[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:05.06,0:00:07.36,Default,,0000,0000,0000,,Art...
Dialogue: 0,0:00:07.37,0:00:08.70,Default,,0000,0000,0000,,ArtSleuth
Dialogue: 0,0:00:10.24,0:00:12.42,Default,,0000,0000,0000,,A young man
Dialogue: 0,0:00:12.44,0:00:14.42,Default,,0000,0000,0000,,An old one
Dialogue: 0,0:00:17.10,0:00:18.70,Default,,0000,0000,0000,,Lookers-on
Dialogue: 0,0:00:21.00,0:00:23.04,Default,,0000,0000,0000,,A picture by Rembrandt
Dialogue: 0,0:00:24.22,0:00:27.30,Default,,0000,0000,0000,,A touching reunion?
Dialogue: 0,0:00:27.36,0:00:29.00,Default,,0000,0000,0000,,Certainly, but something more too.
Dialogue: 0,0:00:29.04,0:00:33.42,Default,,0000,0000,0000,,This is the New Testament story of the *prodigal son,{\i1}*{\i0}
Dialogue: 0,0:00:33.46,0:00:36.62,Default,,0000,0000,0000,,who turns his back on his family,
Dialogue: 0,0:00:36.64,0:00:40.94,Default,,0000,0000,0000,,squanders his inheritance on women and wine,
Dialogue: 0,0:00:41.00,0:00:45.00,Default,,0000,0000,0000,,ends as a starving, penniless swineherd,
Dialogue: 0,0:00:45.04,0:00:46.75,Default,,0000,0000,0000,,and returns to his father
Dialogue: 0,0:00:46.80,0:00:50.20,Default,,0000,0000,0000,,… who, unbelievably, welcomes him with open arms
Dialogue: 0,0:00:50.24,0:00:52.08,Default,,0000,0000,0000,,and kills the fatted calf to welcome him ...
Dialogue: 0,0:00:52.12,0:00:56.56,Default,,0000,0000,0000,,.... to the jealous anger of his faithful, hardworking older son.
Dialogue: 0,0:00:57.24,0:00:59.12,Default,,0000,0000,0000,,A strange idea of justice!
Dialogue: 0,0:00:59.14,0:01:00.40,Default,,0000,0000,0000,,Does late repentance
Dialogue: 0,0:01:00.44,0:01:03.18,Default,,0000,0000,0000,,wipe out betrayal and debauchery?
Dialogue: 0,0:01:04.76,0:01:07.30,Default,,0000,0000,0000,,Does it outweigh a life of virtue?
Dialogue: 0,0:01:08.26,0:01:11.96,Default,,0000,0000,0000,,The point here is that divine justice has its own criteria: **
Dialogue: 0,0:01:12.40,0:01:16.78,Default,,0000,0000,0000,,“There shall be more joy in heaven over * one sinner who repents *than over ninety-nine just” .
Dialogue: 0,0:01:19.04,0:01:20.08,Default,,0000,0000,0000,,But Rembrandt
Dialogue: 0,0:01:20.14,0:01:23.76,Default,,0000,0000,0000,,seems to be deliberately obscuring the meaning of the story - and the picture.
Dialogue: 0,0:01:23.78,0:01:27.16,Default,,0000,0000,0000,,no religious symbolism, no divine presence.
Dialogue: 0,0:01:27.22,0:01:28.66,Default,,0000,0000,0000,,Why not?
Dialogue: 0,0:01:28.70,0:01:31.88,Default,,0000,0000,0000,,Because the connection with God is clearly implied?
Dialogue: 0,0:01:33.18,0:01:38.00,Default,,0000,0000,0000,,Or because Rembrandt himself wants *to add *another meaning?
Dialogue: 0,0:01:38.01,0:01:42.76,Default,,0000,0000,0000,,Title: Rembrandt – *The Return of the Prodigal Son*\NThe hidden side of strength
Dialogue: 0,0:01:43.90,0:01:46.20,Default,,0000,0000,0000,,Part 1. *The art of concealment*
Dialogue: 0,0:01:47.38,0:01:50.84,Default,,0000,0000,0000,,How much of the story is actually left?
Dialogue: 0,0:01:50.84,0:01:52.60,Default,,0000,0000,0000,,First of all, the son, with his
Dialogue: 0,0:01:52.60,0:01:56.26,Default,,0000,0000,0000,,• bare feet and worn shoes
Dialogue: 0,0:01:56.26,0:02:00.28,Default,,0000,0000,0000,,• legs showing through tattered clothing
Dialogue: 0,0:02:00.28,0:02:03.80,Default,,0000,0000,0000,,• cord used as belt
Dialogue: 0,0:02:03.80,0:02:06.06,Default,,0000,0000,0000,,• shaven head and reddened scalp
Dialogue: 0,0:02:06.06,0:02:09.82,Default,,0000,0000,0000,,• emaciated face and swollen eyelids,
Dialogue: 0,0:02:09.82,0:02:12.50,Default,,0000,0000,0000,,His kneeling posture reflects his shame and degradation.
Dialogue: 0,0:02:13.54,0:02:15.18,Default,,0000,0000,0000,,His body is the body of a martyr.
Dialogue: 0,0:02:15.18,0:02:18.02,Default,,0000,0000,0000,,And then the father:
Dialogue: 0,0:02:18.02,0:02:21.84,Default,,0000,0000,0000,,• A man both powerful and versed in the ways of the world. \NVivid highlights
Dialogue: 0,0:02:21.84,0:02:23.78,Default,,0000,0000,0000,,on his hair and beard
Dialogue: 0,0:02:23.78,0:02:27.54,Default,,0000,0000,0000,,A man both wise and self-possessed: unspeaking,
Dialogue: 0,0:02:27.54,0:02:31.52,Default,,0000,0000,0000,,one eye on his son, the other lost in thought.
Dialogue: 0,0:02:33.94,0:02:37.68,Default,,0000,0000,0000,,A man both wealthy and loving: his mantle radiates warmth,
Dialogue: 0,0:02:37.70,0:02:40.14,Default,,0000,0000,0000,,surrounds the son’s face with a red halo,
Dialogue: 0,0:02:40.18,0:02:42.56,Default,,0000,0000,0000,,follows the line of his head.
Dialogue: 0,0:02:43.78,0:02:46.56,Default,,0000,0000,0000,,His hands comfort and heal
Dialogue: 0,0:02:46.56,0:02:48.76,Default,,0000,0000,0000,,- one delicate and pale,
Dialogue: 0,0:02:48.76,0:02:50.42,Default,,0000,0000,0000,,the other stronger and darker.
Dialogue: 0,0:02:52.18,0:02:54.58,Default,,0000,0000,0000,,The father literally enfolds his son.
Dialogue: 0,0:02:56.54,0:03:00.04,Default,,0000,0000,0000,,The actors in this little scene carry the whole story!
Dialogue: 0,0:03:01.68,0:03:05.20,Default,,0000,0000,0000,,The bystanders seem bit-players by comparison!
Dialogue: 0,0:03:05.24,0:03:08.52,Default,,0000,0000,0000,,The older son, wearing the same red coat
Dialogue: 0,0:03:08.56,0:03:11.24,Default,,0000,0000,0000,,The two servants in the sculpted doorway
Dialogue: 0,0:03:14.76,0:03:17.20,Default,,0000,0000,0000,,The woman in the background, with her red pendant
Dialogue: 0,0:03:18.50,0:03:19.76,Default,,0000,0000,0000,,Anything strange about the picture?
Dialogue: 0,0:03:19.76,0:03:22.78,Default,,0000,0000,0000,,Let’s look at a more conventional treatment:
Dialogue: 0,0:03:22.78,0:03:25.60,Default,,0000,0000,0000,,Father and son are looking at each other,
Dialogue: 0,0:03:25.60,0:03:28.88,Default,,0000,0000,0000,,the servants are bringing out the clothes,
Dialogue: 0,0:03:28.88,0:03:32.04,Default,,0000,0000,0000,,shoes and ring called for by the father
Dialogue: 0,0:03:32.04,0:03:35.48,Default,,0000,0000,0000,,while the calf is led gaily to the slaughter
Dialogue: 0,0:03:35.50,0:03:37.88,Default,,0000,0000,0000,,Religious symbols are everywhere:
Dialogue: 0,0:03:37.90,0:03:40.58,Default,,0000,0000,0000,,the sacrifice recalls that of Christ,
Dialogue: 0,0:03:40.66,0:03:43.22,Default,,0000,0000,0000,,the white dog stands for purity and faith.
Dialogue: 0,0:03:43.26,0:03:46.32,Default,,0000,0000,0000,,Everything, *including the message, *is clear…**
Dialogue: 0,0:03:48.48,0:03:52.42,Default,,0000,0000,0000,,Thirty years earlier, Rembrandt himself had followed the same line:
Dialogue: 0,0:03:52.44,0:03:56.58,Default,,0000,0000,0000,,In the background, clothes are being produced, a shutter is being opened
Dialogue: 0,0:03:56.58,0:03:59.90,Default,,0000,0000,0000,,His use of profile in the foreground clarifies the scene:**
Dialogue: 0,0:03:59.90,0:04:04.72,Default,,0000,0000,0000,,a shoe has been shed, the stick dropped
Dialogue: 0,0:04:04.72,0:04:06.92,Default,,0000,0000,0000,,the older brother is absent
Dialogue: 0,0:04:06.92,0:04:09.32,Default,,0000,0000,0000,,the son’s body is so *ravaged, *
Dialogue: 0,0:04:09.32,0:04:11.04,Default,,0000,0000,0000,,his face so *wretched, *
Dialogue: 0,0:04:11.08,0:04:13.82,Default,,0000,0000,0000,,that he almost seems to *deserve *his father’s pardon.
Dialogue: 0,0:04:14.70,0:04:18.10,Default,,0000,0000,0000,,Everything matches the *letter *of the bible story
Dialogue: 0,0:04:18.10,0:04:20.44,Default,,0000,0000,0000,,- but what about the {\i1}spirit{\i0}?
Dialogue: 0,0:04:20.44,0:04:22.02,Default,,0000,0000,0000,,The later version has no “after”:
Dialogue: 0,0:04:22.06,0:04:24.14,Default,,0000,0000,0000,,the figures seem bemused,
Dialogue: 0,0:04:24.16,0:04:26.78,Default,,0000,0000,0000,,no action is suggested.
Dialogue: 0,0:04:27.54,0:04:29.34,Default,,0000,0000,0000,,As for “before”,
Dialogue: 0,0:04:29.36,0:04:31.26,Default,,0000,0000,0000,,this sketchy bas-relief is all we get.
Dialogue: 0,0:04:31.58,0:04:35.38,Default,,0000,0000,0000,,It conflates debauchery with downfall:
Dialogue: 0,0:04:35.40,0:04:38.42,Default,,0000,0000,0000,,the prodigal son sports a sword and plays the flute,
Dialogue: 0,0:04:38.44,0:04:39.80,Default,,0000,0000,0000,,while his fate is foreshadowed by
Dialogue: 0,0:04:39.82,0:04:43.55,Default,,0000,0000,0000,,the pigs at his feet.
Dialogue: 0,0:04:45.10,0:04:46.22,Default,,0000,0000,0000,,With his back to the viewer,
Dialogue: 0,0:04:46.24,0:04:49.62,Default,,0000,0000,0000,,neither his misery nor his remorse are visible:
Dialogue: 0,0:04:49.64,0:04:52.62,Default,,0000,0000,0000,,the father’s forgiveness exists *in a vacuum. *
Dialogue: 0,0:04:53.26,0:04:56.86,Default,,0000,0000,0000,,Rembrandt pares the story down, and eliminates the kind of easy sentiment
Dialogue: 0,0:04:56.88,0:04:58.34,Default,,0000,0000,0000,,which might otherwise make it seem {\i1}banal{\i0}...
Dialogue: 0,0:04:58.34,0:05:00.70,Default,,0000,0000,0000,,...
Dialogue: 0,0:05:02.50,0:05:07.24,Default,,0000,0000,0000,,and then goes even further by involving us, the viewers:
Dialogue: 0,0:05:07.26,0:05:09.38,Default,,0000,0000,0000,,First, he makes us identify with the son,
Dialogue: 0,0:05:09.40,0:05:12.60,Default,,0000,0000,0000,,whose feet are the first thing we see,
Dialogue: 0,0:05:12.64,0:05:16.12,Default,,0000,0000,0000,,and whose position we share
Dialogue: 0,0:05:17.74,0:05:21.14,Default,,0000,0000,0000,,Secondly, he prompts uncomfortable questions:
Dialogue: 0,0:05:21.16,0:05:23.10,Default,,0000,0000,0000,,[to be translated]
Dialogue: 0,0:05:23.10,0:05:25.48,Default,,0000,0000,0000,,would we have been generous, like the father
Dialogue: 0,0:05:25.48,0:05:28.58,Default,,0000,0000,0000,,- or have stayed resentfully in the background,
Dialogue: 0,0:05:28.58,0:05:29.88,Default,,0000,0000,0000,,like the older son?
Dialogue: 0,0:05:32.04,0:05:36.00,Default,,0000,0000,0000,,But why is he so anxious to involve us in a picture
Dialogue: 0,0:05:36.00,0:05:38.24,Default,,0000,0000,0000,,which was not intended for a church,
Dialogue: 0,0:05:38.24,0:05:41.28,Default,,0000,0000,0000,,and was still in his studio when he died?
Dialogue: 0,0:05:43.26,0:05:44.90,Default,,0000,0000,0000,,Part 2. *The painter as prodigal *
Dialogue: 0,0:05:45.68,0:05:49.82,Default,,0000,0000,0000,,Rembrandt had painted his first version of the parable 28 years earlier -
Dialogue: 0,0:05:49.82,0:05:52.88,Default,,0000,0000,0000,,the conventional orgy.
Dialogue: 0,0:05:52.88,0:05:54.84,Default,,0000,0000,0000,,Expensively dressed,
Dialogue: 0,0:05:54.86,0:05:56.54,Default,,0000,0000,0000,,brandishing a glass,
Dialogue: 0,0:05:56.54,0:05:58.28,Default,,0000,0000,0000,,in a richly furnished brothel,
Dialogue: 0,0:05:58.32,0:06:00.58,Default,,0000,0000,0000,,with a harlot on his knee,
Dialogue: 0,0:06:00.60,0:06:04.28,Default,,0000,0000,0000,,the prodigal son invites us to savour the pleasures of the flesh ...
Dialogue: 0,0:06:05.20,0:06:08.70,Default,,0000,0000,0000,,… including this peacock, symbol of opulence and vanity!
Dialogue: 0,0:06:10.66,0:06:13.84,Default,,0000,0000,0000,,Here, Rembrandt follows a familiar Dutch convention:
Dialogue: 0,0:06:13.84,0:06:17.06,Default,,0000,0000,0000,,using the biblical scene as pretext, he ostensibly condemns the sins of the flesh
Dialogue: 0,0:06:17.06,0:06:19.92,Default,,0000,0000,0000,,- while evoking them in lip-smacking detail.
Dialogue: 0,0:06:21.70,0:06:23.38,Default,,0000,0000,0000,,But the picture acquires a new dimension…
Dialogue: 0,0:06:23.38,0:06:27.04,Default,,0000,0000,0000,,… once we realise that it is a self-portrait.
Dialogue: 0,0:06:27.04,0:06:28.78,Default,,0000,0000,0000,,Even if this is nothing new …
Dialogue: 0,0:06:28.78,0:06:32.06,Default,,0000,0000,0000,,other painters portray themselves in taverns…
Dialogue: 0,0:06:32.06,0:06:35.36,Default,,0000,0000,0000,,And Dürer draws himself surrounded by pigs…
Dialogue: 0,0:06:35.36,0:06:39.28,Default,,0000,0000,0000,,… Rembrandt gives the harlot the features of Saskia van Uylenburgh,
Dialogue: 0,0:06:39.28,0:06:40.92,Default,,0000,0000,0000,,his own wife!
Dialogue: 0,0:06:42.64,0:06:46.78,Default,,0000,0000,0000,,In fact, the picture can be seen as an ironic image of his new status:
Dialogue: 0,0:06:46.80,0:06:50.06,Default,,0000,0000,0000,,Saskia, whom he shows off proudly,
Dialogue: 0,0:06:50.06,0:06:52.98,Default,,0000,0000,0000,,is immensely rich, and marrying her has earned him the right to work in Amsterdam
Dialogue: 0,0:06:53.02,0:06:55.36,Default,,0000,0000,0000,,… where commissions pour in,
Dialogue: 0,0:06:56.18,0:06:59.40,Default,,0000,0000,0000,,… he acquires a fine house in a fashionable neighbourhood…
Dialogue: 0,0:06:59.42,0:07:01.68,Default,,0000,0000,0000,,… and picture follows picture. [à réviser : il réalise une collection d'art personnelle]
Dialogue: 0,0:07:02.36,0:07:04.96,Default,,0000,0000,0000,,Rembrandt’s self-portrait as prodigal son
Dialogue: 0,0:07:05.00,0:07:07.66,Default,,0000,0000,0000,,acknowledges his own extravagance,
Dialogue: 0,0:07:07.68,0:07:12.56,Default,,0000,0000,0000,,while making Saskia - slightly behind him, looking calmly at the viewer - the moderating force in the partnership.
Dialogue: 0,0:07:13.54,0:07:15.32,Default,,0000,0000,0000,,But tragedy lies ahead…
Dialogue: 0,0:07:16.62,0:07:18.96,Default,,0000,0000,0000,,Saskia dies in 1642.
Dialogue: 0,0:07:20.06,0:07:22.54,Default,,0000,0000,0000,,Sixteen years later, Rembrandt is ruined,
Dialogue: 0,0:07:22.58,0:07:24.64,Default,,0000,0000,0000,,his house and possessions have been sold,
Dialogue: 0,0:07:25.16,0:07:27.10,Default,,0000,0000,0000,,and the birth of an illegitimate child to his new partner
Dialogue: 0,0:07:27.12,0:07:30.76,Default,,0000,0000,0000,,has tarnished his private reputation.
Dialogue: 0,0:07:32.34,0:07:33.78,Default,,0000,0000,0000,,The commissions dry up and,
Dialogue: 0,0:07:34.98,0:07:38.12,Default,,0000,0000,0000,,when Hendrickje dies in 1663,…
Dialogue: 0,0:07:38.14,0:07:41.70,Default,,0000,0000,0000,,… the parallel with the prodigal son is obvious:
Dialogue: 0,0:07:42.54,0:07:45.94,Default,,0000,0000,0000,,alone, ruined, shunned by the church,
Dialogue: 0,0:07:45.98,0:07:49.04,Default,,0000,0000,0000,,Rembrandt longs to rejoin the Christian community
Dialogue: 0,0:07:49.06,0:07:50.48,Default,,0000,0000,0000,,and make his peace with God.
Dialogue: 0,0:07:51.74,0:07:53.88,Default,,0000,0000,0000,,His Protestant faith
Dialogue: 0,0:07:53.92,0:07:56.54,Default,,0000,0000,0000,,dictates that he open his heart to God, but ask for nothing:
Dialogue: 0,0:07:56.56,0:08:01.58,Default,,0000,0000,0000,,God alone, in his infinite freedom, will grant him grace \Nor withhold it.
Dialogue: 0,0:08:05.44,0:08:10.62,Default,,0000,0000,0000,,Part 3. *The power of the unseen*
Dialogue: 0,0:08:10.62,0:08:11.40,Default,,0000,0000,0000,,But the picture’s fame today
Dialogue: 0,0:08:11.40,0:08:14.18,Default,,0000,0000,0000,,is not simply due to Rembrandt’s identifying with the prodigal son.
Dialogue: 0,0:08:14.22,0:08:15.90,Default,,0000,0000,0000,,In the prosperous Dutch Republic,
Dialogue: 0,0:08:15.92,0:08:18.24,Default,,0000,0000,0000,,the wealthy burghers determine what sells.
Dialogue: 0,0:08:18.30,0:08:22.86,Default,,0000,0000,0000,,Their walls are covered with pictures, and they want religious scenes to fit in …
Dialogue: 0,0:08:22.88,0:08:24.68,Default,,0000,0000,0000,,… and have “real life” resonance,
Dialogue: 0,0:08:24.72,0:08:26.90,Default,,0000,0000,0000,,which speaks directly to them.
Dialogue: 0,0:08:28.46,0:08:30.78,Default,,0000,0000,0000,,Earlier artists have approached bible stories in two ways,
Dialogue: 0,0:08:30.82,0:08:32.66,Default,,0000,0000,0000,,but Rembrandt does something new.
Dialogue: 0,0:08:33.22,0:08:35.78,Default,,0000,0000,0000,,*First strategy: *using perspective
Dialogue: 0,0:08:35.82,0:08:38.66,Default,,0000,0000,0000,,to link the story with the {\i1}present.{\i0}
Dialogue: 0,0:08:39.50,0:08:43.96,Default,,0000,0000,0000,,Lucas van Leyden puts his * “Christ Presented to the People” *in a modern urban setting,
Dialogue: 0,0:08:43.96,0:08:45.38,Default,,0000,0000,0000,,with a crowd in the foreground.
Dialogue: 0,0:08:47.66,0:08:50.92,Default,,0000,0000,0000,,Pieter Aertsen and Joachim Beuckelaer both hide
Dialogue: 0,0:08:50.98,0:08:54.24,Default,,0000,0000,0000,,biblical scenes - *the flight into Egypt{\i1}, and {\i0}the prodigal son *
Dialogue: 0,0:08:54.24,0:08:57.10,Default,,0000,0000,0000,,- behind well-stocked market stalls.
Dialogue: 0,0:09:00.92,0:09:07.08,Default,,0000,0000,0000,,And Brueghel presents his main subjects - *Christ carrying the cross{\i1}, {\i0}St. Paul *
Dialogue: 0,0:09:07.10,0:09:10.12,Default,,0000,0000,0000,,- as *details *in crowd scenes.
Dialogue: 0,0:09:13.90,0:09:18.18,Default,,0000,0000,0000,,The benefits are obvious: viewers are drawn into the picture,
Dialogue: 0,0:09:20.00,0:09:21.78,Default,,0000,0000,0000,,They have to make sense of it,
Dialogue: 0,0:09:23.06,0:09:24.28,Default,,0000,0000,0000,,think about it,
Dialogue: 0,0:09:25.58,0:09:28.56,Default,,0000,0000,0000,,and then reinterpret the things they first noticed
Dialogue: 0,0:09:29.62,0:09:32.00,Default,,0000,0000,0000,,in the light of a bible story.
Dialogue: 0,0:09:35.02,0:09:37.06,Default,,0000,0000,0000,,Better still, a “worldly” setting
Dialogue: 0,0:09:37.12,0:09:38.20,Default,,0000,0000,0000,,makes that story seem “truer”.
Dialogue: 0,0:09:38.20,0:09:39.79,Default,,0000,0000,0000,,...
Dialogue: 0,0:09:43.87,0:09:46.25,Default,,0000,0000,0000,,Rembrandt has studied these perspective effects and absorbed them,
Dialogue: 0,0:09:47.30,0:09:52.62,Default,,0000,0000,0000,,but moves closer to his subject than van Leyden, and adopts a more head-on viewpoint,
Dialogue: 0,0:09:52.62,0:09:55.07,Default,,0000,0000,0000,,and eventually substitutes strange empty spaces
Dialogue: 0,0:09:55.10,0:09:58.60,Default,,0000,0000,0000,,for the crowd in the centre.
Dialogue: 0,0:09:58.67,0:10:01.47,Default,,0000,0000,0000,,Each of the two versions is theatrical in its own way:
Dialogue: 0,0:10:01.50,0:10:05.32,Default,,0000,0000,0000,,one has *the epic vitality *of the medieval stage,
Dialogue: 0,0:10:07.45,0:10:13.45,Default,,0000,0000,0000,,the other suggests a moment *mysteriously suspended in time.*
Dialogue: 0,0:10:13.47,0:10:17.12,Default,,0000,0000,0000,,The Prodigal Son is in the second category, with:**
Dialogue: 0,0:10:17.15,0:10:21.72,Default,,0000,0000,0000,,perspective lines converging on both father and son,
Dialogue: 0,0:10:21.80,0:10:23.95,Default,,0000,0000,0000,,the dark and gaping doorway,
Dialogue: 0,0:10:23.97,0:10:27.82,Default,,0000,0000,0000,,the off-centre positioning of the main figures,
Dialogue: 0,0:10:27.87,0:10:31.47,Default,,0000,0000,0000,,faces which cannot be identified with certainty.
Dialogue: 0,0:10:32.40,0:10:38.87,Default,,0000,0000,0000,,*Second strategy: *using extreme theatrical effects to achieve immediate impact.
Dialogue: 0,0:10:38.90,0:10:42.12,Default,,0000,0000,0000,,This is Caravaggio’s method,
Dialogue: 0,0:10:42.15,0:10:45.02,Default,,0000,0000,0000,,and Rembrandt learns from it:
Dialogue: 0,0:10:46.45,0:10:47.85,Default,,0000,0000,0000,,few figures
Dialogue: 0,0:10:47.87,0:10:51.35,Default,,0000,0000,0000,,harsh, spot-type lighting
Dialogue: 0,0:10:51.37,0:10:56.35,Default,,0000,0000,0000,,main figures in the front foreground, where the viewer picks them out at once.
Dialogue: 0,0:10:58.12,0:11:02.97,Default,,0000,0000,0000,,His areas of darkness are theatrically effective in two ways:
Dialogue: 0,0:11:03.02,0:11:07.15,Default,,0000,0000,0000,,They {\i1}focus{\i0} our attention by {\i1}simplifying{\i0} the composition{\i1}*{\i0}*
Dialogue: 0,0:11:07.20,0:11:09.15,Default,,0000,0000,0000,,They *draw us into the picture{\i1} by suggesting {\i0}a world*
Dialogue: 0,0:11:09.20,0:11:13.55,Default,,0000,0000,0000,,which our imagination can enter and fill.
Dialogue: 0,0:11:15.00,0:11:20.20,Default,,0000,0000,0000,,Next episode: Holbein's {\i1}Ambassadors{\i0} \NSelf-love or more?
Dialogue: 0,0:11:20.20,0:11:25.93,Default,,0000,0000,0000,,Find more information: www.canal-educatif.fr
Dialogue: 0,0:11:25.93,0:11:28.90,Default,,0000,0000,0000,,Directed by
Dialogue: 0,0:11:28.90,0:11:31.90,Default,,0000,0000,0000,,Procuced by
Dialogue: 0,0:11:31.90,0:11:34.90,Default,,0000,0000,0000,,Scientific advisor
Dialogue: 0,0:11:34.90,0:11:37.93,Default,,0000,0000,0000,,This film exists thanks to sponsors and the efforts of a community
Dialogue: 0,0:11:37.93,0:11:40.93,Default,,0000,0000,0000,,Voiceover
Dialogue: 0,0:11:40.93,0:11:43.90,Default,,0000,0000,0000,,Editing & visual effects
Dialogue: 0,0:11:43.90,0:11:46.90,Default,,0000,0000,0000,,Postproduction (extra) anbd sound recording
Dialogue: 0,0:11:46.90,0:11:49.90,Default,,0000,0000,0000,,Musical selection
Dialogue: 0,0:11:49.90,0:11:52.93,Default,,0000,0000,0000,,Musics
Dialogue: 0,0:11:52.93,0:11:55.93,Default,,0000,0000,0000,,Photographic credits
Dialogue: 0,0:11:55.93,0:11:58.90,Default,,0000,0000,0000,,Special thanks \NEnglish subtitles: Vincent Nash
Dialogue: 0,0:11:58.90,0:12:01.10,Default,,0000,0000,0000,,A CED production