[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.02,0:00:14.36,Default,,0000,0000,0000,,(bouncy piano music)
Dialogue: 0,0:00:14.36,0:00:16.21,Default,,0000,0000,0000,,>> We're looking at a painting at the
Dialogue: 0,0:00:16.21,0:00:19.21,Default,,0000,0000,0000,,Museum of Modern Art by\NErnst Ludwig Kirchner.
Dialogue: 0,0:00:19.21,0:00:24.24,Default,,0000,0000,0000,,It's Street Scene Dresden\Nand it dates to 1908.
Dialogue: 0,0:00:24.24,0:00:28.16,Default,,0000,0000,0000,,>>Kirchen is known as\Nan expressionist artist.
Dialogue: 0,0:00:28.16,0:00:30.47,Default,,0000,0000,0000,,That's his classification.
Dialogue: 0,0:00:30.47,0:00:31.07,Default,,0000,0000,0000,,>> He would become part of a group
Dialogue: 0,0:00:31.07,0:00:31.67,Default,,0000,0000,0000,,called Die Brucke.
Dialogue: 0,0:00:31.67,0:00:33.05,Default,,0000,0000,0000,,>> Yes, The Bridge.
Dialogue: 0,0:00:33.05,0:00:35.19,Default,,0000,0000,0000,,>> The Bridge, as they called themselves.
Dialogue: 0,0:00:35.19,0:00:36.27,Default,,0000,0000,0000,,>> What did the bridge mean?
Dialogue: 0,0:00:36.27,0:00:37.97,Default,,0000,0000,0000,,What was it a bridge to and from?
Dialogue: 0,0:00:37.97,0:00:39.56,Default,,0000,0000,0000,,>> From the past to the future.
Dialogue: 0,0:00:39.56,0:00:41.19,Default,,0000,0000,0000,,>> Well yes, from the past to the future,
Dialogue: 0,0:00:41.19,0:00:44.83,Default,,0000,0000,0000,,but it refers really\Ndirectly to Nietzsche.
Dialogue: 0,0:00:44.83,0:00:45.57,Default,,0000,0000,0000,,>> Really?
Dialogue: 0,0:00:45.57,0:00:47.48,Default,,0000,0000,0000,,>> I didn't know that. I\Ndidn't know that either,
Dialogue: 0,0:00:47.48,0:00:48.73,Default,,0000,0000,0000,,but it makes it much more interesting.
Dialogue: 0,0:00:48.73,0:00:51.26,Default,,0000,0000,0000,,>> Thus, speak Die Brucke.
Dialogue: 0,0:00:51.26,0:00:56.69,Default,,0000,0000,0000,,The bridge from civilization\Nto the Uberwanch,
Dialogue: 0,0:00:56.69,0:00:59.02,Default,,0000,0000,0000,,Crossing the bridge, it's a\Njourney of self-discovery,
Dialogue: 0,0:00:59.02,0:01:02.33,Default,,0000,0000,0000,,of individual self-actualization.
Dialogue: 0,0:01:02.33,0:01:03.92,Default,,0000,0000,0000,,>> There were so many German artists
Dialogue: 0,0:01:03.92,0:01:05.83,Default,,0000,0000,0000,,and craftsmen that were\Nreally interested in
Dialogue: 0,0:01:05.83,0:01:06.100,Default,,0000,0000,0000,,Nietzsche at this moment, right?
Dialogue: 0,0:01:06.100,0:01:08.80,Default,,0000,0000,0000,,>> Obsessed is a better word.
Dialogue: 0,0:01:08.80,0:01:09.79,Default,,0000,0000,0000,,>> Yes, yes.
Dialogue: 0,0:01:09.79,0:01:11.61,Default,,0000,0000,0000,,>> What was it about Nietzsche?
Dialogue: 0,0:01:11.61,0:01:14.13,Default,,0000,0000,0000,,>> Well, he was interested in taking apart
Dialogue: 0,0:01:14.13,0:01:18.49,Default,,0000,0000,0000,,ideas of morality which\Nconstricted culture so much,
Dialogue: 0,0:01:18.49,0:01:21.37,Default,,0000,0000,0000,,I think all over Europe\Nbut especially in Germany.
Dialogue: 0,0:01:21.37,0:01:23.74,Default,,0000,0000,0000,,I think the young artists, I think Kirchen
Dialogue: 0,0:01:23.74,0:01:26.15,Default,,0000,0000,0000,,was not even 30 at this point,
Dialogue: 0,0:01:26.15,0:01:27.31,Default,,0000,0000,0000,,they're all pretty young,
Dialogue: 0,0:01:27.31,0:01:30.94,Default,,0000,0000,0000,,and they're really interested in renewal
Dialogue: 0,0:01:30.94,0:01:33.66,Default,,0000,0000,0000,,and the new.
Dialogue: 0,0:01:33.66,0:01:35.43,Default,,0000,0000,0000,,>> Germany was late coming to the
Dialogue: 0,0:01:35.43,0:01:36.64,Default,,0000,0000,0000,,Industrial Revolution, right?
Dialogue: 0,0:01:36.64,0:01:37.34,Default,,0000,0000,0000,,>> Yes.
Dialogue: 0,0:01:37.34,0:01:38.83,Default,,0000,0000,0000,,>> There's a lot of\Nchange that's happening
Dialogue: 0,0:01:38.83,0:01:40.77,Default,,0000,0000,0000,,in a very compressed time period.
Dialogue: 0,0:01:40.77,0:01:42.80,Default,,0000,0000,0000,,>>They, in the later 19th Century, really
Dialogue: 0,0:01:42.80,0:01:45.60,Default,,0000,0000,0000,,tried to catch up to England and France
Dialogue: 0,0:01:45.60,0:01:46.97,Default,,0000,0000,0000,,and they worked really hard to do that.
Dialogue: 0,0:01:46.97,0:01:49.45,Default,,0000,0000,0000,,Then there was a lot\Nof growth really fast,
Dialogue: 0,0:01:49.45,0:01:51.22,Default,,0000,0000,0000,,but there are all these culture morays
Dialogue: 0,0:01:51.22,0:01:53.67,Default,,0000,0000,0000,,that they worked really\Nhard to break out of
Dialogue: 0,0:01:53.67,0:01:56.61,Default,,0000,0000,0000,,and Nietsche was totally\Ninfluential and inspirational
Dialogue: 0,0:01:56.61,0:02:02.05,Default,,0000,0000,0000,,because he posited all these\Nways of breaking out of.
Dialogue: 0,0:02:02.05,0:02:05.41,Default,,0000,0000,0000,,>> It was very constrictive, proper.
Dialogue: 0,0:02:05.41,0:02:06.73,Default,,0000,0000,0000,,>> Accountable for..
Dialogue: 0,0:02:06.73,0:02:08.30,Default,,0000,0000,0000,,>> Yes, yes so that you wouldn't be
Dialogue: 0,0:02:08.30,0:02:10.14,Default,,0000,0000,0000,,proper and contained.
Dialogue: 0,0:02:10.14,0:02:12.76,Default,,0000,0000,0000,,>> Even in this painting,\Nthere is a kind of isolation
Dialogue: 0,0:02:12.76,0:02:14.07,Default,,0000,0000,0000,,amongst those figures, isn't there?
Dialogue: 0,0:02:14.07,0:02:15.26,Default,,0000,0000,0000,,>> Definitely.
Dialogue: 0,0:02:15.26,0:02:19.58,Default,,0000,0000,0000,,>> Even though it's a\Ncrowded, really dense scene;
Dialogue: 0,0:02:19.58,0:02:22.13,Default,,0000,0000,0000,,this is a pretty wild painting really.
Dialogue: 0,0:02:22.13,0:02:24.55,Default,,0000,0000,0000,,>> I have to say I know\Nthat you like this painting.
Dialogue: 0,0:02:24.55,0:02:25.57,Default,,0000,0000,0000,,>> I do; I love this painting.
Dialogue: 0,0:02:25.57,0:02:28.80,Default,,0000,0000,0000,,>> I have always really not.
Dialogue: 0,0:02:28.80,0:02:31.55,Default,,0000,0000,0000,,>> I love this painting. (laughter)
Dialogue: 0,0:02:31.55,0:02:33.27,Default,,0000,0000,0000,,>> Right, so I want to\Nhear from both of you then.
Dialogue: 0,0:02:33.27,0:02:36.63,Default,,0000,0000,0000,,>> Why do you not like this painting?
Dialogue: 0,0:02:36.63,0:02:40.17,Default,,0000,0000,0000,,>> It feels very like\Na man looking at women
Dialogue: 0,0:02:40.17,0:02:44.21,Default,,0000,0000,0000,,on the street and I know that they're...
Dialogue: 0,0:02:44.21,0:02:47.63,Default,,0000,0000,0000,,I don't know; I guess for me it doesn't
Dialogue: 0,0:02:47.63,0:02:52.43,Default,,0000,0000,0000,,build all that much more\Non the 19th Century,
Dialogue: 0,0:02:52.43,0:02:57.12,Default,,0000,0000,0000,,on Munch's Street Scene\Nof Karl Johan Strasse.
Dialogue: 0,0:02:57.12,0:02:58.100,Default,,0000,0000,0000,,>> Right, from 1892.
Dialogue: 0,0:02:58.100,0:03:02.13,Default,,0000,0000,0000,,>> That kind of interest\Nin psychological angst
Dialogue: 0,0:03:02.13,0:03:04.93,Default,,0000,0000,0000,,and alienation in the modern world
Dialogue: 0,0:03:04.93,0:03:08.17,Default,,0000,0000,0000,,and using color to describe those things
Dialogue: 0,0:03:08.17,0:03:09.94,Default,,0000,0000,0000,,and brush work.
Dialogue: 0,0:03:09.94,0:03:14.79,Default,,0000,0000,0000,,This, as a symbolist\Nartist, I really like this.
Dialogue: 0,0:03:14.79,0:03:15.96,Default,,0000,0000,0000,,>> So did the Germans by the way.
Dialogue: 0,0:03:15.96,0:03:17.04,Default,,0000,0000,0000,,>> Yeah.
Dialogue: 0,0:03:17.04,0:03:18.50,Default,,0000,0000,0000,,>> They really heroized him, right?
Dialogue: 0,0:03:18.50,0:03:19.96,Default,,0000,0000,0000,,>> Then when I get to this and the colors
Dialogue: 0,0:03:19.96,0:03:22.34,Default,,0000,0000,0000,,become more garish and more difficult,
Dialogue: 0,0:03:22.34,0:03:24.50,Default,,0000,0000,0000,,the composition a little more disjointed,
Dialogue: 0,0:03:24.50,0:03:25.67,Default,,0000,0000,0000,,the brush work more open,
Dialogue: 0,0:03:25.67,0:03:28.71,Default,,0000,0000,0000,,I'm not sure how much this adds.
Dialogue: 0,0:03:28.71,0:03:30.80,Default,,0000,0000,0000,,I guess there's something\Nuncomfortable to me
Dialogue: 0,0:03:30.80,0:03:33.52,Default,,0000,0000,0000,,about the way that he's\Nlooking at the women here.
Dialogue: 0,0:03:33.52,0:03:35.89,Default,,0000,0000,0000,,>> For me, the color\Nand garishness is what
Dialogue: 0,0:03:35.89,0:03:38.06,Default,,0000,0000,0000,,attracted me to it.
Dialogue: 0,0:03:38.06,0:03:40.17,Default,,0000,0000,0000,,I love the distortion.
Dialogue: 0,0:03:40.17,0:03:42.81,Default,,0000,0000,0000,,I love the green; I love the orange.
Dialogue: 0,0:03:42.81,0:03:45.10,Default,,0000,0000,0000,,I love the orange tracing\Naround the woman's hat.
Dialogue: 0,0:03:45.10,0:03:45.97,Default,,0000,0000,0000,,It's glowing.
Dialogue: 0,0:03:45.97,0:03:48.94,Default,,0000,0000,0000,,I just love looking at that.
Dialogue: 0,0:03:48.94,0:03:50.39,Default,,0000,0000,0000,,I feel like it's neon.
Dialogue: 0,0:03:50.39,0:03:52.56,Default,,0000,0000,0000,,If you look again at\Nthe entire composition,
Dialogue: 0,0:03:52.56,0:03:54.77,Default,,0000,0000,0000,,I love things that kind of pop out
Dialogue: 0,0:03:54.77,0:03:55.90,Default,,0000,0000,0000,,at different moments.
Dialogue: 0,0:03:55.90,0:03:57.43,Default,,0000,0000,0000,,I think it is about\Nlooking and it is about
Dialogue: 0,0:03:57.43,0:03:59.21,Default,,0000,0000,0000,,voyeurism and it is about the male gaze.
Dialogue: 0,0:03:59.21,0:04:01.70,Default,,0000,0000,0000,,If you look on the right\Nside of the painting,
Dialogue: 0,0:04:01.70,0:04:03.77,Default,,0000,0000,0000,,I love that he's caught halfway
Dialogue: 0,0:04:03.77,0:04:06.32,Default,,0000,0000,0000,,out of the composition.
Dialogue: 0,0:04:06.32,0:04:09.08,Default,,0000,0000,0000,,De'Gaulle did that in 1872.
Dialogue: 0,0:04:09.08,0:04:11.38,Default,,0000,0000,0000,,I think for me this\Nsort of feels very much
Dialogue: 0,0:04:11.38,0:04:15.69,Default,,0000,0000,0000,,about isolation and German angst.
Dialogue: 0,0:04:15.69,0:04:16.91,Default,,0000,0000,0000,,>> The point that you were\Nmaking about De'Gaulle
Dialogue: 0,0:04:16.91,0:04:18.14,Default,,0000,0000,0000,,I thought was an interesting one
Dialogue: 0,0:04:18.14,0:04:19.37,Default,,0000,0000,0000,,because in some ways
Dialogue: 0,0:04:19.37,0:04:21.85,Default,,0000,0000,0000,,France is going through those issues
Dialogue: 0,0:04:21.85,0:04:24.16,Default,,0000,0000,0000,,when De'Gaulle was painting and Germany is
Dialogue: 0,0:04:24.16,0:04:26.86,Default,,0000,0000,0000,,a little bit later, but\Nthat doesn't make this
Dialogue: 0,0:04:26.86,0:04:28.72,Default,,0000,0000,0000,,not authentic,
Dialogue: 0,0:04:28.72,0:04:30.38,Default,,0000,0000,0000,,an authentic expression of that moment.
Dialogue: 0,0:04:30.38,0:04:31.79,Default,,0000,0000,0000,,I'm not saying that\Nthey're the same thing,
Dialogue: 0,0:04:31.79,0:04:34.13,Default,,0000,0000,0000,,but the issue is industrial alienation and
Dialogue: 0,0:04:34.13,0:04:37.71,Default,,0000,0000,0000,,the issue of urban\Nalienation I think are both
Dialogue: 0,0:04:37.71,0:04:39.22,Default,,0000,0000,0000,,very important issues in
Dialogue: 0,0:04:39.22,0:04:40.90,Default,,0000,0000,0000,,both of those painter's work.
Dialogue: 0,0:04:40.90,0:04:42.38,Default,,0000,0000,0000,,This is clearly a 20th Century work.
Dialogue: 0,0:04:42.38,0:04:43.80,Default,,0000,0000,0000,,There are lessons that have learned and
Dialogue: 0,0:04:43.80,0:04:45.68,Default,,0000,0000,0000,,freedoms that have been generated from
Dialogue: 0,0:04:45.68,0:04:47.97,Default,,0000,0000,0000,,post-Impressionism and from other artists.
Dialogue: 0,0:04:47.97,0:04:49.26,Default,,0000,0000,0000,,>> I think of Fauvism.
Dialogue: 0,0:04:49.26,0:04:50.24,Default,,0000,0000,0000,,>> Exactly.
Dialogue: 0,0:04:50.24,0:04:52.43,Default,,0000,0000,0000,,>> Just the coloration I\Nthink for me is something
Dialogue: 0,0:04:52.43,0:04:54.42,Default,,0000,0000,0000,,that makes it extremely\Nearly 20th Century.
Dialogue: 0,0:04:54.42,0:04:56.81,Default,,0000,0000,0000,,>> It's not the beauty of Fauvism.
Dialogue: 0,0:04:56.81,0:04:57.70,Default,,0000,0000,0000,,>> No, it's not.
Dialogue: 0,0:04:57.70,0:05:02.81,Default,,0000,0000,0000,,>> This is really a kind of aggressive.
Dialogue: 0,0:05:02.81,0:05:03.99,Default,,0000,0000,0000,,>> I like that.
Dialogue: 0,0:05:03.99,0:05:11.61,Default,,0000,0000,0000,,>> So Van Gogh's Night\NCafe, he wanted to give
Dialogue: 0,0:05:11.61,0:05:14.54,Default,,0000,0000,0000,,the Night Cafe a sense\Nof darkness and misery
Dialogue: 0,0:05:14.54,0:05:16.86,Default,,0000,0000,0000,,by means of red and green.
Dialogue: 0,0:05:16.86,0:05:18.74,Default,,0000,0000,0000,,That's what Van Gogh said
Dialogue: 0,0:05:18.74,0:05:21.46,Default,,0000,0000,0000,,20 or 30 years before this.
Dialogue: 0,0:05:21.46,0:05:24.85,Default,,0000,0000,0000,,He's got that horrible pink\Ncolor in that painting.
Dialogue: 0,0:05:24.85,0:05:26.25,Default,,0000,0000,0000,,>> Maybe the power here is the very thing
Dialogue: 0,0:05:26.25,0:05:29.65,Default,,0000,0000,0000,,that you don't like which\Nis the women as subject.
Dialogue: 0,0:05:29.65,0:05:33.64,Default,,0000,0000,0000,,>> Well, I know that he's doing images of
Dialogue: 0,0:05:33.64,0:05:35.92,Default,,0000,0000,0000,,prostitutes on the street and I guess
Dialogue: 0,0:05:35.92,0:05:37.88,Default,,0000,0000,0000,,that knowing that informs
Dialogue: 0,0:05:37.88,0:05:39.57,Default,,0000,0000,0000,,my looking at this painting.
Dialogue: 0,0:05:39.57,0:05:42.41,Default,,0000,0000,0000,,It starts to make me really\Nworried about the way
Dialogue: 0,0:05:42.41,0:05:45.70,Default,,0000,0000,0000,,that modern historians\Nlook at these images.
Dialogue: 0,0:05:45.70,0:05:49.44,Default,,0000,0000,0000,,>> I think that his, because\NI think of his prostitute,
Dialogue: 0,0:05:49.44,0:05:51.77,Default,,0000,0000,0000,,the streetwalker scenes\Nas five years later.
Dialogue: 0,0:05:51.77,0:05:52.72,Default,,0000,0000,0000,,>> He's in Berlin, right?
Dialogue: 0,0:05:52.72,0:05:54.17,Default,,0000,0000,0000,,>> He's in Berlin and they're in like
Dialogue: 0,0:05:54.17,0:05:56.22,Default,,0000,0000,0000,,Potsdam or Platts and Friedrichshafen,
Dialogue: 0,0:05:56.22,0:05:58.94,Default,,0000,0000,0000,,those main city centers\Nand where the women...
Dialogue: 0,0:05:58.94,0:06:00.70,Default,,0000,0000,0000,,That's a lot more\Nstrident and the women are
Dialogue: 0,0:06:00.70,0:06:03.26,Default,,0000,0000,0000,,definitely the focus of the male gaze.
Dialogue: 0,0:06:03.26,0:06:04.73,Default,,0000,0000,0000,,There are a lot of men kind of circling
Dialogue: 0,0:06:04.73,0:06:06.33,Default,,0000,0000,0000,,around the women.
Dialogue: 0,0:06:06.33,0:06:08.68,Default,,0000,0000,0000,,Those are less interesting to me.
Dialogue: 0,0:06:08.68,0:06:10.27,Default,,0000,0000,0000,,Also, I think just even\Nin terms of looking at
Dialogue: 0,0:06:10.27,0:06:12.80,Default,,0000,0000,0000,,the color and composition\Nfor some reason and I
Dialogue: 0,0:06:12.80,0:06:15.26,Default,,0000,0000,0000,,know that a lot of people like those more.
Dialogue: 0,0:06:15.26,0:06:17.06,Default,,0000,0000,0000,,His style is more developed
Dialogue: 0,0:06:17.06,0:06:18.79,Default,,0000,0000,0000,,and he's more mature as an artist.
Dialogue: 0,0:06:18.79,0:06:21.16,Default,,0000,0000,0000,,I like that this is more raw.
Dialogue: 0,0:06:21.16,0:06:23.72,Default,,0000,0000,0000,,Kirchen, he's really\Nfocusing on that authentic,
Dialogue: 0,0:06:23.72,0:06:25.38,Default,,0000,0000,0000,,kind of direct engagement with the
Dialogue: 0,0:06:25.38,0:06:27.30,Default,,0000,0000,0000,,experience of the city,
Dialogue: 0,0:06:27.30,0:06:29.22,Default,,0000,0000,0000,,the electric, the movement.
Dialogue: 0,0:06:29.22,0:06:31.14,Default,,0000,0000,0000,,>> A kind of constant\Nshift and change here
Dialogue: 0,0:06:31.14,0:06:36.61,Default,,0000,0000,0000,,as if all of those voids,\Nthat wonderful pink area,
Dialogue: 0,0:06:36.61,0:06:39.27,Default,,0000,0000,0000,,is constantly changing and shifting as the
Dialogue: 0,0:06:39.27,0:06:41.69,Default,,0000,0000,0000,,figures that define that space move.
Dialogue: 0,0:06:41.69,0:06:43.39,Default,,0000,0000,0000,,>> I feel like he's\Nexperimenting with something.
Dialogue: 0,0:06:43.39,0:06:45.53,Default,,0000,0000,0000,,>> Could we see the\Nwomen here as sympathetic
Dialogue: 0,0:06:45.53,0:06:47.10,Default,,0000,0000,0000,,in some way, maybe if I wasn't reading it
Dialogue: 0,0:06:47.10,0:06:49.24,Default,,0000,0000,0000,,through the guise of those later images of
Dialogue: 0,0:06:49.24,0:06:52.24,Default,,0000,0000,0000,,prostitutes on the street.
Dialogue: 0,0:06:52.24,0:06:55.73,Default,,0000,0000,0000,,She does look out at us.
Dialogue: 0,0:06:55.73,0:06:57.90,Default,,0000,0000,0000,,She's lit by the lights of the city.
Dialogue: 0,0:06:57.90,0:07:00.63,Default,,0000,0000,0000,,When you said neon, I\Ncould sort of feel that,
Dialogue: 0,0:07:00.63,0:07:03.15,Default,,0000,0000,0000,,those kinds of lights maybe in the
Dialogue: 0,0:07:03.15,0:07:05.97,Default,,0000,0000,0000,,dusk in the city.
Dialogue: 0,0:07:05.97,0:07:07.71,Default,,0000,0000,0000,,She looks out at us.
Dialogue: 0,0:07:07.71,0:07:09.61,Default,,0000,0000,0000,,>> Well, they don't look to me honestly
Dialogue: 0,0:07:09.61,0:07:10.66,Default,,0000,0000,0000,,like prostitutes.
Dialogue: 0,0:07:10.66,0:07:13.42,Default,,0000,0000,0000,,>> Right, I'm saying\Nthey're bourgeois women,
Dialogue: 0,0:07:13.42,0:07:15.66,Default,,0000,0000,0000,,but maybe there is something
Dialogue: 0,0:07:15.66,0:07:17.64,Default,,0000,0000,0000,,sympathetic about her\Nif we don't look at her
Dialogue: 0,0:07:17.64,0:07:21.26,Default,,0000,0000,0000,,through the lens of those later images.
Dialogue: 0,0:07:21.26,0:07:23.49,Default,,0000,0000,0000,,>> I think there is.
Dialogue: 0,0:07:23.49,0:07:24.89,Default,,0000,0000,0000,,I guess to me it just seems like
Dialogue: 0,0:07:24.89,0:07:27.14,Default,,0000,0000,0000,,these isolated figures and that's what
Dialogue: 0,0:07:27.14,0:07:28.70,Default,,0000,0000,0000,,attracts them to me.
Dialogue: 0,0:07:28.70,0:07:30.63,Default,,0000,0000,0000,,Like it's a theater; if\Nyou look at the side,
Dialogue: 0,0:07:30.63,0:07:32.68,Default,,0000,0000,0000,,there's almost like a pillar figure,
Dialogue: 0,0:07:32.68,0:07:33.97,Default,,0000,0000,0000,,of that male figure,
Dialogue: 0,0:07:33.97,0:07:35.55,Default,,0000,0000,0000,,kind of holding the\Npicture together and it
Dialogue: 0,0:07:35.55,0:07:37.24,Default,,0000,0000,0000,,pulls your eye in and he's right there and
Dialogue: 0,0:07:37.24,0:07:40.41,Default,,0000,0000,0000,,he's sort of between you\Nand the female figures.
Dialogue: 0,0:07:40.41,0:07:42.00,Default,,0000,0000,0000,,Then everything kind\Nof recedes behind that
Dialogue: 0,0:07:42.00,0:07:45.01,Default,,0000,0000,0000,,diagonally to the left in the back.
Dialogue: 0,0:07:45.01,0:07:48.32,Default,,0000,0000,0000,,You see the girl in the center stage.
Dialogue: 0,0:07:48.32,0:07:50.80,Default,,0000,0000,0000,,>> What makes it theatrical?
Dialogue: 0,0:07:50.80,0:07:52.22,Default,,0000,0000,0000,,>> I think the lighting and the way the
Dialogue: 0,0:07:52.22,0:07:53.43,Default,,0000,0000,0000,,figures are arranged.
Dialogue: 0,0:07:53.43,0:07:54.73,Default,,0000,0000,0000,,>> That could almost be limelight
Dialogue: 0,0:07:54.73,0:07:56.34,Default,,0000,0000,0000,,coming from below.
Dialogue: 0,0:07:56.34,0:07:58.87,Default,,0000,0000,0000,,What I love about it\Nis, although it's a city
Dialogue: 0,0:07:58.87,0:08:02.87,Default,,0000,0000,0000,,and you have the slightest\Ntrace of the trolley track,
Dialogue: 0,0:08:02.87,0:08:03.100,Default,,0000,0000,0000,,there's no architecture.
Dialogue: 0,0:08:03.100,0:08:06.30,Default,,0000,0000,0000,,The entire space is\Ndefined by the occupation
Dialogue: 0,0:08:06.30,0:08:12.14,Default,,0000,0000,0000,,of these figures or their\Noccupation in space.
Dialogue: 0,0:08:12.14,0:08:15.36,Default,,0000,0000,0000,,In a sense, it's the city\Ndefined by these people,
Dialogue: 0,0:08:15.36,0:08:18.27,Default,,0000,0000,0000,,defined by space itself shaped
Dialogue: 0,0:08:18.27,0:08:21.72,Default,,0000,0000,0000,,by this changing crowd\Nwhich I think is really
Dialogue: 0,0:08:21.72,0:08:22.94,Default,,0000,0000,0000,,an interesting idea.
Dialogue: 0,0:08:22.94,0:08:23.83,Default,,0000,0000,0000,,He's not using buildings.
Dialogue: 0,0:08:23.83,0:08:25.63,Default,,0000,0000,0000,,He's not even really using intersections.
Dialogue: 0,0:08:25.63,0:08:28.72,Default,,0000,0000,0000,,He's using people to define the space
Dialogue: 0,0:08:28.72,0:08:30.93,Default,,0000,0000,0000,,and then in a sense to build a city out of
Dialogue: 0,0:08:30.93,0:08:32.80,Default,,0000,0000,0000,,the people...
Dialogue: 0,0:08:32.80,0:08:34.18,Default,,0000,0000,0000,,>> Out of the shifting masses.
Dialogue: 0,0:08:34.18,0:08:36.16,Default,,0000,0000,0000,,This is Koenigstrasse in Dresden which is
Dialogue: 0,0:08:36.16,0:08:38.70,Default,,0000,0000,0000,,a main thoroughfare of\Nshopping so there's a lot of
Dialogue: 0,0:08:38.70,0:08:41.14,Default,,0000,0000,0000,,traffic and movement\Nand this is definitely
Dialogue: 0,0:08:41.14,0:08:43.87,Default,,0000,0000,0000,,part of a very well-known\Nstreet and a very
Dialogue: 0,0:08:43.87,0:08:46.00,Default,,0000,0000,0000,,well-known area and it's very populated.
Dialogue: 0,0:08:46.00,0:08:49.13,Default,,0000,0000,0000,,>> In the second half of the 19th Century
Dialogue: 0,0:08:49.13,0:08:51.55,Default,,0000,0000,0000,,when artists' painted street\Nscenes, like De'Gaulle
Dialogue: 0,0:08:51.55,0:08:52.72,Default,,0000,0000,0000,,because this looks to\Nme like he's looking at
Dialogue: 0,0:08:52.72,0:08:55.54,Default,,0000,0000,0000,,De'Gaulle, but there is more of a sense of
Dialogue: 0,0:08:55.54,0:08:58.47,Default,,0000,0000,0000,,architecture and place.
Dialogue: 0,0:08:58.47,0:08:59.96,Default,,0000,0000,0000,,>> Yes, there's nothing\Nhere that's stable.
Dialogue: 0,0:08:59.96,0:09:02.68,Default,,0000,0000,0000,,Everything here will be\Ndifferent in a moment
Dialogue: 0,0:09:02.68,0:09:04.50,Default,,0000,0000,0000,,and there's something sort\Nof wonderful about that.
Dialogue: 0,0:09:04.50,0:09:07.59,Default,,0000,0000,0000,,>> Yeah. I think I like\Nalso just looking at that
Dialogue: 0,0:09:07.59,0:09:09.63,Default,,0000,0000,0000,,little girl and her big hat and her
Dialogue: 0,0:09:09.63,0:09:12.30,Default,,0000,0000,0000,,ugly, kind of claw-like hand.
Dialogue: 0,0:09:12.30,0:09:14.36,Default,,0000,0000,0000,,I think she's holding some kind of toy.
Dialogue: 0,0:09:14.36,0:09:15.20,Default,,0000,0000,0000,,>> Or flowers maybe.
Dialogue: 0,0:09:15.20,0:09:16.28,Default,,0000,0000,0000,,>> Or flowers or something,
Dialogue: 0,0:09:16.28,0:09:20.50,Default,,0000,0000,0000,,but in the painting it really looks scary.
Dialogue: 0,0:09:20.50,0:09:23.55,Default,,0000,0000,0000,,>> Yes, yes. There's also\Nthe way that her legs
Dialogue: 0,0:09:23.55,0:09:25.56,Default,,0000,0000,0000,,are slightly splayed and there's something
Dialogue: 0,0:09:25.56,0:09:27.06,Default,,0000,0000,0000,,very ungainly.
Dialogue: 0,0:09:27.06,0:09:28.14,Default,,0000,0000,0000,,>> Her hair is kind of\Ndripping down the sides
Dialogue: 0,0:09:28.14,0:09:29.55,Default,,0000,0000,0000,,of her face.
Dialogue: 0,0:09:29.55,0:09:31.07,Default,,0000,0000,0000,,>> Yes, that kind of inelegant.
Dialogue: 0,0:09:31.07,0:09:32.97,Default,,0000,0000,0000,,Actually throughout the entire painting,
Dialogue: 0,0:09:32.97,0:09:35.43,Default,,0000,0000,0000,,there's this really\Ninteresting tension between
Dialogue: 0,0:09:35.43,0:09:38.89,Default,,0000,0000,0000,,the effort and elegance in the dress
Dialogue: 0,0:09:38.89,0:09:41.77,Default,,0000,0000,0000,,but then the ungainliness\Nor the aggression of
Dialogue: 0,0:09:41.77,0:09:43.51,Default,,0000,0000,0000,,the representation.
Dialogue: 0,0:09:43.51,0:09:45.46,Default,,0000,0000,0000,,This is sort of wonderful\Nsort of back and forth.
Dialogue: 0,0:09:45.46,0:09:49.46,Default,,0000,0000,0000,,(bouncy piano music)