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.

Why are there so few wild animals—and almost no roadkill—in Italy? A day driving through Tuscany and Liguria becomes a humorous field expedition into Europe’s carefully curated landscape, ending with an unexpected discovery: the country’s most successful “mammal” is the Panda.

More than 200 works by Joaquín Sorolla will travel from New York’s Hispanic Society to Valencia. Their return reveals the cultural relationship between the two cities and introduces Valencians in New York, a documentary exploring the influence of Sorolla, Guastavino, Blasco Ibáñez and Penella on New York.

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.

A drive down the Mediterranean coast to Cullera, and a meeting with Cecilia Rodrigo, daughter of Joaquín Rodrigo — the blind composer who wrote every note of his life's work in Braille. A house of seven-step staircases, a family workshop, and the foundation that gathered a scattered archive under one roof.

Nanjing accumulated its past, layer upon layer. Valencia did something stranger — it kept some layers and erased others. Reading a city through what remains, and what was made to disappear.

A flood nearly killed a city. What grew from the wound is a lesson in what citizens can demand from the places they live.

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.

El correo como sistema puede explicarse con organigramas, flujos, ventanillas, camiones, carteros, sellos, horarios y reglamentos. Pero una carta tiene otra cosa: tiene alguien que la escribe, alguien que la espera, una demora, una pérdida posible, una ansiedad, una llegada. Tiene mundo. Tiene alma. Tiene vida.

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

I recently rewatched Chronicle of a Summer, Jean Rouch and Edgar Morin's 1961 film, for the first time in nearly fifty years. I must have first seen it as a young teenager. The strange thing this time around was the math: this film was shot in the summer of 1960 — basically the moment I was born. Watching it again, I found myself looking less at "subjects" in a sociological experiment and more at my own parents' generation, caught on camera at exactly the age they would have