The Bigger Picture: Your Favourite Art History Podcast

In this episode of The Bigger Picture, Dr Peter Tuka explores Oleg Holosiy’s monumental 1990 painting Psychedelic Attack of the Blue Rabbits – a key work of the Ukrainian New Wave and a haunting, large-scale example of Neo-Expressionist painting shaped by Perestroika and the collapse of the Soviet Union. From Holosiy’s own writing (“Painting begins where the world ends”) to the artwork’s fever-dream imagery ofelectric-blue, humanoid rabbits, this art history podcast unpacks the painting’s politics, liminality, and metaphysical “inner space,” tracing connections to Kuzma Petrov-Vodkin’s On the Line of Fire, surrealist automatism, and the anxieties of transition in 1990s Ukraine. If you’re searching for a deep dive into Ukrainian contemporary art, Soviet and post-Soviet culture, Glasgow Museums hidden treasures, or the meaning behind Psychedelic Attack of the Blue Rabbits, this episode is your essential listening.Oleg Holosiy, Psychedelic Attack of the Blue Rabbits, oil on canvas, 200x300cm, Glasgow MuseumsKuzma Petrov-Vodkin, On the Line of Fire, 1616, oil on canvas, 196x275cm, State Russian Museum, St. Petersburg

In Episode 6 of The Bigger Picture, host Dr Peter Tuka explores The Fly (1991) by Russian artist Nikita Gashunin — a piece of Russian modern sculpture and post-Soviet contemporary art held in the Glasgow Museums collection. Created as the Soviet Union collapse unfolded in 1991, this striking found-object sculpture — an industrial assemblage welded from salvaged machinery — transforms scrap into an oversized “robotic fly” that feels both alive and weaponised.We unpack how Gashunin’s materials, welding, and militarised details echo Perestroika and Glasnost — Mikhail Gorbachev’s reforms — and why The Fly reads as political art: a reflection on power, ideology, and the legacy of art and propaganda in the late USSR. The sculpture’s dual identity (insect and fighter jet, artwork and weapon) becomes a perfect case study in liminality — that unsettling “in-between” threshold where identities and systems dissolve, and a new order has not yet formed.The episode also follows The Fly’s journey to Scotland, connecting post-Soviet cultural change to Glasgow’s transformation from heavy engineering and shipbuilding on the River Clyde to a modern centre of arts and culture. We revisit the late-1980s cultural exchange between East and West, including the city’s Soviet arts showcase New Beginnings festival (1989) and the momentum that helped shape Glasgow City of Culture (1990) — a context that helps explain how this “hidden treasure” entered Glasgow’s collections in the first place.Nikita Gashunin, The Fly, 1991, metal assemblage, mirror and wood, 91x61x30cm, Glasgow MuseumsNext Episode:Oleg Holosiy, Psychedelic Attack of the Blue Rabbits, 1990, oil on canvas, 200x300cm, Glasgow Museums

In this episode of The Bigger Picture, art historian Dr Peter Tuka offers an in‑depth exploration of Caspar David Friedrich’s Wanderer above the Sea of Fog (c.1818), a cornerstone of German Romanticism and one of the most iconic paintings in art history. Through detailed visual analysis, symbolism, and historical context, the episode unpacks key Romantic concepts such as the Sublime, the Romantic Hero, Sehnsucht, and the powerful tension between human reason, nature, and the unknown. The discussion connects painting with philosophy, Enlightenment thought, Mary Shelley’s Frankenstein, and 19th‑century German nationalism, revealing how Friedrich’s lone Wanderer speaks to themes of identity, self‑discovery, solitude, uncertainty, and modern existential thought. A compelling episode for listeners interested in art history podcasts, Romanticism, philosophy of art, symbolism in painting, and the deeper meanings behind famous artworks.Artworks mentioned:Kaspar David Friedrich, Wanderer above the Sea of Fog, c.1818, oil on canvas, 95x75cm, Hamburger Kunsthalle, GermanyEugène Delacroix, Liberty Leading the People, 1830, oil on canvas, 260x325cm, Louvre Paris

In this episode of The Bigger Picture, art historian Dr Peter Tuka delivers an in‑depth art history podcast analysis of Paul Gauguin’s Vision after the Sermon (1888), a landmark work of Post‑Impressionism and Symbolist painting. Blending vivid storytelling with scholarly insight, the episode explores Synthetism, Cloisonnism, Japanese ukiyo‑e influence, and Gauguin’s radical use of bold colour, flattened perspective, and symbolic form to express religious vision and spiritual experience in modern art. Listeners are guided through the Biblical narrative of Jacob wrestling with the angel, while uncovering how Gauguin transformed this story into a powerful meditation on collectivebelief, Breton Catholic spirituality, and mystical imagination ratherthan a literal religious scene. Set against Gauguin’s break from Impressionism, his life crisis, and his search for meaning beyond modern urban life, this episode connects 19th‑century art, religion, psychology, and symbolism in a compelling way. Perfect for fans of Gauguin, Symbolism, religious imagery in art, art interpretation, famous paintings explained, and modern art history, this episode invites you to look beyond surface appearances and discover how art becomes a mirror of the human soul.Artworks mentioned:Paul Gauguin, Vision after the Sermon (Jacob Wrestling with the Angel), 1888, oil on canvas, Scottish National Gallery, EdinburghPaul Gauguin, ⁠Where Do We Come From? What Are We? Where Are We Going?⁠, 1897-1898, oil on canvas, Museum of Fine Arts, BostonRembrandt, Jacob Wrestling with the Angel, c.1659, oil on canvas, Gemäldegalerie, BerlinEugène Delacroix, Jacob Wrestling with the Angel, 1854-1861, mural, Chapel of the Holy Angels in the Church of Saint-Sulpice, Paris