[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.10,0:00:05.20,Default,,0000,0000,0000,,(piano music)
Dialogue: 0,0:00:06.16,0:00:07.10,Default,,0000,0000,0000,,Voiceover: We're on the fifth floor of the
Dialogue: 0,0:00:07.10,0:00:08.37,Default,,0000,0000,0000,,Museum of Modern Art looking at
Dialogue: 0,0:00:08.37,0:00:11.37,Default,,0000,0000,0000,,a painting by Pablo Picasso from 1909.
Dialogue: 0,0:00:11.37,0:00:14.23,Default,,0000,0000,0000,,From the summer of 1909,\NHorta de Ebro, and it's
Dialogue: 0,0:00:14.23,0:00:18.00,Default,,0000,0000,0000,,one of Picasso's critical\Nearly cubist paintings.
Dialogue: 0,0:00:18.00,0:00:20.87,Default,,0000,0000,0000,,Voiceover: It looks very cubist, already.
Dialogue: 0,0:00:20.87,0:00:21.60,Default,,0000,0000,0000,,(laughter)
Dialogue: 0,0:00:21.60,0:00:23.33,Default,,0000,0000,0000,,I mean, it already looks like a radical
Dialogue: 0,0:00:23.33,0:00:25.63,Default,,0000,0000,0000,,departure from Cézanne.
Dialogue: 0,0:00:25.63,0:00:28.53,Default,,0000,0000,0000,,But this is two years after\NLes Demoiselles d'Avignon.
Dialogue: 0,0:00:28.53,0:00:29.20,Default,,0000,0000,0000,,Voiceover: Yeah.
Dialogue: 0,0:00:29.20,0:00:31.00,Default,,0000,0000,0000,,Voiceover: So he's already made that step.
Dialogue: 0,0:00:31.00,0:00:32.09,Default,,0000,0000,0000,,Voiceover: He has.
Dialogue: 0,0:00:32.09,0:00:33.72,Default,,0000,0000,0000,,This is one of those\Npaintings that lives up
Dialogue: 0,0:00:33.72,0:00:35.47,Default,,0000,0000,0000,,to the title of the movement, right?
Dialogue: 0,0:00:35.47,0:00:36.23,Default,,0000,0000,0000,,Voiceover: Cubism?
Dialogue: 0,0:00:36.23,0:00:36.73,Default,,0000,0000,0000,,Voiceover: Yeah.
Dialogue: 0,0:00:36.73,0:00:37.90,Default,,0000,0000,0000,,Voiceover: Because it really\Nlooks like little cubes.
Dialogue: 0,0:00:37.90,0:00:38.60,Default,,0000,0000,0000,,Voiceover: It does.
Dialogue: 0,0:00:38.60,0:00:41.53,Default,,0000,0000,0000,,Our historical chronology\Nis usually that after
Dialogue: 0,0:00:41.53,0:00:44.23,Default,,0000,0000,0000,,Desmoiselles, Braque\Nreally begins to explore
Dialogue: 0,0:00:44.23,0:00:46.20,Default,,0000,0000,0000,,Cézanne in very serious ways.
Dialogue: 0,0:00:46.20,0:00:47.70,Default,,0000,0000,0000,,Picasso responds to-
Dialogue: 0,0:00:47.70,0:00:48.43,Default,,0000,0000,0000,,Voiceover: Follows Braque.
Dialogue: 0,0:00:48.43,0:00:51.63,Default,,0000,0000,0000,,Voiceover: Yeah, by way of\NCézanne, exactly, right.
Dialogue: 0,0:00:51.63,0:00:53.73,Default,,0000,0000,0000,,And he'd gone to the\NSouth of Spain to this
Dialogue: 0,0:00:53.73,0:00:55.70,Default,,0000,0000,0000,,very arid environment and you can really
Dialogue: 0,0:00:55.70,0:00:57.20,Default,,0000,0000,0000,,get a sense of the terracotta.
Dialogue: 0,0:00:57.20,0:00:58.93,Default,,0000,0000,0000,,We're looking at a hilltop town.
Dialogue: 0,0:00:58.93,0:01:01.10,Default,,0000,0000,0000,,There's a little water collect down at the
Dialogue: 0,0:01:01.10,0:01:02.70,Default,,0000,0000,0000,,bottom right and,\Nactually, you can even see
Dialogue: 0,0:01:02.70,0:01:05.34,Default,,0000,0000,0000,,the reflection in the\Nsurface of the water there.
Dialogue: 0,0:01:05.34,0:01:06.77,Default,,0000,0000,0000,,Of course what most\Npeople find so interesting
Dialogue: 0,0:01:06.77,0:01:08.97,Default,,0000,0000,0000,,about this painting is his willingness
Dialogue: 0,0:01:08.97,0:01:10.90,Default,,0000,0000,0000,,to pull and push perspective.
Dialogue: 0,0:01:10.90,0:01:11.67,Default,,0000,0000,0000,,Voiceover: Mm hm.
Dialogue: 0,0:01:11.67,0:01:14.47,Default,,0000,0000,0000,,So that we're looking,\Nsometimes, at the top
Dialogue: 0,0:01:14.47,0:01:17.17,Default,,0000,0000,0000,,of things and the sides of things.
Dialogue: 0,0:01:17.17,0:01:19.70,Default,,0000,0000,0000,,From below and from\Nabove as though we were
Dialogue: 0,0:01:19.70,0:01:23.13,Default,,0000,0000,0000,,moving and shifting our\Ngaze through the site.
Dialogue: 0,0:01:23.13,0:01:24.57,Default,,0000,0000,0000,,Voiceover: Yeah, so\Nthat the objects become
Dialogue: 0,0:01:24.57,0:01:27.43,Default,,0000,0000,0000,,plastic, they become,\Nyou know, malleable, they
Dialogue: 0,0:01:27.43,0:01:30.47,Default,,0000,0000,0000,,become shaped by our\Nmovement through space
Dialogue: 0,0:01:30.47,0:01:31.77,Default,,0000,0000,0000,,and through time.
Dialogue: 0,0:01:31.77,0:01:34.27,Default,,0000,0000,0000,,Voiceover: But they're\Nalso all interconnected.
Dialogue: 0,0:01:34.27,0:01:37.57,Default,,0000,0000,0000,,That thing that Picasso,\Nand Cézanne started
Dialogue: 0,0:01:37.57,0:01:40.33,Default,,0000,0000,0000,,also before him, of interlocking these
Dialogue: 0,0:01:40.33,0:01:43.73,Default,,0000,0000,0000,,different planes by\Ncolor so that something
Dialogue: 0,0:01:43.73,0:01:46.33,Default,,0000,0000,0000,,that's brown moves into something else
Dialogue: 0,0:01:46.33,0:01:48.80,Default,,0000,0000,0000,,that's brown that is a different shape
Dialogue: 0,0:01:48.80,0:01:51.33,Default,,0000,0000,0000,,that's the top of a house that moves into
Dialogue: 0,0:01:51.33,0:01:52.43,Default,,0000,0000,0000,,the side of a house.
Dialogue: 0,0:01:52.43,0:01:55.30,Default,,0000,0000,0000,,So that there's really a kind of loss
Dialogue: 0,0:01:55.30,0:01:59.10,Default,,0000,0000,0000,,of the separation of\Ndifferent forms in a space.
Dialogue: 0,0:01:59.10,0:02:00.47,Default,,0000,0000,0000,,Voiceover: It becomes a synthetic hole.
Dialogue: 0,0:02:00.47,0:02:02.13,Default,,0000,0000,0000,,And actually, he's doing\Nsomething else that
Dialogue: 0,0:02:02.13,0:02:03.63,Default,,0000,0000,0000,,I think further assists that.
Dialogue: 0,0:02:03.63,0:02:06.00,Default,,0000,0000,0000,,If you look at shadow and\Nreflection, they become
Dialogue: 0,0:02:06.00,0:02:08.13,Default,,0000,0000,0000,,almost objects in space themselves rather
Dialogue: 0,0:02:08.13,0:02:09.90,Default,,0000,0000,0000,,than just, sort of, optical phenomena.
Dialogue: 0,0:02:09.90,0:02:10.63,Default,,0000,0000,0000,,Voiceover: What do you mean?
Dialogue: 0,0:02:10.63,0:02:12.50,Default,,0000,0000,0000,,Voiceover: Well if you\Nlook, for instance, at some
Dialogue: 0,0:02:12.50,0:02:14.70,Default,,0000,0000,0000,,of the doorways in the\Ncenter of the canvas,
Dialogue: 0,0:02:14.70,0:02:16.60,Default,,0000,0000,0000,,you can see that there are\Nshadows and reflections
Dialogue: 0,0:02:16.60,0:02:18.80,Default,,0000,0000,0000,,that cast of it that\Nare, in some ways, almost
Dialogue: 0,0:02:18.80,0:02:22.10,Default,,0000,0000,0000,,as solid as the objects that are purported
Dialogue: 0,0:02:22.10,0:02:24.87,Default,,0000,0000,0000,,to create those optical phenomena, right?
Dialogue: 0,0:02:24.87,0:02:27.47,Default,,0000,0000,0000,,So there's almost this leveling of
Dialogue: 0,0:02:27.47,0:02:29.17,Default,,0000,0000,0000,,object and the visual.
Dialogue: 0,0:02:29.17,0:02:29.94,Default,,0000,0000,0000,,Voiceover: And surface?
Dialogue: 0,0:02:29.94,0:02:30.73,Default,,0000,0000,0000,,Voiceover: More than surface.
Dialogue: 0,0:02:30.73,0:02:33.50,Default,,0000,0000,0000,,Object and, in a sense, the visual-
Dialogue: 0,0:02:33.50,0:02:34.29,Default,,0000,0000,0000,,Voiceover: Phenomena.
Dialogue: 0,0:02:34.29,0:02:35.45,Default,,0000,0000,0000,,Voiceover: Phenomena.
Dialogue: 0,0:02:35.45,0:02:37.40,Default,,0000,0000,0000,,Something that is pure\Nsight and intangible
Dialogue: 0,0:02:37.40,0:02:39.40,Default,,0000,0000,0000,,becomes as important in the canvas
Dialogue: 0,0:02:39.40,0:02:40.50,Default,,0000,0000,0000,,as a building.
Dialogue: 0,0:02:40.50,0:02:42.00,Default,,0000,0000,0000,,Voiceover: Maybe the\Nway that we begin to see
Dialogue: 0,0:02:42.00,0:02:43.93,Default,,0000,0000,0000,,in Les Demoiselles that the space itself
Dialogue: 0,0:02:43.93,0:02:46.73,Default,,0000,0000,0000,,between the figures seems solid.
Dialogue: 0,0:02:46.73,0:02:47.61,Default,,0000,0000,0000,,Voiceover: Yes, exactly right.
Dialogue: 0,0:02:47.61,0:02:48.32,Default,,0000,0000,0000,,Voiceover: Okay.
Dialogue: 0,0:02:48.32,0:02:49.37,Default,,0000,0000,0000,,The other thing that struck me as funny
Dialogue: 0,0:02:49.37,0:02:51.30,Default,,0000,0000,0000,,when you said that this was a village
Dialogue: 0,0:02:51.30,0:02:54.23,Default,,0000,0000,0000,,was that I imagine sunlight in a landscape
Dialogue: 0,0:02:54.23,0:02:57.53,Default,,0000,0000,0000,,and there's no sense of\Nit here to me at all.
Dialogue: 0,0:02:57.53,0:02:58.73,Default,,0000,0000,0000,,Voiceover: There isn't, you're right.
Dialogue: 0,0:02:58.73,0:03:00.50,Default,,0000,0000,0000,,It's funny that light has been ...
Dialogue: 0,0:03:00.50,0:03:02.33,Default,,0000,0000,0000,,I mean, light is clearly the thing that
Dialogue: 0,0:03:02.33,0:03:03.37,Default,,0000,0000,0000,,constructs form here.
Dialogue: 0,0:03:03.37,0:03:03.94,Default,,0000,0000,0000,,Voiceover: Right.
Dialogue: 0,0:03:03.94,0:03:04.80,Default,,0000,0000,0000,,Voiceover: You've got shadow, you've got
Dialogue: 0,0:03:04.80,0:03:07.97,Default,,0000,0000,0000,,areas of light, but in\Nfact, there is no actual-
Dialogue: 0,0:03:07.97,0:03:08.37,Default,,0000,0000,0000,,Voiceover: No.
Dialogue: 0,0:03:08.37,0:03:09.00,Default,,0000,0000,0000,,Voiceover: Direction.
Dialogue: 0,0:03:09.00,0:03:10.70,Default,,0000,0000,0000,,It almost has more to\Ndo with the subjective
Dialogue: 0,0:03:10.70,0:03:12.90,Default,,0000,0000,0000,,experience of one's sight\Nas one moves through,
Dialogue: 0,0:03:12.90,0:03:15.50,Default,,0000,0000,0000,,the way in which light\Nis cast or shadows cast,
Dialogue: 0,0:03:15.50,0:03:17.53,Default,,0000,0000,0000,,than what is, in fact, from nature.
Dialogue: 0,0:03:17.53,0:03:18.23,Default,,0000,0000,0000,,Voiceover: Right.
Dialogue: 0,0:03:18.23,0:03:19.63,Default,,0000,0000,0000,,And the other thing that strikes me is
Dialogue: 0,0:03:19.63,0:03:21.57,Default,,0000,0000,0000,,the way that, for\Nexample, you were talking
Dialogue: 0,0:03:21.57,0:03:23.43,Default,,0000,0000,0000,,about those doorways.
Dialogue: 0,0:03:23.43,0:03:25.67,Default,,0000,0000,0000,,The one in the center really looks like
Dialogue: 0,0:03:25.67,0:03:28.47,Default,,0000,0000,0000,,a doorway into something.
Dialogue: 0,0:03:28.47,0:03:30.83,Default,,0000,0000,0000,,But just to the left of\Nthat, there's something
Dialogue: 0,0:03:30.83,0:03:33.53,Default,,0000,0000,0000,,else that seems to be a doorway that also
Dialogue: 0,0:03:33.53,0:03:35.53,Default,,0000,0000,0000,,casts a shadow but is also much more
Dialogue: 0,0:03:35.53,0:03:37.50,Default,,0000,0000,0000,,obviously a stroke of paint.
Dialogue: 0,0:03:37.50,0:03:38.63,Default,,0000,0000,0000,,Voiceover: Right and it almost seems like
Dialogue: 0,0:03:38.63,0:03:41.51,Default,,0000,0000,0000,,a positive form in front\Nof the building in a sense.
Dialogue: 0,0:03:41.51,0:03:42.36,Default,,0000,0000,0000,,Voiceover: Right.
Dialogue: 0,0:03:42.36,0:03:44.20,Default,,0000,0000,0000,,And yet it's also a brush stroke.
Dialogue: 0,0:03:44.20,0:03:44.87,Default,,0000,0000,0000,,Voiceover: That's right.
Dialogue: 0,0:03:44.87,0:03:45.70,Default,,0000,0000,0000,,That's wonderful.
Dialogue: 0,0:03:45.70,0:03:47.90,Default,,0000,0000,0000,,So there's this constant\Nsort of dislocation
Dialogue: 0,0:03:47.90,0:03:50.47,Default,,0000,0000,0000,,of the way in which form is constructed.
Dialogue: 0,0:03:50.47,0:03:51.97,Default,,0000,0000,0000,,So it's not just about\Nthe rendering of form,
Dialogue: 0,0:03:51.97,0:03:53.47,Default,,0000,0000,0000,,it's not just the observing of form.
Dialogue: 0,0:03:53.47,0:03:55.60,Default,,0000,0000,0000,,It's actually also, sort of, this funny
Dialogue: 0,0:03:55.60,0:03:58.47,Default,,0000,0000,0000,,dislocating of the\Nprocess of rendering form.
Dialogue: 0,0:03:58.47,0:03:59.13,Default,,0000,0000,0000,,Voiceover: Right.
Dialogue: 0,0:03:59.13,0:03:59.60,Default,,0000,0000,0000,,Voiceover: Yeah.
Dialogue: 0,0:03:59.60,0:04:00.93,Default,,0000,0000,0000,,Voiceover: It's very self-conscious in a
Dialogue: 0,0:04:00.93,0:04:02.46,Default,,0000,0000,0000,,very modern way.
Dialogue: 0,0:04:02.46,0:04:03.40,Default,,0000,0000,0000,,Voiceover: It certainly is.
Dialogue: 0,0:04:03.40,0:04:08.17,Default,,0000,0000,0000,,(piano music)