[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.18,0:00:05.85,Default,,0000,0000,0000,,(piano music playing)
Dialogue: 0,0:00:05.85,0:00:09.02,Default,,0000,0000,0000,,Steven: When historians talk\Nabout late 19th-century Paris,
Dialogue: 0,0:00:09.02,0:00:11.51,Default,,0000,0000,0000,,they often talk about\Na culture of display,
Dialogue: 0,0:00:11.51,0:00:14.40,Default,,0000,0000,0000,,and this is a painting\Nthat is all about that.
Dialogue: 0,0:00:14.40,0:00:16.60,Default,,0000,0000,0000,,Beth: We're looking at\NMary Cassatt's painting,
Dialogue: 0,0:00:16.60,0:00:19.02,Default,,0000,0000,0000,,Woman with a Pearl Necklace in a Loge,
Dialogue: 0,0:00:19.02,0:00:21.58,Default,,0000,0000,0000,,and this is, perhaps,\NMary Cassatt's sister
Dialogue: 0,0:00:21.58,0:00:23.98,Default,,0000,0000,0000,,pictured in the Paris opera house.
Dialogue: 0,0:00:23.98,0:00:26.43,Default,,0000,0000,0000,,She's sitting in a private booth,
Dialogue: 0,0:00:26.43,0:00:28.44,Default,,0000,0000,0000,,and we can see behind her a mirror,
Dialogue: 0,0:00:28.44,0:00:32.28,Default,,0000,0000,0000,,which reflects all the other\Nprivate booths in the opera house.
Dialogue: 0,0:00:32.28,0:00:33.64,Default,,0000,0000,0000,,Steven: So the Paris opera house,
Dialogue: 0,0:00:33.64,0:00:36.39,Default,,0000,0000,0000,,situated at the intersection\Nof the Grand Boulevards,
Dialogue: 0,0:00:36.39,0:00:39.08,Default,,0000,0000,0000,,is a building which is\Na kind of jewel itself,
Dialogue: 0,0:00:39.08,0:00:41.63,Default,,0000,0000,0000,,but that also puts its\Noccupants on display.
Dialogue: 0,0:00:41.63,0:00:43.55,Default,,0000,0000,0000,,In other words, the\Nstage of the opera house
Dialogue: 0,0:00:43.55,0:00:45.89,Default,,0000,0000,0000,,is not simply where\Nthe ballet takes place,
Dialogue: 0,0:00:45.89,0:00:48.83,Default,,0000,0000,0000,,but the stage is also the audience.
Dialogue: 0,0:00:48.83,0:00:51.63,Default,,0000,0000,0000,,Beth: The architecture\Nof the Paris opera house
Dialogue: 0,0:00:51.63,0:00:54.51,Default,,0000,0000,0000,,enabled seeing and being seen,
Dialogue: 0,0:00:54.51,0:00:56.96,Default,,0000,0000,0000,,and afforded numerous opportunities
Dialogue: 0,0:00:56.96,0:00:58.92,Default,,0000,0000,0000,,in small, little balconies and spaces
Dialogue: 0,0:00:58.92,0:01:03.09,Default,,0000,0000,0000,,where one could glimpse the\Nfashionable elite of Paris,
Dialogue: 0,0:01:03.09,0:01:05.42,Default,,0000,0000,0000,,and we certainly feel\Nthat we're looking at
Dialogue: 0,0:01:05.42,0:01:08.36,Default,,0000,0000,0000,,one of the members of that\Nelite in this painting
Dialogue: 0,0:01:08.36,0:01:09.34,Default,,0000,0000,0000,,by Mary Cassatt.
Dialogue: 0,0:01:09.34,0:01:10.53,Default,,0000,0000,0000,,Steven: What you said is exactly right.
Dialogue: 0,0:01:10.53,0:01:11.62,Default,,0000,0000,0000,,Look at the composition.
Dialogue: 0,0:01:11.62,0:01:13.34,Default,,0000,0000,0000,,Mary Cassatt must have been\Nturned away from the stage
Dialogue: 0,0:01:13.34,0:01:15.92,Default,,0000,0000,0000,,looking into the box towards her sister,
Dialogue: 0,0:01:15.92,0:01:20.36,Default,,0000,0000,0000,,and Lydia is, in turn, looking\Nback out towards the audience,
Dialogue: 0,0:01:20.36,0:01:23.22,Default,,0000,0000,0000,,and so we're seeing Lydia\Nthe way that the audience
Dialogue: 0,0:01:23.22,0:01:25.83,Default,,0000,0000,0000,,would have seen her, had\Nthey glanced into this box.
Dialogue: 0,0:01:25.83,0:01:29.67,Default,,0000,0000,0000,,She is this object of display\Nwithin this jewel box.
Dialogue: 0,0:01:29.67,0:01:33.01,Default,,0000,0000,0000,,Beth: But Cassatt doesn't paint\Nherself reflected in the mirror,
Dialogue: 0,0:01:33.01,0:01:35.46,Default,,0000,0000,0000,,where she must have been\Nas she looked at Lydia
Dialogue: 0,0:01:35.46,0:01:36.42,Default,,0000,0000,0000,,and painted her.
Dialogue: 0,0:01:36.42,0:01:38.17,Default,,0000,0000,0000,,Steven: So this is a painting\Nthat really does show
Dialogue: 0,0:01:38.17,0:01:40.62,Default,,0000,0000,0000,,the opulence of imperial France.
Dialogue: 0,0:01:40.62,0:01:43.38,Default,,0000,0000,0000,,The moment that's being represented\Nis clearly intermission.
Dialogue: 0,0:01:43.38,0:01:45.100,Default,,0000,0000,0000,,The chandelier has been lowered\Ninto the space of the audience.
Dialogue: 0,0:01:45.100,0:01:49.62,Default,,0000,0000,0000,,The lights are up, and so the\Naudience's gaze has shifted
Dialogue: 0,0:01:49.62,0:01:52.20,Default,,0000,0000,0000,,from the stage to themselves.
Dialogue: 0,0:01:52.20,0:01:55.26,Default,,0000,0000,0000,,Beth: So Cassatt's family,\Nalthough it was very wealthy,
Dialogue: 0,0:01:55.26,0:01:57.96,Default,,0000,0000,0000,,actually her father refused\Nto support her desire
Dialogue: 0,0:01:57.96,0:01:59.35,Default,,0000,0000,0000,,to be an artist,
Dialogue: 0,0:01:59.35,0:02:01.53,Default,,0000,0000,0000,,and although he paid for\Nher basic living expenses,
Dialogue: 0,0:02:01.53,0:02:04.60,Default,,0000,0000,0000,,refused to support her art\Nsupplies and her studio
Dialogue: 0,0:02:04.60,0:02:05.48,Default,,0000,0000,0000,,where she painted.
Dialogue: 0,0:02:05.48,0:02:07.18,Default,,0000,0000,0000,,Steven: This, despite real support from
Dialogue: 0,0:02:07.18,0:02:08.42,Default,,0000,0000,0000,,the leading artists of the day.
Dialogue: 0,0:02:08.42,0:02:09.86,Default,,0000,0000,0000,,She was a close friend of Degas,
Dialogue: 0,0:02:09.86,0:02:11.100,Default,,0000,0000,0000,,who had enormous respect for her ability,
Dialogue: 0,0:02:11.100,0:02:13.73,Default,,0000,0000,0000,,and she was an extraordinary painter,
Dialogue: 0,0:02:13.73,0:02:17.46,Default,,0000,0000,0000,,in every way a peer of the great\Nimpressionist painters in Paris.
Dialogue: 0,0:02:17.46,0:02:21.10,Default,,0000,0000,0000,,Beth: This painting displays\Na virtuoso technique.
Dialogue: 0,0:02:21.10,0:02:23.40,Default,,0000,0000,0000,,Mary Cassatt gained her\Nknowledge of painting
Dialogue: 0,0:02:23.40,0:02:25.65,Default,,0000,0000,0000,,from a variety of sources,\Nbut it was difficult
Dialogue: 0,0:02:25.65,0:02:26.76,Default,,0000,0000,0000,,because she was a woman.
Dialogue: 0,0:02:26.76,0:02:28.11,Default,,0000,0000,0000,,Steven: Her first formal classes were at
Dialogue: 0,0:02:28.11,0:02:29.53,Default,,0000,0000,0000,,the Pennsylvania Academy of Art,
Dialogue: 0,0:02:29.53,0:02:32.35,Default,,0000,0000,0000,,but women were not allowed\Nto study from the nude,
Dialogue: 0,0:02:32.35,0:02:34.44,Default,,0000,0000,0000,,even from within the\Ncontext of art school.
Dialogue: 0,0:02:34.44,0:02:36.85,Default,,0000,0000,0000,,Beth: And like many\Nartists of her generation,
Dialogue: 0,0:02:36.85,0:02:39.85,Default,,0000,0000,0000,,they moved to Paris where there\Nwas a little bit more freedom
Dialogue: 0,0:02:39.85,0:02:42.18,Default,,0000,0000,0000,,for women who were aspiring artists.
Dialogue: 0,0:02:42.18,0:02:44.80,Default,,0000,0000,0000,,Although she couldn't enter\Nthe Ăcole des Beaux-Arts
Dialogue: 0,0:02:44.80,0:02:45.64,Default,,0000,0000,0000,,because she was a woman,
Dialogue: 0,0:02:45.64,0:02:47.98,Default,,0000,0000,0000,,she did enter the private studio
Dialogue: 0,0:02:47.98,0:02:51.61,Default,,0000,0000,0000,,of several accomplished\Nartists and studied with them.
Dialogue: 0,0:02:51.61,0:02:53.61,Default,,0000,0000,0000,,Steven: But the world was still\Na restrictive one for her,
Dialogue: 0,0:02:53.61,0:02:55.61,Default,,0000,0000,0000,,even in Paris, and she\Nwas not, for instance,
Dialogue: 0,0:02:55.61,0:02:59.73,Default,,0000,0000,0000,,able to spend time with her\Nfriends like Degas at the cafes.
Dialogue: 0,0:02:59.73,0:03:02.10,Default,,0000,0000,0000,,We see that, actually,\Nreflected in her subject matter,
Dialogue: 0,0:03:02.10,0:03:03.63,Default,,0000,0000,0000,,which tends to be domestic,
Dialogue: 0,0:03:03.63,0:03:05.86,Default,,0000,0000,0000,,or perhaps a night out at the opera.
Dialogue: 0,0:03:05.86,0:03:08.47,Default,,0000,0000,0000,,Beth: It's difficult, I think,\Nto remember those restrictions
Dialogue: 0,0:03:08.47,0:03:09.96,Default,,0000,0000,0000,,for women when we look at this painting
Dialogue: 0,0:03:09.96,0:03:12.27,Default,,0000,0000,0000,,because there's an\Nextraordinary sense of freedom
Dialogue: 0,0:03:12.27,0:03:14.68,Default,,0000,0000,0000,,about the woman who's depicted here.
Dialogue: 0,0:03:14.68,0:03:17.96,Default,,0000,0000,0000,,She's leaning back on her right elbow.
Dialogue: 0,0:03:17.96,0:03:20.69,Default,,0000,0000,0000,,There's a strong diagonal\Nthat has a sense of
Dialogue: 0,0:03:20.69,0:03:24.83,Default,,0000,0000,0000,,informality and movement,\Nreal self-confidence
Dialogue: 0,0:03:24.83,0:03:26.50,Default,,0000,0000,0000,,Steven: The woman with a pearl necklace,
Dialogue: 0,0:03:26.50,0:03:29.81,Default,,0000,0000,0000,,perhaps Lydia seems so much\Nher own agent in the world,
Dialogue: 0,0:03:29.81,0:03:33.17,Default,,0000,0000,0000,,and it really does remind us\Nof the tensions that existed
Dialogue: 0,0:03:33.17,0:03:34.87,Default,,0000,0000,0000,,at the end of the 19th century,
Dialogue: 0,0:03:34.87,0:03:37.20,Default,,0000,0000,0000,,as women were really entering\Ninto the public space.
Dialogue: 0,0:03:37.20,0:03:39.55,Default,,0000,0000,0000,,You know that the tension\Nbetween public and private
Dialogue: 0,0:03:39.55,0:03:41.77,Default,,0000,0000,0000,,is played out, not only in\Nterms of the subject matter,
Dialogue: 0,0:03:41.77,0:03:45.05,Default,,0000,0000,0000,,not only the fact that they're\Nin a kind of semi-private space
Dialogue: 0,0:03:45.05,0:03:47.71,Default,,0000,0000,0000,,within this booth in the public\Nspace of the opera house,
Dialogue: 0,0:03:47.71,0:03:50.87,Default,,0000,0000,0000,,but also in the contrast\Nbetween light and shadow
Dialogue: 0,0:03:50.87,0:03:52.43,Default,,0000,0000,0000,,that plays across Lydia's body.
Dialogue: 0,0:03:52.43,0:03:55.37,Default,,0000,0000,0000,,Look at the way the light picks\Nup only the side of her face.
Dialogue: 0,0:03:55.37,0:03:56.93,Default,,0000,0000,0000,,The front of her face is in shadow.
Dialogue: 0,0:03:56.93,0:03:59.43,Default,,0000,0000,0000,,Not only is it rather\Nbrave on Cassatt's part,
Dialogue: 0,0:03:59.43,0:04:02.96,Default,,0000,0000,0000,,but it also speaks to the\Nrepresentation of bourgeois culture,
Dialogue: 0,0:04:02.96,0:04:05.41,Default,,0000,0000,0000,,this notion of privacy and its importance,
Dialogue: 0,0:04:05.41,0:04:08.07,Default,,0000,0000,0000,,even as one views the stage with others.
Dialogue: 0,0:04:08.07,0:04:09.46,Default,,0000,0000,0000,,Beth: Cassatt has so much in common
Dialogue: 0,0:04:09.46,0:04:12.50,Default,,0000,0000,0000,,with her impressionist colleagues\Nand is really picking up
Dialogue: 0,0:04:12.50,0:04:14.87,Default,,0000,0000,0000,,on some of the most advanced problems
Dialogue: 0,0:04:14.87,0:04:16.70,Default,,0000,0000,0000,,that they were confronting in their art,
Dialogue: 0,0:04:16.70,0:04:20.11,Default,,0000,0000,0000,,an interest in artificial\Nlight, for example.
Dialogue: 0,0:04:20.11,0:04:24.28,Default,,0000,0000,0000,,The informality of loose\Nbrushwork of an attempt to capture
Dialogue: 0,0:04:24.28,0:04:26.17,Default,,0000,0000,0000,,a moment in time.
Dialogue: 0,0:04:26.17,0:04:27.98,Default,,0000,0000,0000,,These are all concerns that were important
Dialogue: 0,0:04:27.98,0:04:30.28,Default,,0000,0000,0000,,to her impressionist colleagues.
Dialogue: 0,0:04:30.28,0:04:31.91,Default,,0000,0000,0000,,Steven: One of the areas\Nthat I found most interesting
Dialogue: 0,0:04:31.91,0:04:34.67,Default,,0000,0000,0000,,is the place where her shoulders meet.
Dialogue: 0,0:04:34.67,0:04:36.49,Default,,0000,0000,0000,,The representation of her shoulders
Dialogue: 0,0:04:36.49,0:04:39.96,Default,,0000,0000,0000,,and the representation of the\Nreflection of her shoulders,
Dialogue: 0,0:04:39.96,0:04:41.90,Default,,0000,0000,0000,,and all of that comes together
Dialogue: 0,0:04:41.90,0:04:44.92,Default,,0000,0000,0000,,just at the top of the upholstered\Nchair that she sits on,
Dialogue: 0,0:04:44.92,0:04:47.17,Default,,0000,0000,0000,,and if you work out from that point,
Dialogue: 0,0:04:47.17,0:04:51.34,Default,,0000,0000,0000,,the arc of the balcony that\Nwe see reflected in the mirror
Dialogue: 0,0:04:51.34,0:04:54.22,Default,,0000,0000,0000,,becomes a reference to her vision,
Dialogue: 0,0:04:54.22,0:04:56.08,Default,,0000,0000,0000,,as she looks out at the audience,
Dialogue: 0,0:04:56.08,0:04:58.51,Default,,0000,0000,0000,,even as it looks back to her.
Dialogue: 0,0:04:58.51,0:05:02.21,Default,,0000,0000,0000,,(piano music playing)