[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:03.58,0:00:06.19,Default,,0000,0000,0000,,Art...
Dialogue: 0,0:00:06.19,0:00:07.57,Default,,0000,0000,0000,,ArtSleuth
Dialogue: 0,0:00:09.91,0:00:11.25,Default,,0000,0000,0000,,A man
Dialogue: 0,0:00:11.25,0:00:13.07,Default,,0000,0000,0000,,A woman
Dialogue: 0,0:00:13.07,0:00:16.73,Default,,0000,0000,0000,,A background of lavish greenery
Dialogue: 0,0:00:18.17,0:00:20.34,Default,,0000,0000,0000,,A painting by Manet
Dialogue: 0,0:00:21.16,0:00:26.59,Default,,0000,0000,0000,,Our first impression is of an urban Adam and Eve, …
Dialogue: 0,0:00:26.59,0:00:30.29,Default,,0000,0000,0000,,… or a moment of flirtation in the forest.
Dialogue: 0,0:00:32.06,0:00:33.86,Default,,0000,0000,0000,,But it all seems wrong
Dialogue: 0,0:00:33.86,0:00:38.24,Default,,0000,0000,0000,,Instead of being drawn to each other, the couple seem frozen.
Dialogue: 0,0:00:38.24,0:00:44.69,Default,,0000,0000,0000,,Instead of an earthly paradise or outdoor scene, we get potted plants in a Paris apartment.
Dialogue: 0,0:00:44.69,0:00:47.95,Default,,0000,0000,0000,,Parts of the picture itself seem merely sketched in.
Dialogue: 0,0:00:51.67,0:00:55.70,Default,,0000,0000,0000,,Manet appears to be gleefully bent on not giving us what we expect:
Dialogue: 0,0:00:56.87,0:01:00.90,Default,,0000,0000,0000,,instead of an erotically charged and highly worked image,....
Dialogue: 0,0:01:00.90,0:01:02.90,Default,,0000,0000,0000,,.... we get a married couple....
Dialogue: 0,0:01:02.90,0:01:05.20,Default,,0000,0000,0000,,.... with trouble on the way
Dialogue: 0,0:01:06.78,0:01:12.00,Default,,0000,0000,0000,,So why does Manet take such an interest in this Parisian pair's mixed-up feelings?
Dialogue: 0,0:01:12.00,0:01:17.38,Default,,0000,0000,0000,,"From “sex in the city” to modern painting"
Dialogue: 0,0:01:20.14,0:01:24.50,Default,,0000,0000,0000,,"*Part 1: Male fantasies*"
Dialogue: 0,0:01:26.87,0:01:31.29,Default,,0000,0000,0000,,First and foremost, the picture reflects an unbridgeable gap between:
Dialogue: 0,0:01:31.29,0:01:37.07,Default,,0000,0000,0000,,1) the woman, in front - beautiful, desirable and supremely elegant.
Dialogue: 0,0:01:37.07,0:01:40.10,Default,,0000,0000,0000,,With her grey jacket and pleated dress,
Dialogue: 0,0:01:40.10,0:01:43.67,Default,,0000,0000,0000,,she has something of the siren - or the crayfish in its shell.
Dialogue: 0,0:01:43.67,0:01:48.90,Default,,0000,0000,0000,,The bars at the back of the bench protect her against the indoor “jungle”
Dialogue: 0,0:01:49.88,0:01:53.10,Default,,0000,0000,0000,,and the urban satyr it shelters.
Dialogue: 0,0:01:53.10,0:02:00.47,Default,,0000,0000,0000,,2) and the man. Manet does everything to make him a secondary figure, submissive and harmless.
Dialogue: 0,0:02:00.47,0:02:02.03,Default,,0000,0000,0000,,A caged lion,
Dialogue: 0,0:02:02.03,0:02:03.48,Default,,0000,0000,0000,,cramped into stooping by the picture frame,
Dialogue: 0,0:02:03.48,0:02:06.58,Default,,0000,0000,0000,,he implores the sphinx-like woman to look at him.
Dialogue: 0,0:02:07.50,0:02:10.47,Default,,0000,0000,0000,,His faintly glimmering cigar looks fragile and pathetic
Dialogue: 0,0:02:10.47,0:02:14.39,Default,,0000,0000,0000,,beside her parasol
Dialogue: 0,0:02:15.90,0:02:19.32,Default,,0000,0000,0000,,he is, quite simply, outgunned.
Dialogue: 0,0:02:19.32,0:02:21.54,Default,,0000,0000,0000,,The only consolation, the only hopeful sign
Dialogue: 0,0:02:21.54,0:02:24.62,Default,,0000,0000,0000,,appears in the centre of the picture, between the two worlds:
Dialogue: 0,0:02:24.62,0:02:29.40,Default,,0000,0000,0000,,an ungloved hand, which he shyly moves to touch.
Dialogue: 0,0:02:29.40,0:02:34.30,Default,,0000,0000,0000,,There is also a dynamic progression from left to right.
Dialogue: 0,0:02:37.06,0:02:42.55,Default,,0000,0000,0000,,On the woman’s side, flowers, delicate foliage and sharp colours.
Dialogue: 0,0:02:42.55,0:02:47.98,Default,,0000,0000,0000,,On the man’s, darker colours and large, aggressive leaves.
Dialogue: 0,0:02:47.98,0:02:51.94,Default,,0000,0000,0000,,The colours – blue, white, pink – and form of the ceramic pot mimic those of the woman!
Dialogue: 0,0:02:55.30,0:03:00.35,Default,,0000,0000,0000,,Beside it, the earthenware pot, bearing Manet’s signature, stands for the man.
Dialogue: 0,0:03:00.78,0:03:05.44,Default,,0000,0000,0000,,These flowers evoke desire:
Dialogue: 0,0:03:05.44,0:03:09.21,Default,,0000,0000,0000,,the pink ones are suggestive of the woman’s complexion and lips;
Dialogue: 0,0:03:09.21,0:03:12.47,Default,,0000,0000,0000,,the irises follow the direction of her gaze;
Dialogue: 0,0:03:12.47,0:03:16.67,Default,,0000,0000,0000,,the two red roses symbolize passion.
Dialogue: 0,0:03:24.64,0:03:28.17,Default,,0000,0000,0000,,Seen against the plants in the background, the hand itself becomes a flower.
Dialogue: 0,0:03:28.17,0:03:30.17,Default,,0000,0000,0000,,The woman, of course, is aware of these connections:
Dialogue: 0,0:03:30.17,0:03:38.33,Default,,0000,0000,0000,,she uses dress and make-up to imitate nature and enhance her allure.
Dialogue: 0,0:03:38.33,0:03:40.52,Default,,0000,0000,0000,,But it is frustrated male desire, above all,
Dialogue: 0,0:03:40.52,0:03:46.43,Default,,0000,0000,0000,,which gives the flowers, curves and hand the erotic power
Dialogue: 0,0:03:46.43,0:03:48.30,Default,,0000,0000,0000,,of a whole woman ...
Dialogue: 0,0:03:51.76,0:03:55.30,Default,,0000,0000,0000,,Part 2. "*Sex in the city: a new vision of women*"
Dialogue: 0,0:03:56.67,0:03:58.18,Default,,0000,0000,0000,,A century earlier,
Dialogue: 0,0:03:58.18,0:04:03.57,Default,,0000,0000,0000,,Fragonard painted idealised scenes of aristocratic lovers in natural surroundings.
Dialogue: 0,0:04:03.57,0:04:06.93,Default,,0000,0000,0000,,As in *In the Conservatory*, the woman has roses on her side, …
Dialogue: 0,0:04:06.93,0:04:09.31,Default,,0000,0000,0000,,… the man the forest on his.
Dialogue: 0,0:04:09.31,0:04:12.40,Default,,0000,0000,0000,,But the low wall between them is made to be crossed:
Dialogue: 0,0:04:12.40,0:04:15.74,Default,,0000,0000,0000,,a passionate embrace is sure to follow.
Dialogue: 0,0:04:15.74,0:04:19.40,Default,,0000,0000,0000,,For Manet, the urbanite, “this is old hat!”:...
Dialogue: 0,0:04:20.80,0:04:23.27,Default,,0000,0000,0000,,... “Paris and its suburbs - that’s where the action is!”
Dialogue: 0,0:04:25.11,0:04:28.96,Default,,0000,0000,0000,,In his portrait of fashion house owners, Monsieur and Madame Jules Guillemet,
Dialogue: 0,0:04:28.96,0:04:32.66,Default,,0000,0000,0000,,Manet is concerned with the new pattern of male/female relations in the city.
Dialogue: 0,0:04:33.90,0:04:37.52,Default,,0000,0000,0000,,Marriage is often a facade, as it is in Manet’s own family.
Dialogue: 0,0:04:38.53,0:04:41.71,Default,,0000,0000,0000,,The stiff posture of his father in this portrait points to syphilis,
Dialogue: 0,0:04:41.71,0:04:46.42,Default,,0000,0000,0000,,the sexually transmitted disease which killed the painter too.
Dialogue: 0,0:04:47.90,0:04:50.50,Default,,0000,0000,0000,,Nature is not idealised.
Dialogue: 0,0:04:51.61,0:04:54.27,Default,,0000,0000,0000,,Unlike Monet in this picture of a garden bench,
Dialogue: 0,0:04:54.27,0:04:58.40,Default,,0000,0000,0000,,Manet eliminates perspective and masks the horizon.
Dialogue: 0,0:04:58.92,0:05:01.07,Default,,0000,0000,0000,,He also gives us a new image of women.
Dialogue: 0,0:05:01.07,0:05:04.70,Default,,0000,0000,0000,,In Courbet, women are incomplete beings, who amuse themselves with animals
Dialogue: 0,0:05:04.70,0:05:07.70,Default,,0000,0000,0000,,while waiting for “the man” to appear.
Dialogue: 0,0:05:08.04,0:05:11.68,Default,,0000,0000,0000,,In Manet, they exist in their own right.
Dialogue: 0,0:05:12.14,0:05:16.18,Default,,0000,0000,0000,,They are the ones whom animals obey.
Dialogue: 0,0:05:24.97,0:05:31.36,Default,,0000,0000,0000,,And men, when they appear, are often backgrounded, forgotten and held at a distance...
Dialogue: 0,0:05:31.36,0:05:35.26,Default,,0000,0000,0000,,When women are partly concealed, on the other hand,
Dialogue: 0,0:05:35.26,0:05:41.41,Default,,0000,0000,0000,,the essential message is that snatched glimpses of a leg or an arm are all the male can hope for.
Dialogue: 0,0:05:41.41,0:05:45.67,Default,,0000,0000,0000,,And so Madame Guillemet is one of the women who interest Manet:
Dialogue: 0,0:05:46.47,0:05:49.64,Default,,0000,0000,0000,,she has the independence, the inner certainty
Dialogue: 0,0:05:49.64,0:05:53.65,Default,,0000,0000,0000,,that go with her status as a fashion tycoon.
Dialogue: 0,0:05:57.36,0:06:01.65,Default,,0000,0000,0000,,"*Part 3. From women to modern painting*"
Dialogue: 0,0:06:02.35,0:06:04.81,Default,,0000,0000,0000,,In his pictures of women, Manet invents a new kind of art
Dialogue: 0,0:06:04.81,0:06:10.19,Default,,0000,0000,0000,,which plays with the viewer’s expectations and wishes.
Dialogue: 0,0:06:10.91,0:06:16.40,Default,,0000,0000,0000,,In {\i1}Boating{\i0} and {\i1}Nana{\i0}, we remain outside the picture,
Dialogue: 0,0:06:16.40,0:06:21.11,Default,,0000,0000,0000,,but, by their looks, .... the man warns us that we are intruding, ....
Dialogue: 0,0:06:21.11,0:06:27.55,Default,,0000,0000,0000,,.... and the actress calls attention to her current suitor.
Dialogue: 0,0:06:28.59,0:06:31.18,Default,,0000,0000,0000,,In *the Conservatory{\i1} and {\i0}The Bar at the Folies Bergères* are both pictures
Dialogue: 0,0:06:31.18,0:06:35.18,Default,,0000,0000,0000,,which we enter, as if tumbling into a mirror:
Dialogue: 0,0:06:35.18,0:06:37.84,Default,,0000,0000,0000,,Madame Guillemet ignores us, just as she ignores her husband
Dialogue: 0,0:06:37.84,0:06:42.99,Default,,0000,0000,0000,,- and so he and we become doubles, linked by the same fascination.
Dialogue: 0,0:06:43.62,0:06:47.48,Default,,0000,0000,0000,,In *The Bar*, a man is reflected in the mirror behind the woman.
Dialogue: 0,0:06:47.48,0:06:53.15,Default,,0000,0000,0000,,But the reflection is ours - caught in the act as would-be seducers.
Dialogue: 0,0:06:53.15,0:06:55.99,Default,,0000,0000,0000,,And the woman gives us the same impassive look
Dialogue: 0,0:06:55.99,0:07:01.28,Default,,0000,0000,0000,,that Manet’s painting seems to give its viewers.
Dialogue: 0,0:07:01.28,0:07:06.51,Default,,0000,0000,0000,,Unlike conventional paintings, which try to make us forget the flat surface of the canvas by modelling the figures…
Dialogue: 0,0:07:06.52,0:07:09.44,Default,,0000,0000,0000,,… and deepening the background …
Dialogue: 0,0:07:09.44,0:07:13.29,Default,,0000,0000,0000,,... Manet’s pictures emphasize this flatness by ...
Dialogue: 0,0:07:13.29,0:07:15.59,Default,,0000,0000,0000,,... reducing depth ...
Dialogue: 0,0:07:16.75,0:07:22.51,Default,,0000,0000,0000,,... featuring verticals and horizontals which hint at the stretcher behind the canvas ...
Dialogue: 0,0:07:24.86,0:07:29.74,Default,,0000,0000,0000,,... using sharper relief with stronger contrasts ...
Dialogue: 0,0:07:29.74,0:07:33.51,Default,,0000,0000,0000,,... leaving certain parts apparently “unfinished”.
Dialogue: 0,0:07:36.51,0:07:42.35,Default,,0000,0000,0000,,In this way, they tell viewers more plainly what they are to look at:
Dialogue: 0,0:07:42.35,0:07:49.59,Default,,0000,0000,0000,,they are not allowed to linger over titillating details, while protesting hypocritically that brushwork is the draw.
Dialogue: 0,0:07:49.59,0:07:54.68,Default,,0000,0000,0000,,The picture becomes more autonomous: it gives only what it wants to give.
Dialogue: 0,0:07:55.41,0:08:01.19,Default,,0000,0000,0000,,Seen in these terms, Madame Guillemet is not just a queen of fashion, but an allegory of modern painting.
Dialogue: 0,0:08:01.19,0:08:09.22,Default,,0000,0000,0000,,She excites and attracts us, so much so that we feel like reaching out to touch her -
Dialogue: 0,0:08:09.22,0:08:14.93,Default,,0000,0000,0000,,….only to be led, with unrelenting firmness, back to the surface of the picture.
Dialogue: 0,0:08:16.03,0:08:20.04,Default,,0000,0000,0000,,Manet builds his effect on a calculated blend of the artificial and the superficial,
Dialogue: 0,0:08:20.04,0:08:25.77,Default,,0000,0000,0000,,and these are also the springs of the trap which he - and Madame Guillemet - set for covetous spectators,
Dialogue: 0,0:08:25.77,0:08:30.19,Default,,0000,0000,0000,,who find themselves simultaneously attracted and repulsed.
Dialogue: 0,0:08:30.19,0:08:34.48,Default,,0000,0000,0000,,Next ArtSleuth episode: Botticelli's *Birth of Venus* - Do you really know this woman?
Dialogue: 0,0:08:34.48,0:08:40.45,Default,,0000,0000,0000,,Find more information on: www.canal-educatif.fr
Dialogue: 0,0:08:40.85,0:08:43.85,Default,,0000,0000,0000,,Written and directed by:
Dialogue: 0,0:08:43.85,0:08:46.81,Default,,0000,0000,0000,,Produced by:
Dialogue: 0,0:08:46.81,0:08:49.80,Default,,0000,0000,0000,,Scientific advisor:
Dialogue: 0,0:08:49.80,0:08:53.11,Default,,0000,0000,0000,,This film exists thanks to the support of donors (possibly you!) and the French Ministry of Culture
Dialogue: 0,0:08:53.11,0:08:55.88,Default,,0000,0000,0000,,Voiceover:
Dialogue: 0,0:08:55.88,0:08:58.85,Default,,0000,0000,0000,,Video editing and motion graphics:
Dialogue: 0,0:08:58.85,0:09:01.85,Default,,0000,0000,0000,,Sound sync & sound recording
Dialogue: 0,0:09:01.85,0:09:04.95,Default,,0000,0000,0000,,Music selection
Dialogue: 0,0:09:04.95,0:09:07.85,Default,,0000,0000,0000,,Music
Dialogue: 0,0:09:07.85,0:09:11.21,Default,,0000,0000,0000,,Special thanks
Dialogue: 0,0:09:11.21,0:09:13.21,Default,,0000,0000,0000,,A CED production (support us and there will be more ;-))