Welcome back to the home of the oxymoron. Evil genius. He asked the newspaper to print his obituary early so he'd enjoy it. That's like hiding at your own funeral. Yeah, it's a big, great gig. I'm Russell Kane. Join me to weigh in on whether the biggest players in history are more evil or genius. Becoming that rich, I'd say that at some level of genius. It also helps

that it's a long time ago, right? It's like the podcast version of telling your kids the ice cream

van plays music when it's out of ice cream. Listen to evil genius on BBC sounds.

This is a download from the BBC. For more information and our terms of use, go to BBC.co.uk slash radio three.

Tonight, a whole programme on something that the great artist Fernon Lege said,

we need as much as food and drink.

Color.

And certainly colour is busting out all over museums and galleries this month,

from London's National Gallery to the Turner Contemporary Margate.

Later we'll be delving into colour and culture with a scientist and a fashion historian.

But first, an extended interview with an artist whose series of paintings kind of red,

homage to Miles Davis' kind of blue, is on show in London.

The late philosopher Arthur Danto said that Sean Scully is on the shortest of shortlists

of major painters of our time. High praise indeed.

He was born in Ireland, grew up in a working-class London world and has been resident in New York since the 1970s, although he also has a studio in

Germany where kind of red was painted. Since the 90s, his paintings often large, have been made up of blocks or bricks of colour,

each sat uneasily next to its fellow, much like the ancient stone walls of the Aran Islands,

which he has lovingly photographed. There's a precarious monumental order to each of the works.

Kind of red is made up of five body-sized paintings on aluminium,

where a story of sorts is told with blocks of colours.

There are Velasqueth blacks, Miranda greys and off-whites, as well as Reds,

and these rhythmically punctuate the series, generating

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