Master of Light Became the World's First Global Design Ambassador

Notes on "Papá Iván," a film by María Inés Roqué. México, 2000. Argentina's Dirty Little War This morning I spent the better part of an hour on the phone with a woman I had never met, talking about things I have carried for fifty years. Her name is María Inés Roqué. She makes documentary films; so do I. She left Argentina around the time I did. Somewhere in that hour we discovered we have many friends in common. It should not have surprised either of us: the country we left

While preparing a lecture in Barcelona on the 1916 crossing of the Andes by hydrogen balloon, I reopened the research archive my father left behind for his book Más liviano que el aire. Among the papers was an incomplete collection of the 1969 La Nación comic series Bradley y Zuloaga, published during the days surrounding the Apollo 11 Moon landing.

In the Jim Crow South, Black men and women paid to step into the photographer’s studio and be seen as they chose. The Holsinger Studio Collection holds the record of that quiet defiance.

The Fine Arts Film Festival, now in its 13th edition, is genuinely about art — how it's made, how artists survive, what drives them. That's not marketing copy; it's what their selection reflects. Ninety films from 31 countries, and the overwhelming majority made by women and people of color. The Piccirilli Brothers were immigrant stone carvers who shaped some of the most iconic monuments in America and were largely forgotten. This feels like the right room for their story.

Por primera vez, Miriam Gómez —viuda de Guillermo Cabrera Infante— responde a un artículo sobre la amistad entre Cabrera Infante y Alberto Korda: La Habana, las mujeres y el fin del espejismo revolucionario.

A reflective essay by Eduardo Montes-Bradley examining how Cuban-American painter Humberto Calzada transformed order into an act of resistance. Through the architecture of his home, the precision of his studio, and his paintings of Havana, Calzada preserved memory, identity, and sovereignty in exile.

I suspected my father's days were numbered. Not that he would care to discuss the matter. Despite my best efforts, we never talked about it. A few months earlier I gave him a copy of Seneca's Letters on How to Die, hoping it would trigger a conversation. It didn't.

Jewish women partisans fought, sabotaged, and survived the Holocaust as soldiers, not victims. A reflection on "Every Day the Impossible," narrated by Tovah Feldshuh.

I visited him in the summer of 2022 with my son William, at his home in Woodstock — a house that felt entirely like him, lived-in and full of things that mattered, his daughter Uma’s two dogs keeping him company, his life companion Nena von Schlebrügge nearby.