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When your world is collapsing,
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when everything is closing in...
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..what you want is to be
somewhere else.
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Somewhere you can breathe in peace.
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A scrap of beauty,
far from the noise and ugliness.
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But, if there is no escape,
then you go there in your dreams...
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..and you paint that landscape
into existence.
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This is what happened in China in
the 1970s to the artist Mu Xin.
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00:00:59,400 --> 00:01:02,240
During Mao Zedong's
Cultural Revolution,
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he was an obvious target.
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Middle-class, intellectual,
a lover of decadent, Western art.
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Mu Xin was subjected
to solitary confinement,
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forced labour and then house arrest.
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But the paper supplied
for weekly confessions
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became the material
of his liberation.
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Mu Xin broke out of his confinement
by making visible,
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albeit in deadly secrecy,
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the landscapes which
unfolded in his mind.
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The art memory of China,
its peaks and its valleys.
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The culture which had given
the rest of the world,
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1,000 years before,
true landscape art.
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While everything else was being
smashed up, he was determined
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that art - now judged
a reactionary crime - would survive.
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Like nature itself,
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landscape art has always been
an antidote
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to the anarchy wrought by
the hand of man.
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Yet it's rarely a depiction
of the way the world is,
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but a vision of the way
we would like it to be.
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Sometimes it delivers
a sense of harmony
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between nature and humanity.
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Sometimes, it's a picture of
a nation's home.
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Sometimes, it's a dream of heaven
writ in fabric.
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Or glimpsed through a lens.
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But, most of all, it's a way to
understand our civilisation
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and to behold that most terrifying
and thrilling of all truths -
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our place in the cosmos.
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"The nation is broken,
but mountains and rivers remain."
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Those words could have come from
Mu Xin in the 1970s,
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00:04:04,720 --> 00:04:08,000
but, actually, they were written
1,000 years earlier.
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00:04:11,360 --> 00:04:16,520
In the early 10th century, China
was torn apart by endless civil war.
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As feuding states vied for power,
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they burned cities and towns,
and slaughtered their people.
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00:04:26,200 --> 00:04:30,640
Yet it was out of this anarchy and
chaos that the Chinese tradition
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of landscape painting first
blossomed
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as the great subject of art.
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For the Song dynasty, who finally
triumphed in the year 960,
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landscape art represented both
a glimpse of a better world
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and a means to unite
this shattered country.
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I'm looking at a document that
attests to a profound alteration
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00:05:07,960 --> 00:05:12,080
in human sensibility,
because it was in Song China that,
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for the first time, landscape
painting with ink and brush
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became the true and absolute sign of
what civilisation was,
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both for those who practised it
and for those who owned
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these precious scrolls.
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This painting is more than
1,000 years old.
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And it's thought to be by
one of the first truly great
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landscape artists, Li Cheng.
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Dominating the scroll are mountains,
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symbols of the Song dynasty.
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The biggest, most imposing peak
is the Emperor,
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the lesser peaks are his ministers.
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Li Cheng's message is that this is
the protecting force
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beneath which China
can recover its harmony
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00:06:02,040 --> 00:06:04,360
and rebuild its civilisation.
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He's an absolutely brilliant painter
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of human activity,
from man on a donkey
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to people having their meal,
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00:06:14,440 --> 00:06:18,920
to perhaps dumplings being cooked
in the back kitchen there.
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00:06:18,920 --> 00:06:21,160
And this bottom half of the scroll
is crowded,
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not just with people, there's all
sorts of things going on.
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This is our world,
this is the place we inhabit.
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This is more than mere propaganda.
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Li Cheng asks profound questions,
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which go to the heart of our
relationship
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with the world around us.
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As our eye ascends through
the painting,
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so our whole approach to it
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also ascends to a higher order
of question.
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Right in the visual centre of this
beautiful painting
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is the temple itself, and the temple
is almost more important
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than the whole mountain.
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It is the place of equipoise,
the place of peace.
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00:07:14,760 --> 00:07:18,040
Above the temple, there is no human
action at all,
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00:07:18,040 --> 00:07:21,960
and Li Cheng has changed
the wash of the ink.
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It's lighter, finer, more ethereal.
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So this is a borderland between
the human and the spiritual world,
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00:07:29,840 --> 00:07:35,080
and gradually we move up and face
the greatest questions of all.
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What is nature?
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00:07:39,560 --> 00:07:42,840
What lies beyond surface appearance?
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00:07:42,840 --> 00:07:46,080
What truly moves the universe?
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00:07:46,080 --> 00:07:51,040
And how, above all, does
the dialogue between flowing water
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and the adamant face
of that eroded rock
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bring us harmony and bring us what
everybody in China wanted -
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happiness and peace?
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00:08:07,120 --> 00:08:09,920
Li Cheng offers us a glimpse
of who we are
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by linking the comings and goings of
our little lives
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to the majesty of the cosmos.
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00:08:16,920 --> 00:08:21,600
And that sense of fit between things
mortal and things eternal
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00:08:21,600 --> 00:08:26,240
fills the mind with the ancient
Confucian sense of rightness.
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Everything in its ordained place.
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This is how life is supposed to be.
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So powerful was the message
that, within a century,
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landscape art had sunk deep roots
into the culture of Song China.
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00:08:45,360 --> 00:08:50,000
New painting academies flourished
where it was practised.
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00:08:50,000 --> 00:08:53,560
Weighty tomes were written
about its philosophy and technique.
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To be Chinese meant to be civilised
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and to be civilised meant to paint,
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above all, landscapes.
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00:09:12,200 --> 00:09:16,040
In the more intimate, private
pleasures of the hand scroll,
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the painted landscape evolved
into something new.
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00:09:20,120 --> 00:09:23,760
Hand scrolls were
river-shaped journeys,
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00:09:23,760 --> 00:09:27,240
stories revealed as you unrolled
the scroll
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00:09:27,240 --> 00:09:32,280
and travelled almost cinematically
through space and time.
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This hand scroll was painted
by the artist Qiao Zhongchang.
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00:09:48,560 --> 00:09:51,960
It was based on one of the most
famous Chinese poems,
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written by a government official,
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00:09:54,160 --> 00:09:57,760
a man of culture and refinement,
called Su Shi.
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00:10:00,720 --> 00:10:03,800
Su Shi had been exiled
after a political purge
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00:10:03,800 --> 00:10:08,520
and spent his days writing about
excursions he took with his friends
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00:10:08,520 --> 00:10:09,640
up the Yangtze River.
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00:10:14,000 --> 00:10:16,480
Here he is carrying fish and wine
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as his wife sees him off
on the journey.
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00:10:24,000 --> 00:10:27,520
We turned the boat loose to drift
with the current.
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00:10:28,920 --> 00:10:31,520
All around was deserted and still.
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00:10:33,000 --> 00:10:35,440
A lone crane flew overhead.
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The painting evokes both
the pleasures of friendship
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00:10:47,000 --> 00:10:49,440
and the melancholy of the exile.
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00:10:51,120 --> 00:10:54,440
A dream, but one
with a bittersweet taste.
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00:11:15,920 --> 00:11:20,480
But landscape painting wasn't
always about escape.
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00:11:20,480 --> 00:11:24,000
Sometimes, artists captured
the violence of history.
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00:11:25,640 --> 00:11:29,480
200 years after Su Shi
wrote his poems,
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00:11:29,480 --> 00:11:32,680
China's Song dynasty had fallen
to Mongol invaders.
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00:11:33,920 --> 00:11:38,040
The painter Wang Meng refused to
serve the Mongol emperors,
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00:11:38,040 --> 00:11:42,080
preferring to retreat
to a very particular place,
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00:11:42,080 --> 00:11:45,720
his family's estate in the
Qingbian mountains.
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00:11:47,560 --> 00:11:50,800
Those mountains became the subject
of his greatest painting.
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00:11:58,800 --> 00:12:02,200
Well, when you're in the presence of
a bona fide masterpiece,
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00:12:02,200 --> 00:12:06,000
which this is, words somehow
struggle to be formed.
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00:12:06,000 --> 00:12:08,120
But I'm going to do my best.
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00:12:08,120 --> 00:12:11,480
Not least because this is an
extraordinary painting
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00:12:11,480 --> 00:12:14,560
because it belies all
the pleasing stereotypes
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00:12:14,560 --> 00:12:17,000
we have about Chinese landscapes.
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00:12:17,000 --> 00:12:18,360
When you think of Li Cheng,
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00:12:18,360 --> 00:12:22,520
you think of that first generation
of northern Song painters
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00:12:22,520 --> 00:12:26,800
and it is all about feeling
protected by the Imperial mountain.
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00:12:26,800 --> 00:12:30,440
None of this is happening
with Wang Meng.
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00:12:30,440 --> 00:12:34,720
This is, above all,
a painting about turbulence.
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00:12:34,720 --> 00:12:39,560
It's full of a kind of restless,
writhing, sensuous, intense energy.
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00:12:41,800 --> 00:12:44,040
There's a reason
for this turbulence.
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00:12:45,040 --> 00:12:46,720
By the time he painted this,
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Wang Meng's family mountain retreat
was right in the middle
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of a battlefield fought over
by armies 200,000 strong.
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00:12:57,040 --> 00:13:00,480
The reality was marauding
and massacre.
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00:13:03,560 --> 00:13:05,960
These are not mountains
which protect us.
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Instead, they trap and threaten us.
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00:13:14,720 --> 00:13:19,000
Here is a man beautifully painted,
picked out with a conical cap,
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which is a cap of
this particular region,
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and is echoed by the shape
of the peak.
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00:13:24,120 --> 00:13:26,280
So, you think the man belongs
to the mountains,
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00:13:26,280 --> 00:13:28,120
but the man has nowhere to go.
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00:13:28,120 --> 00:13:31,120
There are paths which make
no sense at all.
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He moves his way through
scrubby pines.
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Wang Meng has lit this dramatically
to make it more difficult,
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to make it more exciting, to make it
more perilous and energised.
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00:13:46,000 --> 00:13:50,440
Eventually, we see one isolated,
tiny figure, alone.
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And this huge orchestration,
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musical energy,
these animated, pulsing rocks,
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00:14:01,040 --> 00:14:03,560
look as though they're
about to topple down on him.
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00:14:08,320 --> 00:14:12,240
What's happened to landscape
painting in the hand of Wang Meng
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00:14:12,240 --> 00:14:15,960
is that it's gone from being not
just a place of calm,
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but to an intensely personal
expression of his own mood
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and his own feeling of insecurity.
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So, everything that is coursing
through the imaginative energy
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00:14:28,760 --> 00:14:31,520
of the artist gets registered
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00:14:31,520 --> 00:14:35,640
in these sudden, jabbing,
repeated strokes.
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00:14:35,640 --> 00:14:40,800
This, then, is a state of mind
rather than a state of mountain.
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00:14:45,120 --> 00:14:49,400
If this painting depicts Wang Meng's
deepest anxieties,
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then his sense of foreboding
was well founded.
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Shortly after completing it,
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he fell victim to his political
enemies and died in prison.
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Sometimes, the vision of boundless
space will set you free.
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But, sometimes, the mountain walls
close in and shut out the light.
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00:15:22,080 --> 00:15:24,880
Further west, in the Islamic world,
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landscapes came to have a very
different meaning.
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00:15:28,600 --> 00:15:32,360
They were not cherished for their
remote vistas, but, instead,
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for the way nature was made
part of life in town.
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And the form that oasis of peace
took was a garden.
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A welcome, shady retreat from
the heat and dust of the day.
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To the faithful, this was more than
a collection of plants and pools.
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It was an earthly reflection
of the heavenly realm.
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00:15:59,080 --> 00:16:04,040
The Islamic garden evolved from
a much older Persian tradition,
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the enclosed garden,
called the paridaiza,
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00:16:07,960 --> 00:16:10,000
which gave us the word paradise.
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00:16:12,640 --> 00:16:16,920
Islamic rulers from the Nasrids
in Spain to the Mughals in India
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00:16:16,920 --> 00:16:20,440
laid out their gardens according to
the Koran's description
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00:16:20,440 --> 00:16:21,520
of the afterlife.
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00:16:24,840 --> 00:16:27,760
Four quarters,
bounded by four rivers,
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00:16:27,760 --> 00:16:30,160
which, in paradise, it was said,
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00:16:30,160 --> 00:16:34,160
would flow with water,
wine, milk and honey.
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00:16:36,320 --> 00:16:40,720
Flora and fauna, the fertile
attributes of God's blessing,
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00:16:40,720 --> 00:16:44,160
also found their way into
decorations on the pavilions
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00:16:44,160 --> 00:16:47,560
and palaces which gracefully stand
amidst the gardens.
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00:16:53,440 --> 00:16:58,160
But the art of the paradise garden
found its richest expression
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00:16:58,160 --> 00:17:02,600
in a form that sprang, like Islam
itself, from the desert.
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00:17:05,280 --> 00:17:08,080
It was the garden you could
carry with you -
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00:17:08,080 --> 00:17:09,120
the carpet.
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00:17:22,120 --> 00:17:25,480
For the nomadic tribes of the Middle
East, everything in life -
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talking, eating, praying -
was done close to the ground.
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00:17:30,080 --> 00:17:34,000
Carpets made life not just bearable,
but civilised,
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especially when woven with an
image of paradise.
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00:17:41,000 --> 00:17:42,840
By the late Middle Ages,
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00:17:42,840 --> 00:17:46,720
the garden carpet had migrated from
its humble origins in Arabia and
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00:17:46,720 --> 00:17:51,400
Central Asia to become a symbol of
luxury and sophistication
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00:17:51,400 --> 00:17:54,080
in the royal court of
the Persian Shah.
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00:17:57,280 --> 00:18:00,400
The 16th and 17th centuries
were a golden age
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00:18:00,400 --> 00:18:02,520
for Persian garden carpets.
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00:18:04,200 --> 00:18:08,880
And this is an extremely rare,
fragile survival.
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00:18:08,880 --> 00:18:12,560
Known as the Wagner Carpet,
after a recent German owner,
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00:18:12,560 --> 00:18:16,360
it is crammed with every kind of
living thing,
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00:18:16,360 --> 00:18:18,280
teeming through the foliage.
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00:18:25,880 --> 00:18:28,520
There are butterflies and birds.
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00:18:31,280 --> 00:18:33,800
A leopard pounces on a goat.
223
00:18:39,520 --> 00:18:43,040
Fish swim in
the four legendary watercourses
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which meet in a central pool.
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00:18:49,120 --> 00:18:53,520
The garden carpet was more than
an oasis of super-abundance.
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00:18:55,240 --> 00:19:00,280
Any Muslim who sat upon it,
whether emperor or humble tribesman,
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00:19:00,280 --> 00:19:04,280
found themselves in that most
uplifting of all places,
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00:19:04,280 --> 00:19:05,720
the heart of heaven.
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00:19:14,320 --> 00:19:16,640
In Christian Medieval Europe,
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00:19:16,640 --> 00:19:19,960
paradise gardens came with
a health warning.
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00:19:19,960 --> 00:19:25,000
After all, the whole mental world of
Christendom turned on a single,
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00:19:25,200 --> 00:19:27,440
fateful moment back in Eden.
233
00:19:29,920 --> 00:19:34,960
That moment when the serpent
tempted Eve and set in motion
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00:19:34,960 --> 00:19:38,000
the great epic of sin and salvation,
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00:19:38,000 --> 00:19:41,360
culminating in the crucifixion
of Christ.
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00:19:44,520 --> 00:19:47,280
But, in 14th-century Siena,
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00:19:47,280 --> 00:19:51,240
anxieties about dangers
lurking in the vegetation
238
00:19:51,240 --> 00:19:56,440
gave way to an exercise in the
self-congratulation of urban rulers
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00:19:56,920 --> 00:20:00,760
who, in this fresco
by Ambrogio Lorenzetti,
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00:20:00,760 --> 00:20:04,800
ride out to enjoy
the fruits of wise government.
241
00:20:06,080 --> 00:20:10,520
The satisfying sight of
the contadini, Italian peasants,
242
00:20:10,520 --> 00:20:14,360
sewing and harvesting in peace
and fruitfulness.
243
00:20:14,360 --> 00:20:16,680
Two seasons in one painting.
244
00:20:19,680 --> 00:20:24,040
In the Renaissance,
this rural test of urban leadership
245
00:20:24,040 --> 00:20:26,920
found its vindication
in the rediscovery
246
00:20:26,920 --> 00:20:30,280
of pagan classical
writings about the landscape.
247
00:20:32,720 --> 00:20:37,320
Rusticating townsmen turned to their
favourite Latin author, Virgil,
248
00:20:37,320 --> 00:20:41,400
whose nature poem, The Georgics,
written for urbanites, of course,
249
00:20:41,400 --> 00:20:44,800
extolled the pleasures
of country life and labour.
250
00:20:46,840 --> 00:20:48,360
"If they but knew!
251
00:20:48,360 --> 00:20:51,560
"They're steeped in luck,
country people
252
00:20:51,560 --> 00:20:54,560
"Far removed from the grinds of war
253
00:20:54,560 --> 00:20:57,440
"Where earth that just showers them
254
00:20:57,440 --> 00:20:59,960
"With all they could ever ask for
255
00:21:02,320 --> 00:21:05,760
"What they have is the quiet life -
256
00:21:05,760 --> 00:21:09,280
"Carefree, no deceit,
wealth untold -
257
00:21:09,280 --> 00:21:12,440
"Their ease among the cornucopia."
258
00:21:13,920 --> 00:21:19,160
Virgil is looking hard in only the
way that only a real countryman can.
259
00:21:19,520 --> 00:21:23,400
He's sort of poking the pigs and
checking the flocks and herds.
260
00:21:23,400 --> 00:21:26,080
There is a wonderful line in
The Georgics
261
00:21:26,080 --> 00:21:27,960
when it's coming on to rain,
262
00:21:27,960 --> 00:21:32,360
and he talks about a heifer looking
suspiciously at the sky,
263
00:21:32,360 --> 00:21:36,520
working his nose to sniff the wind.
264
00:21:36,520 --> 00:21:40,120
You really feel the flavours
and the sounds
265
00:21:40,120 --> 00:21:42,960
and the perfumes
of rustic life here.
266
00:21:42,960 --> 00:21:47,080
Virgil is staring at the soar
of a lark and listening
267
00:21:47,080 --> 00:21:50,040
to the croak of frogs
down in the mud.
268
00:21:53,160 --> 00:21:57,960
For Italian nobles of the 16th
century who'd read their Virgil,
269
00:21:57,960 --> 00:22:02,640
that vision of a balanced life in
the countryside proved irresistible.
270
00:22:03,840 --> 00:22:07,920
They took their identity
as gentlemen farmers seriously,
271
00:22:07,920 --> 00:22:11,360
and the ground floor of their villas
was where carts and scythes
272
00:22:11,360 --> 00:22:14,240
and even some animals were kept.
273
00:22:14,240 --> 00:22:18,480
But the rest of the villa was for
a different kind of rustication -
274
00:22:18,480 --> 00:22:20,280
the play of intellect.
275
00:22:22,760 --> 00:22:26,000
But that didn't always preclude
a sense of humour.
276
00:22:30,480 --> 00:22:35,520
This is the Villa Barbaro, built
around the 1560s in the Veneto,
277
00:22:35,640 --> 00:22:37,960
the countryside surrounding Venice.
278
00:22:40,440 --> 00:22:44,320
The man responsible for this
gem was Daniele Barbaro,
279
00:22:44,320 --> 00:22:48,480
a wealthy cleric in the unstrenuous
Venetian style,
280
00:22:48,480 --> 00:22:51,760
but also the epitome
of a Renaissance man,
281
00:22:51,760 --> 00:22:53,800
learned in pretty much everything.
282
00:22:56,320 --> 00:22:59,960
To create this little realm of
a well-ordered Arcadia,
283
00:22:59,960 --> 00:23:04,680
Daniele turned to his friend,
the architect Andrea Palladio,
284
00:23:04,680 --> 00:23:08,040
who designed the villa so that
its horizontal lines
285
00:23:08,040 --> 00:23:10,280
would rhyme with the lay
of the land.
286
00:23:12,240 --> 00:23:14,560
The two of them,
Daniele and Palladio,
287
00:23:14,560 --> 00:23:18,160
co-opted the genius of a third
for their collaboration -
288
00:23:18,160 --> 00:23:20,200
the painter Paolo Veronese.
289
00:23:22,920 --> 00:23:26,320
His brief was to cover the villa
walls with frescoes.
290
00:23:31,840 --> 00:23:36,920
What makes this villa special
is its sense of playfulness.
291
00:23:36,920 --> 00:23:40,160
Now, Daniele Barbaro
is a heavyweight intellectual,
292
00:23:40,160 --> 00:23:43,600
and, so, in his way, of course,
is Andrea Palladio.
293
00:23:43,600 --> 00:23:47,960
They read all the textbooks on
optics and perspectives,
294
00:23:47,960 --> 00:23:49,880
and actually written some of them,
295
00:23:49,880 --> 00:23:54,400
and Daniele's translated the great
classical work on architecture.
296
00:23:54,400 --> 00:23:59,040
And what you expect from all this
obsession with musical intervals
297
00:23:59,040 --> 00:24:01,920
and harmony and mathematics,
298
00:24:01,920 --> 00:24:05,680
almost a kind of algorithmic
approach to the perfect house,
299
00:24:05,680 --> 00:24:10,920
is to have that translated in
painting by Veronese into allegory.
300
00:24:11,080 --> 00:24:14,560
The planets and the gods,
cavorting on the ceiling.
301
00:24:14,560 --> 00:24:16,240
And, yes, that's what we have.
302
00:24:17,720 --> 00:24:20,280
We have a mysterious white woman
in the middle.
303
00:24:21,800 --> 00:24:25,800
We have the gods of
abundance and family life.
304
00:24:28,120 --> 00:24:32,320
And, then, suddenly,
you catch sight of a parrot.
305
00:24:34,600 --> 00:24:38,520
And then you notice the woman,
almost certainly Marcantonio,
306
00:24:38,520 --> 00:24:39,920
the brother's wife,
307
00:24:39,920 --> 00:24:42,320
in a gorgeous, haute couture number.
308
00:24:42,320 --> 00:24:45,960
And, next to her, a nurse, with
the fantastic, leathery skin,
309
00:24:45,960 --> 00:24:47,800
a woman of the ordinary people.
310
00:24:47,800 --> 00:24:51,720
And you think, "Hang on a minute,
they don't belong with the gods."
311
00:24:54,520 --> 00:24:56,960
Something extraordinary
is going on here.
312
00:24:56,960 --> 00:25:00,400
We have a mix of the immortals
and the mortals,
313
00:25:00,400 --> 00:25:03,400
of reality and illusion,
and that goes right through
314
00:25:03,400 --> 00:25:06,560
everything we see in the villa.
315
00:25:06,560 --> 00:25:09,560
Real windows and fake windows,
316
00:25:09,560 --> 00:25:11,960
and the villa turns into
317
00:25:11,960 --> 00:25:16,280
a spectacularly teasing
kind of fun house.
318
00:25:16,280 --> 00:25:19,480
Now, whatever you think about
Renaissance painting,
319
00:25:19,480 --> 00:25:22,240
you don't usually go for it
for jokes, really.
320
00:25:22,240 --> 00:25:25,760
But jokes can be graceful
and elegant,
321
00:25:25,760 --> 00:25:28,640
and that was Veronese's
cast of mind.
322
00:25:28,640 --> 00:25:33,200
And you also see that he's cutting
into all this dense theory
323
00:25:33,200 --> 00:25:36,960
with what he could do best,
with what Venice did best.
324
00:25:36,960 --> 00:25:41,600
Gorgeous colours, sensational,
sensuous brushwork,
325
00:25:41,600 --> 00:25:43,640
having fun with the brush,
326
00:25:43,640 --> 00:25:47,160
even if you're doing it in fresco
rather than oils.
327
00:25:47,160 --> 00:25:50,600
And you turn round and you've got an
extraordinary sense of the place
328
00:25:50,600 --> 00:25:55,600
still being inhabited because we've
also got people down at our level,
329
00:25:55,840 --> 00:25:59,720
people coming at you,
behind you - hello!
330
00:25:59,720 --> 00:26:02,440
Here's our friend coming through a
door which isn't quite a door,
331
00:26:02,440 --> 00:26:07,400
and you realise the whole place
is alive with mischief.
332
00:26:10,720 --> 00:26:13,680
But though the columns and
the vistas they frame
333
00:26:13,680 --> 00:26:15,200
are eye-teasing fakes,
334
00:26:15,200 --> 00:26:17,560
the mind-set is real enough.
335
00:26:17,560 --> 00:26:20,320
Happy, horsey comings and goings.
336
00:26:20,320 --> 00:26:22,880
An avenue of graceful trees,
337
00:26:22,880 --> 00:26:26,280
the unhurried pleasures of
a country house weekend.
338
00:26:31,600 --> 00:26:33,840
Villa Barbaro, with its frescoes,
339
00:26:33,840 --> 00:26:37,080
is a perfect slice
of Renaissance escapism,
340
00:26:37,080 --> 00:26:39,320
a blend of the serious
and the witty,
341
00:26:39,320 --> 00:26:42,760
created at a moment when,
in the countryside beyond,
342
00:26:42,760 --> 00:26:45,960
there were harvest failures
and peasant riots.
343
00:26:45,960 --> 00:26:49,040
And the once-great Venetian Republic
was in retreat
344
00:26:49,040 --> 00:26:51,120
from the Ottoman Turks.
345
00:26:52,920 --> 00:26:58,000
But, here at Villa Barbaro,
it was always spring or summer.
346
00:26:58,000 --> 00:27:02,080
The grapes would always be ripening,
the lutes would always be playing.
347
00:27:02,080 --> 00:27:07,080
Daniele and Andrea Palladio would
go for long, philosophical walks,
348
00:27:07,240 --> 00:27:11,400
and the great entertainer
Paolo Veronese could take a break
349
00:27:11,400 --> 00:27:16,480
and shoot a pheasant or two,
his dog trotting at his heels.
350
00:27:16,680 --> 00:27:20,120
His landscapes on the walls
were dreamscapes,
351
00:27:20,120 --> 00:27:24,360
and you could stare and stare
and stare at them
352
00:27:24,360 --> 00:27:27,400
and feel warm inside forever.
353
00:27:33,880 --> 00:27:36,800
As landscape painting
came off the walls,
354
00:27:36,800 --> 00:27:40,000
it turned its back
on the bucolic dreamworld.
355
00:27:41,160 --> 00:27:44,120
And it happened in a place which
couldn't be more different
356
00:27:44,120 --> 00:27:47,760
from the glowing, sunlit stone of
the villas of the Veneto.
357
00:27:54,680 --> 00:27:59,160
It was in the 1500s, in the dark,
primeval forests of Bavaria
358
00:27:59,160 --> 00:28:02,960
in southern Germany that
European landscape art
359
00:28:02,960 --> 00:28:05,000
really came into its own.
360
00:28:10,720 --> 00:28:15,040
Albrecht Altdorfer was a painter
who'd spent his career depicting
361
00:28:15,040 --> 00:28:19,240
religious scenes, albeit ones
strangled in greenery.
362
00:28:21,640 --> 00:28:24,280
But the undergrowth began
to take over,
363
00:28:24,280 --> 00:28:29,440
until Altdorfer made nature itself,
by itself, the whole story.
364
00:28:37,360 --> 00:28:42,400
It may seem a bit over the top
to describe this scrappy, tiny,
365
00:28:42,400 --> 00:28:47,040
sketchy little thing as constituting
a revolution in art, but, you know,
366
00:28:47,040 --> 00:28:49,320
that's pretty much what it is.
367
00:28:49,320 --> 00:28:54,000
Because with this little painting,
the landscape suddenly happens.
368
00:28:54,000 --> 00:28:56,640
By which I mean,
landscape, the word,
369
00:28:56,640 --> 00:29:01,040
stops being a description of
background, of setting,
370
00:29:01,040 --> 00:29:03,640
and becomes the work of art itself.
371
00:29:05,320 --> 00:29:06,520
What is that revolution?
372
00:29:06,520 --> 00:29:09,800
Well, what Altdorfer has done is
something extraordinary.
373
00:29:09,800 --> 00:29:14,480
He's removed from the picture any
semblance of a story,
374
00:29:14,480 --> 00:29:16,360
any kind of characters.
375
00:29:16,360 --> 00:29:18,760
Yes, there is one
little fellow here,
376
00:29:18,760 --> 00:29:22,640
which gives this watercolour
painting its title, Woodcutter.
377
00:29:22,640 --> 00:29:25,280
And if you look very, very closely,
378
00:29:25,280 --> 00:29:27,920
he's on lunch break.
He's got a jug of something.
379
00:29:27,920 --> 00:29:30,920
It's the German world, it's got to
be beer, I would think.
380
00:29:30,920 --> 00:29:32,520
And he's laid his axe down.
381
00:29:32,520 --> 00:29:34,120
If you look really carefully,
382
00:29:34,120 --> 00:29:38,000
he's got a devastating pair of
scarlet stockings on there,
383
00:29:38,000 --> 00:29:41,920
but he's not really the kind of
character you expect
384
00:29:41,920 --> 00:29:44,520
when you see landscape
as background.
385
00:29:44,520 --> 00:29:47,200
There, the characters
are full and frontal.
386
00:29:49,440 --> 00:29:54,360
There is, of course, a heroic
character in this painting.
387
00:29:54,360 --> 00:29:59,000
A monster, a giant,
and it is the tree itself,
388
00:29:59,000 --> 00:30:02,560
dwarfing the little figure
sitting at its base.
389
00:30:05,000 --> 00:30:08,560
And doesn't that tree remind you
of someone else?
390
00:30:08,560 --> 00:30:12,200
Of the twisted torso of the
crucified Christ
391
00:30:12,200 --> 00:30:15,440
on his wooden cross,
arms outstretched?
392
00:30:16,680 --> 00:30:20,920
What we've got here, in effect,
is a disguised religious picture,
393
00:30:20,920 --> 00:30:23,560
and I think there's a reason
for the disguise.
394
00:30:23,560 --> 00:30:27,440
Altdorfer is actually in
a sticky position.
395
00:30:27,440 --> 00:30:31,040
He was living in a Catholic town at
the beginnings of the eruption
396
00:30:31,040 --> 00:30:33,720
that was the Protestant Reformation.
397
00:30:33,720 --> 00:30:38,760
He'd been involved in organising
town ceremonies and pilgrimages,
398
00:30:38,960 --> 00:30:42,480
and part of the force of
Protestantism
399
00:30:42,480 --> 00:30:46,800
was about the so-called
idolatry of images.
400
00:30:48,320 --> 00:30:49,760
With this painting,
401
00:30:49,760 --> 00:30:53,240
he neatly sidesteps the whole issue
402
00:30:53,240 --> 00:30:57,680
of brutal and bitter partisan
religious conflict.
403
00:30:57,680 --> 00:31:01,920
We have religion implied by the body
of the Christ in the tree,
404
00:31:01,920 --> 00:31:04,960
rather than frontally represented.
405
00:31:07,840 --> 00:31:10,600
This is a very stylish picture,
406
00:31:10,600 --> 00:31:15,360
but it is also very raw
and rough and coarse.
407
00:31:15,360 --> 00:31:18,400
It's almost at
times as if he painted it
408
00:31:18,400 --> 00:31:21,280
with a pointed, sharpened twig.
409
00:31:21,280 --> 00:31:26,280
There is a kind of slashed,
cut element to some of the details
410
00:31:26,280 --> 00:31:29,320
over which the paint drips and hangs
411
00:31:29,320 --> 00:31:31,080
when it describes these leaves.
412
00:31:35,400 --> 00:31:37,400
This is a portable thing.
413
00:31:37,400 --> 00:31:39,960
It's not stuck in a church,
like an altar piece.
414
00:31:39,960 --> 00:31:42,360
It's not stuck on a wall,
like a fresco.
415
00:31:42,360 --> 00:31:45,280
You can own this,
you can carry it around.
416
00:31:45,280 --> 00:31:50,440
A new kind of art is born here,
and Altdorfer knows that very well.
417
00:31:53,360 --> 00:31:57,440
Altdorfer's landscapes managed to
dodge religious schism
418
00:31:57,440 --> 00:31:59,800
by disguising it in nature.
419
00:31:59,800 --> 00:32:02,920
But they did something else as well.
420
00:32:02,920 --> 00:32:06,680
They tapped into a Teutonic sense
of identity.
421
00:32:06,680 --> 00:32:11,000
The notion of a natural German
homeland in the forest.
422
00:32:13,360 --> 00:32:16,920
When Altdorfer used woodcuts to
reproduce his paintings,
423
00:32:16,920 --> 00:32:20,240
the audience for landscape art
dramatically increased.
424
00:32:23,040 --> 00:32:25,640
And what his audiences
were buying into
425
00:32:25,640 --> 00:32:28,880
were landscapes
loaded with symbolism.
426
00:32:28,880 --> 00:32:31,520
The sacred tree, the Gothic wood.
427
00:32:33,880 --> 00:32:37,680
Mostly, though,
they were devoid of human beings.
428
00:32:47,600 --> 00:32:50,840
But, in Flanders,
in the Low Countries,
429
00:32:50,840 --> 00:32:54,840
a different artist would crowd his
landscapes with people.
430
00:32:58,120 --> 00:33:00,040
In 1565,
431
00:33:00,040 --> 00:33:02,200
the Flemish master Pieter Bruegel
432
00:33:02,200 --> 00:33:04,400
painted a set of landscapes which
433
00:33:04,400 --> 00:33:07,200
reinvented that traditional medieval
434
00:33:07,200 --> 00:33:09,480
cycle, the labours of the months.
435
00:33:10,960 --> 00:33:14,120
These, of course,
are on an epic scale.
436
00:33:17,440 --> 00:33:21,440
But, here, there's not a single
feudal lord to be found.
437
00:33:23,320 --> 00:33:27,720
The man who commissioned them came
from bustling, commercial Antwerp,
438
00:33:27,720 --> 00:33:30,040
a merchant called
Nicolaes Jonghelinck
439
00:33:30,040 --> 00:33:33,000
who wanted them to decorate
the grand dining space
440
00:33:33,000 --> 00:33:34,280
of his suburban villa.
441
00:33:38,760 --> 00:33:41,000
Perhaps this was Jonghelinck's way
442
00:33:41,000 --> 00:33:43,440
of identifying with
the ordinary folk,
443
00:33:43,440 --> 00:33:46,640
because what we have,
for the first time,
444
00:33:46,640 --> 00:33:49,720
is a credible vision
of country society,
445
00:33:49,720 --> 00:33:53,920
real villages with people
working and playing together.
446
00:33:56,000 --> 00:33:58,560
Bruegel himself was
no brush-wielding yokel.
447
00:33:58,560 --> 00:34:01,520
He was learned and well-travelled.
448
00:34:01,520 --> 00:34:05,960
He'd taken a trip over the Alps to
Italy, sketching as he went.
449
00:34:07,840 --> 00:34:11,480
Some of those Alpine peaks appear,
incongruously,
450
00:34:11,480 --> 00:34:14,920
alongside depictions of his
low-lying, Flemish home.
451
00:34:16,760 --> 00:34:21,240
But that only increases
the telescopic sense of deep space
452
00:34:21,240 --> 00:34:24,480
Bruegel gives us,
using those tree lines
453
00:34:24,480 --> 00:34:28,680
and the curve of the peaks to send
our vision plunging,
454
00:34:28,680 --> 00:34:30,280
like the flight of that bird,
455
00:34:30,280 --> 00:34:33,400
from huge vistas
to the smallest detail.
456
00:34:35,960 --> 00:34:41,120
Along with that optical drama,
we get another kind of perspective,
457
00:34:41,320 --> 00:34:46,200
a philosophical confrontation with
our relationship to nature itself -
458
00:34:46,440 --> 00:34:50,960
unsentimental, rugged,
which demands a closer look.
459
00:34:54,320 --> 00:34:58,040
I know you've all seen this on
countless Christmas cards,
460
00:34:58,040 --> 00:35:02,640
but was there ever an image less
brimming with Yuletide cheer?
461
00:35:04,120 --> 00:35:08,360
Those hunters haven't got much to
show for their trouble.
462
00:35:08,360 --> 00:35:10,320
A skinny fox suspended
from their poles.
463
00:35:11,960 --> 00:35:16,600
The exhausted dogs, trying to lift
their legs out of the heavy snow,
464
00:35:16,600 --> 00:35:19,080
feel the pain as much
as their masters.
465
00:35:20,400 --> 00:35:25,560
Bruegel painted these compendious,
visually inexhaustible masterpieces
466
00:35:25,720 --> 00:35:28,880
after the coldest,
most frigid Flemish winter
467
00:35:28,880 --> 00:35:32,120
that anybody could remember
in their lifetime.
468
00:35:32,120 --> 00:35:34,600
But he also painted them on
the cusp of a long,
469
00:35:34,600 --> 00:35:38,240
terrible civil war that would divide
the Netherlands between
470
00:35:38,240 --> 00:35:40,640
Protestant and Catholic,
north and south,
471
00:35:40,640 --> 00:35:43,480
the Spanish Empire
and the free Dutch Republic.
472
00:35:43,480 --> 00:35:47,520
And Bruegel would actually find
himself right in the middle
473
00:35:47,520 --> 00:35:49,480
of all those troubles.
474
00:35:49,480 --> 00:35:54,080
But, while we're looking at these
glorious landscapes,
475
00:35:54,080 --> 00:35:56,040
none of that history
seems to matter.
476
00:35:57,080 --> 00:35:58,880
For Bruegel, the natural world
477
00:35:58,880 --> 00:36:02,800
is a consolation for the traumas
afflicting civilisation.
478
00:36:02,800 --> 00:36:05,440
Whatever happens in
our human world,
479
00:36:05,440 --> 00:36:08,480
the God-given seasons will still
roll around,
480
00:36:08,480 --> 00:36:11,520
the cattle will still return to
their winter pasture.
481
00:36:12,920 --> 00:36:15,000
Let's just think for a minute
482
00:36:15,000 --> 00:36:18,800
about the way he wants us to look at
these paintings.
483
00:36:18,800 --> 00:36:20,280
It's a dialogue, in a way,
484
00:36:20,280 --> 00:36:23,920
between the universal
and the particular.
485
00:36:23,920 --> 00:36:27,200
On the one hand,
wherever the eye travels,
486
00:36:27,200 --> 00:36:32,400
we are invited into a wealth of
detail of work and play.
487
00:36:34,880 --> 00:36:37,760
The trudge through the snow,
488
00:36:37,760 --> 00:36:40,680
the glide of the skaters
across the ice.
489
00:36:43,000 --> 00:36:46,040
And wherever we travel with our eye
through the landscape,
490
00:36:46,040 --> 00:36:48,880
we're carried to dramatically
different places.
491
00:36:48,880 --> 00:36:52,400
From a Flemish village huddled
against the hillside,
492
00:36:52,400 --> 00:36:56,600
out to a storm-tossed river estuary,
493
00:36:56,600 --> 00:36:58,840
out to the broad, open sea.
494
00:37:00,680 --> 00:37:05,800
An experience of looking at these
paintings becomes, surely,
495
00:37:06,600 --> 00:37:09,960
like the experience of
all of our lives.
496
00:37:09,960 --> 00:37:13,280
On the one hand, we're immersed in
the here and now.
497
00:37:13,280 --> 00:37:15,720
We have no choice.
We go from minute to minute,
498
00:37:15,720 --> 00:37:19,240
hour to hour, task to task.
It's our daily routine.
499
00:37:19,240 --> 00:37:22,240
But, then, something else happens.
500
00:37:22,240 --> 00:37:27,240
We stop and we contemplate and we
look at the whole picture,
501
00:37:27,520 --> 00:37:32,640
like that one bird, perching
on that naked, leafless branch.
502
00:37:36,440 --> 00:37:40,280
And everything, somehow,
is pulled together.
503
00:37:40,280 --> 00:37:44,840
The whole of our life is laid out in
front of us, and, with it,
504
00:37:44,840 --> 00:37:47,160
the entirety of human society.
505
00:37:47,160 --> 00:37:49,040
And we're very, very lucky.
506
00:37:49,040 --> 00:37:53,520
It all adds up,
the whole human condition,
507
00:37:53,520 --> 00:37:58,720
and our particular, special,
little place inside it.
508
00:38:04,080 --> 00:38:08,640
Bruegel was an encyclopaedist
of the human comedy,
509
00:38:08,640 --> 00:38:12,600
and, as we cross the frozen pond,
we find, for me,
510
00:38:12,600 --> 00:38:16,640
one of the most unforgettable
characters in all of European art.
511
00:38:22,160 --> 00:38:25,360
A tiny, stooped figure,
an old woman,
512
00:38:25,360 --> 00:38:28,400
bent with the burden of branches,
513
00:38:28,400 --> 00:38:33,320
meant for fuel or thatching,
plodding home to her winter hearth,
514
00:38:33,320 --> 00:38:37,800
the prospect of which makes that
burden just about bearable.
515
00:38:39,600 --> 00:38:43,720
It's a lesson in the perseverance
of the poor.
516
00:38:43,720 --> 00:38:46,720
For what alternative does
she really have?
517
00:38:48,960 --> 00:38:53,040
Through these landscape paintings,
what Bruegel is really doing
518
00:38:53,040 --> 00:38:57,240
is offering us a profound glimpse
not into the natural world,
519
00:38:57,240 --> 00:38:59,280
but into the human condition.
520
00:39:03,160 --> 00:39:07,240
Bruegel died in 1569,
spared the worst
521
00:39:07,240 --> 00:39:10,880
of a war for religious and local
liberty in the Netherlands.
522
00:39:10,880 --> 00:39:14,000
He couldn't know
it would last for 80 years.
523
00:39:14,000 --> 00:39:16,600
But he evidently feared the worst.
524
00:39:16,600 --> 00:39:20,400
A painting pretending to be a
Biblical massacre of the innocents
525
00:39:20,400 --> 00:39:22,920
is done in contemporary dress,
526
00:39:22,920 --> 00:39:27,520
with a documentary awareness of what
was in store for those countryfolk
527
00:39:27,520 --> 00:39:29,560
when Spanish troops arrived.
528
00:39:32,400 --> 00:39:36,840
What happened was what always
happens in such calamities -
529
00:39:36,840 --> 00:39:40,160
a frantic, mass migration
of refugees.
530
00:39:40,160 --> 00:39:44,760
The Netherlands became split along
the lines of the military slog -
531
00:39:44,760 --> 00:39:47,800
Protestant north, Catholic south.
532
00:39:50,680 --> 00:39:53,160
But, as so often in our story,
533
00:39:53,160 --> 00:39:55,720
the most astonishing
flowerings happen
534
00:39:55,720 --> 00:39:57,800
in the midst of human disaster.
535
00:40:00,160 --> 00:40:02,320
In the Protestant Dutch Republic,
536
00:40:02,320 --> 00:40:06,440
as art was purged from churches
branded as idolatry,
537
00:40:06,440 --> 00:40:09,760
it simply shifted location
into other places,
538
00:40:09,760 --> 00:40:11,760
especially private homes.
539
00:40:15,440 --> 00:40:19,120
In the years when they were most
beleaguered by war,
540
00:40:19,120 --> 00:40:20,800
the Dutch became most prolific
541
00:40:20,800 --> 00:40:26,040
at buying pictures which reminded
them of what they were defending.
542
00:40:26,440 --> 00:40:30,320
It was the first mass-market
for landscape art,
543
00:40:30,320 --> 00:40:35,160
precisely the kind of low art
which Italians condescended to.
544
00:40:36,560 --> 00:40:38,200
Willow-hung streams.
545
00:40:39,440 --> 00:40:41,680
The life of the rustics.
546
00:40:41,680 --> 00:40:45,080
It was what the Dutch were most
passionately attached to.
547
00:40:47,160 --> 00:40:49,600
The simple face of their homeland.
548
00:40:53,680 --> 00:40:57,920
Now, the reason why the Dutch felt
so emotionally invested
549
00:40:57,920 --> 00:41:02,200
in this landscape was because
they had been responsible
550
00:41:02,200 --> 00:41:05,200
for physically making so much of it.
551
00:41:07,080 --> 00:41:09,760
There's this old saying that God
made the world,
552
00:41:09,760 --> 00:41:11,200
but the Dutch made Holland.
553
00:41:11,200 --> 00:41:15,560
And exactly at the time where they
reinvent landscape painting,
554
00:41:15,560 --> 00:41:17,440
this was literally true.
555
00:41:20,680 --> 00:41:23,760
This was an area called
the Beemster.
556
00:41:23,760 --> 00:41:28,760
200,000 acres of what had been
the inland sea of the Zuiderzee
557
00:41:28,760 --> 00:41:33,960
were turned into this glorious
pasture between 1607 and 1612,
558
00:41:36,080 --> 00:41:38,640
while the Dutch were at war.
559
00:41:40,600 --> 00:41:44,840
It was reclaimed with the aid of
43 windmills,
560
00:41:44,840 --> 00:41:47,080
pumping the water out.
561
00:41:51,960 --> 00:41:55,520
This wasn't just topography,
wasn't just land,
562
00:41:55,520 --> 00:41:57,040
it was their homeland.
563
00:42:01,000 --> 00:42:04,600
So, when the Dutch felt that,
under God's protection,
564
00:42:04,600 --> 00:42:07,400
they were making a part of Holland,
565
00:42:07,400 --> 00:42:11,560
it had this deep,
psychological effect on them.
566
00:42:11,560 --> 00:42:16,560
They owned this countryside in a way
which was absolutely special,
567
00:42:16,560 --> 00:42:20,400
and which gave their painters the
sense that they were painting their
568
00:42:20,400 --> 00:42:24,080
country in both senses -
the countryside,
569
00:42:24,080 --> 00:42:27,120
and their newborn nation
at the same time,
570
00:42:27,120 --> 00:42:31,360
and the pictures they would produce
would belong to the whole people.
571
00:42:36,480 --> 00:42:39,280
A new class of jobbing artists
emerged
572
00:42:39,280 --> 00:42:43,160
to service this popular
demand for landscape art.
573
00:42:43,160 --> 00:42:46,480
Jan van Goyen was one of
those workhorses.
574
00:42:46,480 --> 00:42:50,600
He produced more than 2,000
paintings and drawings
575
00:42:50,600 --> 00:42:52,480
during a 40-year career.
576
00:42:54,720 --> 00:42:58,120
Van Goyen's was a deliberately
modest art,
577
00:42:58,120 --> 00:43:00,520
unashamed of its simplicity.
578
00:43:00,520 --> 00:43:03,880
But it's the realism with which
he paints the natural world
579
00:43:03,880 --> 00:43:06,800
which makes Van Goyen's
paintings remarkable.
580
00:43:10,080 --> 00:43:15,040
You forget what an amazing
breakthrough this represents.
581
00:43:15,040 --> 00:43:19,080
Landscapes had been all about
fantasy and colour and
582
00:43:19,080 --> 00:43:21,160
drenched in gold.
583
00:43:21,160 --> 00:43:23,440
This is drenched in mud,
and even though we know
584
00:43:23,440 --> 00:43:26,400
that Van Goyen really had
to work fast
585
00:43:26,400 --> 00:43:30,120
and with rubbish materials that
didn't cost him very much money,
586
00:43:30,120 --> 00:43:32,320
he's so always in debt,
587
00:43:32,320 --> 00:43:36,160
there's a credible convergence
between what he's painting
588
00:43:36,160 --> 00:43:38,800
and how he's painting it.
It's like a sketch.
589
00:43:38,800 --> 00:43:43,480
It's like an immediate note
from his own vision,
590
00:43:43,480 --> 00:43:46,120
and everything in it that's
kind of rough and raw
591
00:43:46,120 --> 00:43:50,160
and crude and clay-like
and meagre about it
592
00:43:50,160 --> 00:43:53,160
actually makes you feel there.
593
00:43:55,640 --> 00:44:00,360
There are tops of houses, the roofs,
594
00:44:00,360 --> 00:44:02,760
and you don't see anything else of
the house. Why?
595
00:44:02,760 --> 00:44:05,600
Because they're
actually below the water line.
596
00:44:08,880 --> 00:44:12,800
This delivers a world, the kind of
silvery quality of the canals,
597
00:44:12,800 --> 00:44:16,000
little boat floating past,
598
00:44:16,000 --> 00:44:20,440
and you think you're waking up and
you can smell the peat turned over.
599
00:44:20,440 --> 00:44:24,520
It's a kind of raw day
in the middle of winter.
600
00:44:24,520 --> 00:44:29,160
And you're absolutely enveloped
by the wind,
601
00:44:29,160 --> 00:44:31,600
the dark, lead-coloured light.
602
00:44:33,680 --> 00:44:38,920
But this still, in its scraped-away
authenticity, is a kind of home.
603
00:44:41,840 --> 00:44:43,840
Tastes changed.
604
00:44:43,840 --> 00:44:47,040
As the Dutch Republic became
the richest country on Earth,
605
00:44:47,040 --> 00:44:50,080
so the moneyed wanted more
sophisticated visions
606
00:44:50,080 --> 00:44:51,280
of their homeland.
607
00:44:54,440 --> 00:44:56,840
Every so often, a genius came along
608
00:44:56,840 --> 00:45:01,680
who could make masterpieces out of
the same, modest subject matter.
609
00:45:04,120 --> 00:45:08,240
Jacob van Ruisdael's great medium
was the dappling Dutch light,
610
00:45:08,240 --> 00:45:13,080
so that the skies, which in the work
of Van Goyen had been wet and dim,
611
00:45:13,080 --> 00:45:16,520
now became a grand opera of light
and shade
612
00:45:16,520 --> 00:45:20,240
with huge, rolling clouds
as its cast of characters.
613
00:45:23,840 --> 00:45:26,840
Ruisdael loved to
exaggerate features,
614
00:45:26,840 --> 00:45:28,880
to make them more theatrical.
615
00:45:30,080 --> 00:45:35,280
The romance of ancient ruins, the
sinister darkness of a boggy wood.
616
00:45:37,160 --> 00:45:38,880
And, in this painting,
617
00:45:38,880 --> 00:45:43,920
the great emblem of Holland has
become a hero in its own right.
618
00:45:46,640 --> 00:45:51,160
Ruisdael's great gift was to take
something homely and familiar -
619
00:45:51,160 --> 00:45:53,920
and it doesn't get more homely,
does it, than a windmill,
620
00:45:53,920 --> 00:45:58,960
and big it up to the max until it is
something epic, heroic,
621
00:45:59,200 --> 00:46:02,760
almost spiritually meaningful to
everybody who's going to look at it.
622
00:46:03,880 --> 00:46:08,400
Ruisdael was essentially
a dramatist of the landscape,
623
00:46:08,400 --> 00:46:12,200
and this is high theatre.
624
00:46:12,200 --> 00:46:15,960
Now, there really is a windmill at
this town called Wijk bij Duurstede,
625
00:46:15,960 --> 00:46:19,560
but he's made
it absolutely enormous.
626
00:46:19,560 --> 00:46:21,520
It has a kind of authority to it.
627
00:46:23,480 --> 00:46:25,040
The sky is heavy.
628
00:46:25,040 --> 00:46:27,720
There is dirty weather ahead.
629
00:46:27,720 --> 00:46:31,840
These clouds are boiling up
into what might be a storm.
630
00:46:33,120 --> 00:46:36,800
There are deep shadows
hanging over the landscape.
631
00:46:36,800 --> 00:46:39,760
These women, with their bonnets
covering their faces,
632
00:46:39,760 --> 00:46:40,800
are hurrying home.
633
00:46:42,400 --> 00:46:45,280
And then I think of the date.
634
00:46:45,280 --> 00:46:48,600
This painting was done in 1670,
635
00:46:48,600 --> 00:46:51,600
and that was a moment of tension
and nervousness
636
00:46:51,600 --> 00:46:55,000
that the Dutch had about
going it alone in Europe.
637
00:46:56,320 --> 00:47:00,560
You think, correctly,
that the great powers out there,
638
00:47:00,560 --> 00:47:04,760
jealous of your prosperity in
the world, are plotting against you,
639
00:47:04,760 --> 00:47:06,920
England and France,
as indeed they were.
640
00:47:06,920 --> 00:47:09,680
And, two years after this
painting was done,
641
00:47:09,680 --> 00:47:13,240
the Dutch Republic was almost
engulfed by a pincer movement
642
00:47:13,240 --> 00:47:16,800
between those two hostile states.
643
00:47:16,800 --> 00:47:19,560
And there's no doubt that
that windmill,
644
00:47:19,560 --> 00:47:21,640
with the light shining on it,
645
00:47:21,640 --> 00:47:23,440
is a guardian against peril.
646
00:47:25,080 --> 00:47:27,320
The sails of the mill,
647
00:47:27,320 --> 00:47:32,120
not accidentally,
form the cross of the Redeemer.
648
00:47:32,120 --> 00:47:34,840
There's a saviour,
and the saviour is the windmill.
649
00:47:34,840 --> 00:47:38,120
And that cross,
just in case you're wondering,
650
00:47:38,120 --> 00:47:42,560
is echoed visually by an
opening in the sky,
651
00:47:42,560 --> 00:47:45,720
down which this gorgeous
light falls,
652
00:47:45,720 --> 00:47:48,480
the only warm bit in the painting,
653
00:47:48,480 --> 00:47:51,920
and, if you're Dutch, you remember
an old saying which says,
654
00:47:51,920 --> 00:47:56,400
"Just as a windmill needs
the wind to move its sails,
655
00:47:56,400 --> 00:48:01,040
"so man needs the breath
of God to act."
656
00:48:01,040 --> 00:48:04,440
The moral is
never forget the word of God.
657
00:48:04,440 --> 00:48:07,600
You have a covenant with God.
658
00:48:07,600 --> 00:48:11,000
You are his modern, chosen people.
659
00:48:11,000 --> 00:48:14,040
Just remember that
when you look at the mill.
660
00:48:19,160 --> 00:48:23,800
When nations feel threatened, or
when they're actually torn apart,
661
00:48:23,800 --> 00:48:28,440
the sense of God-protected homeland,
somehow sheltered from catastrophe,
662
00:48:28,440 --> 00:48:29,880
comes swimming into view.
663
00:48:32,720 --> 00:48:36,400
Civil wars,
as we've seen over and again,
664
00:48:36,400 --> 00:48:39,000
are the nurseries
of great landscape painting.
665
00:48:40,040 --> 00:48:43,120
What held for the tight-bounded
Dutch Republic,
666
00:48:43,120 --> 00:48:46,480
looking heavenwards
to its boundless skies,
667
00:48:46,480 --> 00:48:51,240
was magnified on
a continental scale in the 1860s,
668
00:48:51,240 --> 00:48:54,000
in the bitterly divided
American republic.
669
00:48:55,600 --> 00:48:59,240
Though the American Civil War was in
part a war about land
670
00:48:59,240 --> 00:49:04,280
and the right to extend slavery into
new western territories,
671
00:49:04,280 --> 00:49:07,840
it was possible,
in the mind's eye at least,
672
00:49:07,840 --> 00:49:11,120
to gaze west towards the setting sun
673
00:49:11,120 --> 00:49:13,600
and see an unclouded Eden.
674
00:49:16,160 --> 00:49:21,120
Some truly lurid panorama paintings
were produced in the name of these
675
00:49:21,120 --> 00:49:26,120
paradise illusions, all shining with
the stage lighting of Providence.
676
00:49:28,600 --> 00:49:31,680
All of these efforts,
like most propaganda,
677
00:49:31,680 --> 00:49:34,960
were sentimentally forgettable
once the war was over.
678
00:49:38,480 --> 00:49:40,200
But one great painting
679
00:49:40,200 --> 00:49:43,840
came out of the craving
for landscape consolation.
680
00:49:45,960 --> 00:49:49,160
And it was a distinctly
unromantic elegy,
681
00:49:49,160 --> 00:49:52,520
both tragic and hopeful
at the same time.
682
00:49:56,840 --> 00:50:00,480
The Veteran In A New Field was the
work of the greatest, in my view,
683
00:50:00,480 --> 00:50:03,680
of all 19th-century
American artists.
684
00:50:05,360 --> 00:50:09,800
Winslow Homer was then just 29
and fresh from the battlefield.
685
00:50:12,480 --> 00:50:15,760
As a war illustrator
for magazines and newspapers,
686
00:50:15,760 --> 00:50:18,360
he'd seen the carnage first-hand.
687
00:50:20,400 --> 00:50:24,240
Unlike the starry-eyed painters
of expansive horizons,
688
00:50:24,240 --> 00:50:27,080
with their Olympian points of view,
689
00:50:27,080 --> 00:50:32,280
Homer's picture comes down to earth
and plants us deep in the soil.
690
00:50:33,440 --> 00:50:37,880
That soil is both infinitely
fertile, bursting with gold,
691
00:50:37,880 --> 00:50:42,120
but also, of course,
deeply blood-soaked.
692
00:50:42,120 --> 00:50:45,600
Homer painted it in 1865,
693
00:50:45,600 --> 00:50:49,200
just a few months after
the bloodiest war in all US history
694
00:50:49,200 --> 00:50:51,200
had come to an end.
695
00:50:52,240 --> 00:50:55,920
The traumatic shock of Lincoln's
assassination, too,
696
00:50:55,920 --> 00:50:58,160
was still raw in Homer's mind.
697
00:51:00,200 --> 00:51:03,480
In the solitary, epic figure of
the veteran, there is, of course,
698
00:51:03,480 --> 00:51:07,640
something of the lonely nobility
of the martyred president -
699
00:51:07,640 --> 00:51:11,760
thanklessly toiling, and, I believe,
also something of Homer himself.
700
00:51:12,840 --> 00:51:15,640
Like his namesake
from classical antiquity,
701
00:51:15,640 --> 00:51:20,800
Homer conjures the great themes
of sacrifice and regeneration and,
702
00:51:21,080 --> 00:51:25,960
of course, the endless regiments of
the fallen, embodied in the wheat.
703
00:51:27,640 --> 00:51:30,680
But, most of all,
it's a picture of American gold.
704
00:51:30,680 --> 00:51:34,040
Perhaps the only gold
which truly mattered -
705
00:51:34,040 --> 00:51:37,000
the gold of the endless prairies,
706
00:51:37,000 --> 00:51:40,800
standing beneath an
infinitely blue harvest sky.
707
00:51:42,160 --> 00:51:47,240
Tragedy, coloured by an impassioned
religious faith in a boundless
708
00:51:47,240 --> 00:51:51,800
American future, planted in
boundless American space.
709
00:51:55,880 --> 00:51:59,120
Lincoln himself
never lost that faith.
710
00:51:59,120 --> 00:52:01,160
Even before the war was over,
711
00:52:01,160 --> 00:52:03,960
he pushed through a law to protect
and bequeath
712
00:52:03,960 --> 00:52:07,400
one particular landscape,
one American Eden,
713
00:52:07,400 --> 00:52:09,840
to the people for all posterity.
714
00:52:11,520 --> 00:52:14,840
While America's wounds
would stay livid and open
715
00:52:14,840 --> 00:52:16,760
for generations to come,
716
00:52:16,760 --> 00:52:21,160
this would be at least one place
of miraculous healing.
717
00:52:22,320 --> 00:52:25,080
Yosemite in the Sierra Nevada.
718
00:52:27,840 --> 00:52:29,360
Very rapidly,
719
00:52:29,360 --> 00:52:33,960
Yosemite became America's most
sensational tourist destination.
720
00:52:33,960 --> 00:52:38,080
Its lonely beauty instantly
compromised by its popularity.
721
00:52:44,840 --> 00:52:48,680
And the images which promoted it
made sure to represent it
722
00:52:48,680 --> 00:52:53,360
as they did much of America -
as empty of native people.
723
00:52:53,360 --> 00:52:57,800
The Miwok Indians were either
moved on or painted out.
724
00:53:01,720 --> 00:53:06,400
And when Yosemite eventually found
its ultimate visual poet,
725
00:53:06,400 --> 00:53:09,560
he too cleared the view of humans.
726
00:53:14,040 --> 00:53:15,720
In 1916,
727
00:53:15,720 --> 00:53:20,160
a teenager from San Francisco
visited Yosemite for the first time.
728
00:53:22,800 --> 00:53:25,640
Ansel Adams was always going down
with something -
729
00:53:25,640 --> 00:53:28,480
the flu, measles, a nasty cough -
730
00:53:28,480 --> 00:53:31,160
the sort of thing budding pianists
bent over the keyboard
731
00:53:31,160 --> 00:53:34,720
were supposed to get,
and Adams was one of those.
732
00:53:37,040 --> 00:53:39,400
But, while he was wheezing
and hacking,
733
00:53:39,400 --> 00:53:43,600
he'd read a book about Yosemite and
when a get-well trip was suggested,
734
00:53:43,600 --> 00:53:45,560
he'd go nowhere else.
735
00:53:49,880 --> 00:53:55,040
Visiting Yosemite was an epiphany
for Adams, like falling in love.
736
00:53:55,080 --> 00:53:57,320
Gradually, the music faded
737
00:53:57,320 --> 00:54:01,720
and surrendering to the drama of the
Sierra Nevada light,
738
00:54:01,720 --> 00:54:04,320
photography became everything.
739
00:54:05,680 --> 00:54:09,760
Ansel Adams' miracle moment
came in 1927.
740
00:54:09,760 --> 00:54:13,400
He climbed to 4,000 feet
in deep snow,
741
00:54:13,400 --> 00:54:16,880
to the precipitous spot
known as the Diving Board.
742
00:54:16,880 --> 00:54:19,720
With the light failing and down to
one glass plate,
743
00:54:19,720 --> 00:54:24,920
he had the inspired idea of using
a dark red filter to turn the sky
744
00:54:25,480 --> 00:54:30,680
almost black, and create an extreme
contrast between snow and mountain.
745
00:54:32,280 --> 00:54:35,520
And he produced one of the greatest
masterpieces
746
00:54:35,520 --> 00:54:37,520
of American, or any other, art.
747
00:54:40,600 --> 00:54:44,080
Adams called it his visualisation.
748
00:54:44,080 --> 00:54:48,280
Not what his eye but the inner lens
of his imagination, could see.
749
00:54:52,080 --> 00:54:54,800
He became not just Yosemite's
photographer
750
00:54:54,800 --> 00:54:57,160
but its great artist,
751
00:54:57,160 --> 00:55:01,960
the high priest of its temple, of
its stone, its light and its water.
752
00:55:01,960 --> 00:55:05,720
And what he produced in those
landscape altarpieces -
753
00:55:05,720 --> 00:55:07,840
because that's what they
surely were -
754
00:55:07,840 --> 00:55:12,960
was an America irradiated with
luminous majesty.
755
00:55:13,080 --> 00:55:15,960
Taller than the highest skyscraper,
756
00:55:15,960 --> 00:55:19,840
more powerful than the mightiest
business corporation.
757
00:55:19,840 --> 00:55:24,000
And he wanted Yosemite to
be for everyone.
758
00:55:26,600 --> 00:55:28,520
This is our land.
759
00:55:30,920 --> 00:55:33,440
# This land is your land
760
00:55:33,440 --> 00:55:36,080
# And this land is my land
761
00:55:36,080 --> 00:55:38,480
# From California
762
00:55:38,480 --> 00:55:40,480
# To the New York island
763
00:55:40,480 --> 00:55:43,200
# From the redwood forest... #
764
00:55:43,200 --> 00:55:47,000
It was in the 1950s that Adams'
photographs built into
765
00:55:47,000 --> 00:55:48,680
a mission for mankind,
766
00:55:48,680 --> 00:55:52,640
a protest against the damage that
could be done to the Earth
767
00:55:52,640 --> 00:55:55,880
by the lust for a fast buck.
768
00:55:55,880 --> 00:55:59,440
It culminated in
This Is The American Earth,
769
00:55:59,440 --> 00:56:03,960
a hymn to the beauty of the natural
world, and an instant bestseller.
770
00:56:05,920 --> 00:56:09,400
More and more,
Adams' photographs became preachy,
771
00:56:09,400 --> 00:56:13,760
but those visual sermons
were ecstatic, radiant, mystical,
772
00:56:13,760 --> 00:56:17,440
passionate statements about how
humanity could be redeemed
773
00:56:17,440 --> 00:56:19,720
through its encounter with nature.
774
00:56:20,760 --> 00:56:24,600
In his later years, he became a kind
of patriarch of environmentalism,
775
00:56:24,600 --> 00:56:27,120
and, every so often,
he'd put down his camera
776
00:56:27,120 --> 00:56:29,600
and even leave his beloved
Yosemite
777
00:56:29,600 --> 00:56:33,480
to go and try and persuade
presidents to his point of view.
778
00:56:33,480 --> 00:56:35,040
But, throughout it all,
779
00:56:35,040 --> 00:56:37,760
he remained steadfast to
his core belief
780
00:56:37,760 --> 00:56:41,920
that his job in life was to
give visual expression
781
00:56:41,920 --> 00:56:46,120
to that silken cord tying together
the fate of man
782
00:56:46,120 --> 00:56:48,240
with the fate of the Earth.
783
00:56:52,040 --> 00:56:57,240
In 1977, the photographer
as prophet had his moment.
784
00:56:57,840 --> 00:57:00,640
Nasa prepared to launch
its Voyager spacecraft
785
00:57:00,640 --> 00:57:02,960
on a mission to outer space.
786
00:57:02,960 --> 00:57:06,160
On board was the Golden Record.
787
00:57:06,160 --> 00:57:09,640
It contained pictures depicting
human civilisation
788
00:57:09,640 --> 00:57:11,120
and the natural world.
789
00:57:12,960 --> 00:57:16,600
Adams' paradise images
were among them.
790
00:57:16,600 --> 00:57:19,880
If they weren't the whole truth
about our civilisation,
791
00:57:19,880 --> 00:57:23,640
then his photographs weren't
a beautiful lie either.
792
00:57:23,640 --> 00:57:27,960
Like all landscape art, they sprang
from the eye, the mind,
793
00:57:27,960 --> 00:57:31,640
and the invention of the
human heart.
794
00:57:31,640 --> 00:57:36,280
"We all move on the fringes of
eternity," Adams wrote,
795
00:57:36,280 --> 00:57:38,920
"and are sometimes granted vistas."
796
00:57:42,360 --> 00:57:44,880
As Voyager prepared to leave
our solar system,
797
00:57:44,880 --> 00:57:49,120
it turned around its camera
for one final time.
798
00:57:49,120 --> 00:57:53,560
The result was the ultimate
landscape photograph,
799
00:57:53,560 --> 00:57:56,680
one that has given us
a new perspective
800
00:57:56,680 --> 00:57:58,920
on our place in the cosmos.
801
00:57:58,920 --> 00:58:01,040
Our lonely planet.
802
00:58:01,040 --> 00:58:03,160
The pale blue dot.
803
00:58:11,880 --> 00:58:15,720
The Open University has produced
a free poster that explores
804
00:58:15,720 --> 00:58:19,400
the history of different
civilisations through artefacts.
805
00:58:19,400 --> 00:58:21,560
To order your free copy,
please call...
806
00:58:25,560 --> 00:58:27,120
Or go to the address on screen
807
00:58:27,120 --> 00:58:29,520
and follow the links
for the Open University.
69492
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