>> HOST: COMING UP ON ARTWORKS.

SURREALIST PAINTER RENE MAGRITTE

WHERE THE ORDINARY BECOMES

MYSTERIOUS.

>> AND IT IS THE VERY,

VERY FIRST EVER TO LOOK AT

HOW AND WHEN DID MAGRITTE

BECOME MAGRITTE.

>> HOST: WHAT IT TAKES

TO BECOME LEAD CELLIST

FOR THE BALTIMORE SYMPHONY

ORCHESTRA.

>> I ABSOLUTELY STRIVE

FOR TECHNICAL PERFECTION.

>> HOST: A PHOTOGRAPHER CAPTURES

THE MYTHIC AND VANISHING

WESTERN FRONTIER.

>> MY ANCESTORS CAME HERE

FROM VALENCIA, SPAIN,

IN THE 1840s AND THEY WERE

COMING TO TUCSON BY COVERED

WAGON.

>> HOST: AND WOVEN REVELATIONS

BEHIND A CURTAIN OF SOOT.

>> THE MUSEUM SENT FOUR

TAPESTRIES TO BELGIUM

FOR HIGH TECH CLEANING.

THE RESULT WAS A REVELATION.

UP NEXT ON ARTWORKS!

CLOSED CAPTIONING HAS BEEN MADE

POSSIBLE BY MARYLAND RELAY,

EMPOWERING THOSE WHO ARE DEAF,

HARD OF HEARING

OR SPEECH DISABLED

TO STAY CONNECTED BY PHONE.

>> ANNOUNCER: ARTWORKS IS MADE

POSSIBLE IN PART BY THE CITIZENS

OF BALTIMORE COUNTY.

>> RHEA: WELCOME TO ARTWORKS.

WE BRING YOU ARTISTS FROM

ACROSS THE COUNTRY

AND IN EVERY GENRE,

FROM DANCE, AND PAINTING,

TO ANIMATION.

I'M YOUR HOST, RHEA FEIKIN,

AND I'M REALLY EXCITED

TO INTRODUCE OUR MOST

DISTINGUISHED CO-HOST.

>> AND I'M KIMBERLY JONES,

ASSOCIATE CURATOR

OF FRENCH PAINTINGS AT

THE NATIONAL GALLERY OF ART

IN WASHINGTON, DC.

>> RHEA: WELL,

LAST WEEK DEGAS AND CASSATT,

WHAT'S NEXT?

>> KIMBERLY: WELL,

ANOTHER REALLY EXCITING

EXHIBITION WE HAVE ALSO OPENING

IN MAY IS ANDREW WYETH

"LOOKING OUT, LOOKING IN."

>> RHEA: "LOOKING OUT,

LOOKING IN,"

THERE MUST BE A REASON FOR THAT

TITLE.

>> KIMBERLY: THERE IS INDEED.

ALTHOUGH ANDREW WYETH

IS A GREAT AMERICAN ARTIST,

IS A NAME THAT PEOPLE KNOW,

BUT THEY KNOW HIM MOSTLY FOR HIS

FIGURAL WORKS.

PAINTINGS LIKE

"CHRISTINA'S WORLD" FOR EXAMPLE.

BUT THIS EXHIBITION IS A BIT

UNUSUAL BECAUSE IT FOCUSES ON

HIS "WINDOW ICONOGRAPHY."

THIS IS AN EXTRAORDINARY BODY

OF WORKS,

ITS 300 WORKS OF "THE WINDOW."

AND WE WILL INCLUDE 60 OF THEM

IN THIS EXHIBITION WHICH I THINK

IS GOING TO BE A FASCINATING

REVELATION FOR OUR VISITORS.

>> RHEA: SO,

THEY'RE GOING TO SEE AN

ABSOLUTELY OTHER SIDE OF HIM

FROM THE ONE THAT WE USUALLY

THINK OF.

>> KIMBERLY: ABSOLUTELY,

IT'S A COMPLETELY FRESH

PERSPECTIVE ON A VERY WELL

KNOWN ARTIST.

PEOPLE HAVE LOTS OF TIME IT'S ON

VIEW AT THE NATIONAL GALLERY

FROM MAY 4TH THROUGH

NOVEMBER 30TH.

AND ONLY IN WASHINGTON,

ANOTHER ONE THAT THEY WILL HAVE

TO COME TO TOWN TO SEE.

>> RHEA: GREAT.

WHAT ABOUT THE FUTURE,

IS THERE SOMETHING THAT WE

ABSOLUTELY HAVE TO LOOK FORWARD

TO?

>> KIMBERLY: ONE GREAT

EXHIBITION WE HAVE AT THE VERY

END OF THE YEAR IS EL GRECO FROM

WASHINGTON AREA COLLECTIONS.

AND THIS IS AN EXHIBITION IN

CELEBRATION OF THE 400TH

ANNIVERSARY OF THE DEATH

OF THIS VERY FAMOUS ARTIST.

A GREEK ARTIST NAMED EL GRECO

WHO SPENT HIS ENTIRE CAREER

IN SPAIN WHERE HE DEVELOPED

QUITE THE REPUTATION AS A GREAT

PAINTER OF RELIGIOUS SUBJECTS.

>> RHEA: I CAN'T WAIT TO SEE IT.

HE IS ONE OF MY FAVORITE

PAINTERS.

IT ALL SOUNDS EXCITING,

SO MARK YOUR CALENDARS!

AND NOW ONTO OUR FIRST STORY

ANOTHER MAJOR EXHIBITION.

FOR THE FIRST TIME,

WORKS BY BELGIAN SURREALIST

RENE MAGRITTE ARE ON A U.S.

TOUR.

>> KIMBERLY: FIRST STOP WAS

THE MUSEUM OF MODERN ART

IN NEW YORK.

CURATOR ANNE UMLAND GIVES US

AN INSIDER VIEW.

*

>> ANNE UMLAND: THIS IS

THE FIRST MAJOR MUSEUM

EXHIBITION OF MAGRITTE'S WORK

IN NEW YORK CITY TO BE HELD

IN OVER A GENERATION.

AND IT IS THE VERY,

VERY FIRST EVER TO LOOK AT

HOW AND WHEN DID MAGRITTE

BECOME MAGRITTE.

THE TITLE OF THE EXHIBITION

"MAGRITTE: THE MYSTERY

OF THE ORDINARY, 1926-1938"

BEGAN WITH A PHRASE THAT

MAGRITTE'S CLOSE FRIEND

AND CONTEMPORARY,

A BELGIAN SURREALIST PAUL NOUGE

SAID ABOUT MAGRITTE'S WORK

IN 1931:

TO LOOK AT MAGRITTE'S PAINTINGS

AND TO TURN AWAY FROM THEM

AGAIN AND TO CONFRONT THE WORLD

ITSELF WAS TO FIND THAT REALITY

HAD BEEN ALTERED.

THERE ARE NO LONGER ANY ORDINARY

THINGS.

MAGRITTE SOUGHT TO REVEAL

THE MYSTERY THAT HE BELIEVED

TO BE LATENT IN EVERY OBJECT.

AND SO,

WE ENDED UP PUTTING THOSE

TWO WORDS TOGETHER,

MYSTERY AND ORDINARY,

BECAUSE I THINK WITH MAGRITTE

HE'S ALWAYS CREATING WORKS

THAT GO BACK AND FORTH BETWEEN

THINGS THAT ARE SO RECOGNIZABLE

AND NAMABLE, AND YET,

HE MAKES THEM DEEPLY MYSTERIOUS.

*

MAGRITTE HAS A RATHER UNIQUE

BACKGROUND IN THAT HE TRAINED

BOTH IN A FINE ARTS ACADEMY

AND AS A COMMERCIAL ARTIST.

I THINK THAT THE KIND OF BOLD,

GRAPHIC, LEGIBLE,

IDENTIFIABLE CLARITY THAT

HE ACHIEVES IN HIS PAINTING

SURELY IS INFORMED BY

A COMMERCIAL BACKGROUND.

*

FOR ME,

THE BEAUTY OF DOING A SHOW

THAT IS A SLICE LIKE THIS,

THAT'S THIS SORT OF INTENSELY

INNOVATIVE 13 YEAR PERIOD

IS THAT YOU GET TO GO IN-DEPTH.

*

THE EXHIBITION IN ITS MOST BASIC

IS CHRONOLOGICAL.

"THE LOST JOCKEY"

IS ONE OF A WHOLE GROUP

OF COLLAGES THAT MAGRITTE

MADE IN 1926 AND 1927.

IT COMBINES A NUMBER

OF MAGRITTE'S EARLY TECHNIQUES,

AND IMAGES,

AND TYPES OF MATERIALS.

SO,

THERE ARE THESE STRANGE FORMS

THAT LOOK A LITTLE BIT

LIKE CHESS PIECES,

THAT MAGRITTE CALLED

"BILBOQUET."

AND IN ENGLISH,

THE WORD "BILBOQUET" REFERS

TO A CHILD'S CUP-AND-BALL TOY.

THERE'S ALSO IN THIS PICTURE,

THE IDEA OF THE STAGE.

THE CURTAINS OPEN ON EITHER

SIDE.

HE'S TELLING US THIS IS SOME

MAGICAL SURREAL PLACE.

THE CENTRAL ELEMENT IS THIS

CHARCOAL DRAWN FIGURE

OF A HORSE AND JOCKEY.

AND MAGRITTE'S FRIENDS

AT THAT MOMENT IDENTIFIED THAT

FIGURE WITH THE ARTIST HIMSELF,

SORT OF GALLOPING OFF INTO

THE UNKNOWN OF THE AVANT-GARDE.

SURREALISM WAS A MOVEMENT THAT

WAS FOUNDED BY A PARIS POET

NAMED ANDRE BRETON IN 1924

AND AT ITS ESSENCE IT ASKED

PEOPLE TO TAKE NOTHING

FOR GRANTED.

AND I THINK THAT,

THAT WHOLE IDEA OF BEHIND

ORDINARY EVERY DAY APPEARANCES,

THERE IS ALWAYS ANOTHER REALITY

OR SURREALITY,

IS JUST KEY TO UNDERSTANDING

MAGRITTE'S LARGER PROJECT

OF DE-FAMILIARIZING

THE FAMILIAR OR HELPING US TO

LOOK AT THE WORLD AROUND US

WITH FRESH EYES.

"THE TREACHERY OF IMAGES"

IS PROBABLY MAGRITTE'S MOST

DIRECT INTERROGATION OF WHAT

IT MEANS TO MAKE A PICTURE

AND WHAT THE ACT

OF REPRESENTATION ENTAILS.

HE PRESENTS YOU WITH THIS

ABSOLUTELY LEGIBLE IMAGE

OF A PIPE.

AND THEN UNDERNEATH IT,

IN SORT OF SCHOOL BOY

OR GIRL SCRIPT WRITES,

"CECI N'EST PAS UNE PIPE":

"THIS IS NOT A PIPE."

AND THAT IMMEDIATELY, SORT OF,

THROWS EVERYTHING UP INTO

QUESTION.

NEITHER WORDS NOR PICTURES

ARE EVER THE SAME AS THE THINGS

THEMSELVES,

THEY ARE JUST CONVENTIONS.

*

THERE ARE A NUMBER OF WORKS

IN THE SHOW THAT HAVE NEVER BEEN

SEEN IN THE UNITED STATES

BEFORE.

AMONG THEM, FOR INSTANCE,

"NOT TO BE REPRODUCED,"

THIS ANTI-PORTRAIT FROM 1937

OF MAGRITTE'S GREAT PATRON,

THE ECCENTRIC BRITISH COLLECTOR

EDWARD JAMES.

*

ALL THE DIFFERENT THEMES

THAT YOU SEE THROUGHOUT

THE SHOW.

THE DOUBLING, AND REPETITION,

AND MIRRORING,

AND CONCEALMENT I THINK

ARE SO BEAUTIFULLY ENCAPSULATED

IN THIS PORTRAIT.

AND,

JUST TO KEEP THINGS FROM

BEING TOO OBVIOUS,

THE BOOK BY EDGAR ALLEN POE,

WHO WAS ONE MAGRITTE'S

FAVORITE AUTHORS,

IS REFLECTED IN THE CONVENTIONAL

WAY IN THE MIRROR.

SO,

RIGHT AWAY YOU HAVE THESE

TWO CONTRADICTORY SYSTEMS

AND THE MORE YOU LOOK THE MORE

YOU SEE THESE THINGS

THAT DON'T ADD UP.

>> KIMBERLY: THE MAGRITTE

EXHIBITION IS AT

THE MENIL COLLECTION IN HOUSTON

UNTIL THE BEGINNING OF JUNE,

AND COMPLETES ITS TOUR AT

THE ART INSTITUTE OF CHICAGO

IN MID-OCTOBER.

>> RHEA: OUR NEXT ARTIST

IS BALTIMORE-BASED.

DARIUSZ SKORACZEWSKI

IS PRINCIPAL CELLIST

FOR THE BALTIMORE SYMPHONY

ORCHESTRA.

HE'S WON MANY AWARDS,

INCLUDING A BAKER ARTIST

AWARD LAST YEAR.

>> KIMBERLY: DARIUSZ IS IMMERSED

IN MUSIC FROM EARLY

TO CONTEMPORARY.

YOU COULD SAY HE'S A MUSICIAN'S

MUSICIAN.

>> DARIUSZ SKORACZEWSKI: WHEN I

WAS ABOUT SIX OR SEVEN YEARS OLD

BACK IN WARSAW, POLAND,

MY PARENTS TOOK ME TO

A ELEMENTARY MUSIC SCHOOL.

YOU GOT A CHOICE OF VIOLIN,

CELLO, OR PIANO.

AND IT HAPPENED THAT I WAS

ALREADY VERY TALL FOR

A SIX-YEAR-OLD,

AND A CELLO WAS A NATURAL CHOICE

FOR ME AT THAT POINT.

AND I'VE BEEN PLAYING EVER

SINCE.

MY NAME IS DARIUSZ SKORACZEWSKI.

I'M A CELLIST;

PRINCIPAL CELLIST FOR

THE BALTIMORE SYMPHONY

ORCHESTRA.

MAINLY I'VE BEEN PLAYING

IN BALTIMORE SYMPHONY BUT

I'VE PLAYED IN MANY,

MANY CHAMBER GROUPS,

PIANO TRIO, AND QUARTETS,

AND SEXTETS, OCTETS,

JUST ABOUT ANY CONFIGURATION

OF INSTRUMENTS.

I THINK THE CELLO

IS JUST A VERY,

VERY BEAUTIFUL INSTRUMENT.

ESPECIALLY WHEN YOU PLAY THINGS

LIKE A BACH SOLO SUITE,

WHEN IT'S QUIET, AND MELLOW,

AND JUST BEAUTIFUL.

*

WHAT I TRY TO DO IN MY

PERFORMANCES IS MAKE

OF THE AUDIENCE,

FIRST OF ALL,

UNDERSTAND THE PIECE.

ESPECIALLY IF THEY HAVEN'T HEARD

IT BEFORE.

*

I TRY TO PLAY AS BEAUTIFULLY

AS HUMANLY POSSIBLE.

ALWAYS DOING, YOU KNOW,

200% OF MY EFFORT.

*

I ABSOLUTELY STRIVE

FOR TECHNICAL PERFECTION.

*

I'VE PLAYED VERY EARLY MUSIC,

AND BAROQUE MUSIC,

CLASSICAL MUSIC, ROMANTIC,

20TH CENTURY.

*

MODERN MUSIC IS SOMETHING

THAT I REALLY LIKE.

*

LUTOSLAWSKI'S SACHER VARIATION,

I REALLY LOVE THAT PIECE.

IT EXPLORES DIFFERENT TECHNIQUES

THAT AUDIENCES SOMETIMES

ARE NOT USED TO,

*

I TRY TO BE FULLY ENGAGED,

ALWAYS, IN A PERFORMANCE.

I PUT MY HEART COMPLETELY

INTO EVERY SINGLE OPPORTUNITY

THAT I GET.

>> RHEA: I LOVE THE SOUND

OF A CELLO.

AND I PARTICULARLY LIKE

THE BACH SOLO SUITES.

>> KIMBERLY: ABSOLUTELY,

AND THE CELLO REALLY

IT PROVIDES SUCH DEPTH

AND RICHNESS AND THAT MELANCHOLY

NOTE TO THE ORCHESTRA.

IT IS JUST AMAZING.

>> RHEA: SO YOU LIKE IT TOO.

>> KIMBERLY: I DO TOO.

>> RHEA: AND YOU CAN SEE MORE

OF HIS WORK AT

TWO WEBSITES DSKORA.COM

AND BAKERARTISTAWARDS.ORG.

>> RHEA: NEXT,

WE MEET PHOTOGRAPHER

SCOTT BAXTER,

WHO'S FOUND INSPIRATION

IN THE AMERICAN FRONTIER

IN ARIZONA.

>> KIMBERLY: BAXTER HAS

PHOTOGRAPHED OVER ONE HUNDRED

ANCESTRAL CATTLE RANCHES.

HIS MISSION,

DOCUMENT THE VANISHING

TRADITIONS OF AMERICA'S

LEGENDARY WE.

>> HEY! HEY!

(MOOING)

>> SCOTT BAXTER: SOME OF THESE

RANCHES THAT WE'RE PHOTOGRAPHING

AREN'T GOING TO BE AROUND

BECAUSE DEVELOPMENT IS GONNA

FIND ITS WAY IN.

AND THERE'S A LOT OF RANCHES

I KNOW THAT THERE'S NO ONE

COMING UP BEHIND THEM, SO,

THEY'LL MOST LIKELY BE SOLD.

AND I JUST THOUGHT,

WHAT IF PHOTOGRAPHICALLY I COULD

AT LEAST TRY TO RECORD SOME

OF THESE FAMILIES THAT

HAVE BEEN AROUND HERE SINCE 1912

OR EARLIER.

AND THAT'S HOW IT

KIND OF STARTED THAT WAY.

I DIDN'T REALLY PLAN TO DO

ANYTHING WITH IT,

I JUST WANTED TO SEE IF I COULD

ACCOMPLISH IT.

>> SCOTT: WE CALL IT

"100 YEARS, 100 RANCHERS."

AND BASICALLY THE CRITERIA

IS THE FAMILY HAS BEEN RANCHING

IN ARIZONA CONTINUOUSLY SINCE

1912 OR EARLIER.

>> HENRY AMADO: MY ANCESTORS

CAME HERE FROM VALENCIA, SPAIN,

IN THE 1840s AND THEY WERE

COMING TO TUCSON BY COVERED

WAGON.

THIS IS THE AMADO FAMILY

THIS IS MY GREAT GRANDFATHER.

BY 1852 IS WHEN THEY SET UP

TO RANCH IN ALAMO BONITO,

IN WHAT IS CALLED "AMADO."

>> SCOTT BAXTER: THIS FAMILY

IS A VERY HISTORIC FAMILY,

AND GOES BACK A LONG WAYS,

AND A BEAUTIFUL RANCH TOO.

ONE OF MY,

SANTA CRUZ COUNTY'S

PROBABLY ONE OF MY FAVORITE

PLACES TO BE IN THE WHOLE STATE.

THE PHOTOGRAPHS SHOULD BE

REALLY EASY FOR YOU TO LOOK AT.

DOESN'T MEAN IT HAS TO BE

POLLYANNAISH,

OR BEAUTIFUL, OR ANYTHING.

JUST HAS TO BE EASY.

IF IT'S EASY, IT'S GOOD.

IF I PUSH TOO HARD,

IF I REALLY TRY TOO HARD

TO PUSH A PHOTOGRAPH,

IT DOESN'T WORK OUT FOR ME.

I KIND OF LET THE PHOTOGRAPH

COME TO ME.

THERE'S NOT A SET PROCESS.

I WANT TO GET THIS SIDE, TOO,

BECAUSE IT'S GOT YOUR BRAND

ON THE HORSE'S SHOULDER.

ASIDE FROM SCOUTING A LITTLE

BIT THE DAY BEFORE OR KNOWING

I WANTED TO USE THAT BIG

SYCAMORE TREE.

THERE'S NOT A, YOU KNOW,

I DON'T HAVE A LIST WHAT

I'M GOING TO DO.

I JUST KIND OF WALK IN

AND IT'S KIND OF THE WAY

I ALWAYS WORK.

I JUST KIND OF WING IT

AND KIND OF WORKS FOR ME.

DOESN'T WORK FOR EVERYBODY,

BUT IT DOES FOR ME.

THE LAST ONE WITH THE CAMERA

FOR NOW AT LEAST.

>> HENRY AMADO: I WAS

STANDING THERE.

>> SCOTT: STRAIGHT IN.

>> HENRY: LAST EVENING

BY THE TREE,

AND BETWEEN TWO HORSES,

AND WITH MY SON, AND GRANDSON,

ON EACH SIDE OF ME.

VERY PROUD.

>> SCOTT: JUST GIVES YOU

AN IDEA.

IT'S A SMALL SHOT.

NOW,

YOU GOT TO KIND OF LOOK AT IT.

I WANT TO SHOW THAT PRIDE.

I MEAN THEY'RE VERY...

AS A GROUP,

THEY'RE VERY PROUD OF THEIR

HERITAGE AND PROUD OF WHAT

THEY DO.

SO THAT'S WHERE WE'RE AT.

WE'RE GOING TO SHOOT A FEW MORE

WITH THIS CAMERA.

WITH THE PORTRAITS,

YOU JUST KIND OF,

YOU KIND OF TAKE A LITTLE MORE

TIME AND GET THE FRAME THE WAY

YOU WANT IT

AND READ THE LIGHT AND SHOOT IT.

5-6-125.

>> HENRY: I THINK IT'S

A WONDERFUL THING THAT SCOTT

CAME UP WITH THIS IDEA.

>> SCOTT: THIS IS ACTUALLY VERY

NICE, WHERE WE'RE AT NOW.

>> HENRY: IT'S RECORDED HISTORY.

>> SCOTT: I DON'T THINK THEY'RE

REALLY LOOKING FOR RECOGNITION

BUT I THINK THEY LIKE THE FACT

THERE'S GOING TO BE A RECORD

OF THIS SOMEWHERE.

FOR THEIR KIDS.

I TREATED THIS IN A LOT OF WAYS

JUST LIKE IT COULD HAVE BEEN

SHOT, YOU KNOW, 100 YEARS AGO.

I BRING A DIGITAL WITH ME,

BUT THAT'S TO SHOOT STUFF

FOR THEM.

WE'RE SHOOTING STRAIGHT

BLACK, AND WHITE,

NO LIGHTS,

SO IT'S BASICALLY CAMERA,

FILM, AND A TRIPOD.

AND THAT KIND OF FORCES ME

TO REALLY THINK ABOUT MY

COMPOSITION BECAUSE I DON'T HAVE

A LOT OF TRICKS IN MY BAG,

AND IT KIND OF MAKES YOU THINK

A LITTLE BIT MORE

AS A PHOTOGRAPHER.

(MOOING)

>> HENRY: I DON'T KNOW OF ANY

RANCHER THAT DOESN'T WORK HARD.

THEY HAVE TO.

NO,

I DON'T HAVE TO DO THIS.

I'VE ALWAYS BEEN A VERY

SUCCESSFUL C.P.A. AND WITH

MY SON AS MY PARTNER,

THE BUSINESS IS STILL GOING,

AND MAYBE THAT'S WHY I CAN

AFFORD TO BE HERE,

BECAUSE IF HE'S THERE,

I DON'T HAVE TO BE

AT THE OFFICE.

BUT I ENJOY BEING HERE AND,

AT MY AGE, I DESERVE TO BE HERE.

I THINK IT'S LOVE OF THE RANCH,

LOVE OF THE LAND.

>> SCOTT: THE BRANDINGS CAN BE

KIND OF EXCITING.

YOU GOT TWO GUYS ROPING,

AND DRAGGING CALVES,

AND YOU'VE GOT THREE,

OR FOUR COWBOYS THROWING COWS

ON THE GROUND.

SOMETIMES WITH THE ACTION STUFF,

I DON'T HAVE TIME TO DO TOO MUCH

BUT JUST KIND OF HANG IN THERE.

YOU DON'T WANT TO BE THE CAUSE

OF SOMEBODY GETTING HURT.

YOU DON'T WANT TO BE THE CAUSE

OF LIVESTOCK GETTING INJURED.

AND YOU CERTAINLY DON'T WANT

TO GET HURT YOURSELF.

SO,

YOU STAY DIALED IN TO THE FRAME.

BUT YOU CERTAINLY KIND OF HAVE

TO HAVE A FEW THINGS GOING ON

IN YOUR HEAD AT THE SAME TIME,

AND KEEP YOURSELF COGNIZANT

OF WHAT'S REALLY GOING ON

AROUND YOU.

THIS ONE IS A BIT MORE THIS

LIKE THE OLD STYLE.

I'VE NOT HAD A BAD EXPERIENCE.

AND I'VE GOT A STORY FOR EVERY

SINGLE RANCH THAT I'VE BEEN IN.

THAT'S PERFECT, RIGHT THERE.

HOLD THAT YOU KNOW

THE PHOTOGRAPHS ARE THE ICING

ON THE CAKE,

BUT THE REAL THING IS I JUST

(VOICES) THAT'S IT?

>> SCOTT: THANK YOU SIR.

IT'S IN?

YEA, THAT'S IT.

YOU KNOW THERE ARE A GREAT GROUP

OF PEOPLE.

I HAVE JUST BEEN HONORED

TO HAVE THE OPPORTUNITY TO MEET

THEM AND SPEND SOME TIME

WITH THEM.

THEY ARE ALL HARD WORKING.

THEY ARE JUST HARD WORKING

PEOPLE WHO JUST LIKE,

THEY LOVE WHAT THEY DO.

AND THEY REALLY LOVE THEIR LAND.

AND THAT'S THE THING THAT

I'VE KIND OF COME AWAY WITH.

THEY REALLY LOVE THIS LAND

AND THEY REALLY WANT

TO TAKE CARE OF IT.

>> KIMBERLY: BAXTER HAS

PUBLISHED A BOOK OF HIS

PHOTOGRAPHS AND YOU CAN FIND

IT AT

ONEHUNDREDYEARSONEHUNDRED

RANCHERS.COM.

>> RHEA: OUR LAST STORY

LOOKS BEHIND THE SCENES AT

A MAJOR ART MUSEUM.

>> RHEA: KIMBERLY,

I SUSPECT YOU ARE FAMILIAR WITH

THESE KINDS OF ADVENTURES?

>> KIMBERLY: OH, ABSOLUTELY.

PEOPLE HAVE NO IDEA WHAT GOES ON

BEHIND THE SCENES.

AND HOW COMPLICATED

AND TIME CONSUMING IT IS TO

MAINTAIN YOUR PERMANENT

COLLECTION,

LET ALONE MOUNT A TEMPORARY

EXHIBITION.

>> RHEA: DO YOU REMEMBER

A SPECIFIC RESTORATION PROJECT?

>> KIMBERY: WELL,

ONE THAT WAS VERY EXCITING THAT

I WAS INVOLVED IN WAS

THE CLEANING OF OUR

EDOUARD MANET PAINTING,

"THE OLD MUSICIAN."

IT WAS A VERY BIG,

VERY COMPLEX TRANSFORMATION

BUT WHEN IT WAS DONE

THE PAINTING WAS AN ABSOLUTE

REVELATION.

IT WAS LIKE A BRAND NEW

PAINTING.

>> RHEA: THAT MUST HAVE BEEN

THRILLING FOR ALL OF YOU

WHO WORKED ON IT.

>> KIMBERLY: OH, IT WAS.

>> RHEA: OUR LAST SEGMENT

FOLLOWS THE COMPLICATED PROCESS

OF MAINTAINING PRICELESS 16TH

CENTURY TAPESTRIES AT

THE ISABELLA STEWART GARDNER

MUSEUM IN BOSTON.

>> KIMBERLY: IT TOOK SEVEN

MONTHS,

BUT CLEANING THESE FLEMISH

TAPESTRIES REVEALED SCENES

AND COLORS NEVER BEFORE SEEN.

REPORTER JARED BOWEN GIVES

TAKES US THERE.

>> JARED BOWEN: ONE OF

THE GRANDEST SPACES IN

THE ISABELLA STEWART GARDNER

MUSEUM IS THE SOARING,

4,000 SQUARE FOOT TAPESTRY ROOM.

OPENED IN 1914 TO HOUSE

TAPESTRIES MRS. GARDNER

COLLECTED OVER 35 YEARS,

IT WAS ALSO ONE OF THE FIRST

SPACES THE MUSEUM TURNED

TO AFTER OPENING ITS NEW WING.

>> TESS FREDETTE: THIS ROOM HAS

JUST BEEN REFURBISHED BRINGING

THIS ROOM BACK TO THE GLORY

OF WHAT IT ONCE WAS.

>> JARED: THE MUSEUM TREATED

PAINTINGS,

RETURNED THE TILE FLOOR

TO ITS ORIGINAL SHINE,

IMPROVED THE LIGHTING

AND COMPLETELY RESTORED ITS

14TH CENTURY FRENCH FIREPLACE.

PERHAPS MOST DAUNTING THOUGH,

WAS THE CLEANING OF ITS

LONG-SOILED 16TH CENTURY

FLEMISH TAPESTRIES LIKE THIS

ONE.

>> TESS: IT HASN'T BEEN CLEANED

SINCE THE '60s

AND AT THAT PARTICULAR TIME

THERE WERE STILL FIRES IN

THE FIREPLACE,

AND WE WERE STILL BURNING COAL.

SO IT WAS A RATHER SOOTY

ENVIRONMENT.

SO WE NEED TO REMOVE SOME

OF THAT SOOT.

>> JARED: TESS FREDETTE

IS THE TEXTILE CONSERVATOR AT

THE GARDNER MUSEUM.

WE MET WITH HER LAST OCTOBER

AS SHE PREPPED THE TAPESTRY

FOR CLEANING.

IT'S BEING SENT ALL THE WAY

TO BELGIUM.

>> TESS: CORRECT.

SO, THAT'S THE NEAREST PLACE,

YOU CAN'T OBVIOUSLY TAKE

THIS TO ZOOTS.

>> TESS: EXACTLY.

THE REASON WHY WE'RE GOING

TO DEWITT IN BELGIUM IS BECAUSE

THEY HAVE THIS SORT OF STATE

OF THE ART CLEANING SYSTEM

THAT I BELIEVE IS THE WAVE

OF THE FUTURE.

>> JARED: BUT FIRST,

ONE OF THE MUSEUM'S MOST FRAGILE

MASTERPIECES HAD TO BE REMOVED

AND ROLLED.

>>TESS: IT'S MORE

NERVE-WRACKING A LITTLE BIT.

BECAUSE A PIECE OF CLOTH,

IT'S VERY FLEXIBLE,

SO WE WANT TO BE CAREFUL

NOT TO BEND IT,

ALTHOUGH ONCE IT CURLS

ONTO THE FLOOR IT WILL BEND,

SO WE HAVE TO MAKE SURE

IT'S REALLY A GENTLE HANDLING.

>> OKAY, PASSING IT DOWN TO YOU.

>> OKAY. ALRIGHT, GOT IT.

>> TESS: AND WE'LL JUST GET IT

UNWOUND AS SOON AS WE CAN.

>> JARED: OVER THE FALL

AND WINTER,

THE MUSEUM SENT FOUR TAPESTRIES

TO BELGIUM FOR HIGH TECH

CLEANING.

THE RESULT WAS A REVELATION

AS WE SAW WHEN WE MET UP

WITH FREDETTE AGAIN SEVEN MONTHS

LATER.

>> JARED: THIS IS ALMOST

A NEW TAPESTRY, ISN'T IT?

>> TESS: IT CERTAINLY IS.

IT'S SO MUCH BRIGHTER.

IT WAS CLEANED,

IT HAD THIS HEAVY GRAY PALLOR

OF PARTICULATE SOILS ALL OVER IT

THAT HAVE NOW BEEN REMOVED.

THEY PUT THE TAPESTRY ON

THIS BIG SUCTIONED TABLE,

AND THEN THEY HAVE THIS AEROSOL

SYSTEM IN THE CEILING THAT

JUST SLOWLY RELEASES THIS MIST.

AND THEY TURN ON A SUCTION

UNDERNEATH AND SO THEY DRAW IT,

VERY SLOWLY DRAW IT THROUGH

THE TAPESTRY.

AND SO,

THE SOILS COME WITH IT.

>> JARED: DID YOU SEE WHAT

THE SOIL WAS LIKE?

>> TESS: YES.

>> JARED: WHAT WAS THAT LIKE?

>> TESS: IT WAS VERY BLACK.

(LAUGHS)

THE CLARITY OF THE IMAGERY

HAS IMPROVED,

THE COLORS THAT WERE HIDDEN

BENEATH THAT GRAYNESS HAVE

POPPED FORWARD.

>> JARED: WITH THE TAPESTRY

LAID OUT IN THE MUSEUM'S

CONSERVATION LAB,

FREDETTE SAYS THERE ARE ELEMENTS

OF THE WORK "A HARE LAID BARE"

THAT SHE DIDN'T EVEN KNOW

EXISTED.

>>TESS: "THE HARE" IS OUTLINED

ON ONE SIDE WITH THE DARK BROWN

AND ON THE OTHER SIDE WITH

A NAVY BLUE,

WHICH REALLY ADDS TO THAT,

GIVES IT A LITTLE MORE

DIMENSION.

AND THAT'S NOT SOMETHING

THAT WE COULD SEE BEFORE.

>> JARED: AND WITH

THE TAPESTRIES RETURNED

TO THEIR SPACE AND PRISTINE

ONCE MORE,

THE ENTIRE ROOM IS SOMETHING

GENERATIONS HAVE NOT SEEN

BEFORE.

>> RHEA: TO LEARN MORE ABOUT

THE MUSEUM,

VISIT

GARDNERMUSEUM.ORG.

>> RHEA: THAT'S IT

FOR THIS WEEK,

BUT YOU CAN STAY UP ALL NIGHT

WATCHING MORE EPISODES AT

MPT.ORG/ARTWORKS.

I'M RHEA FEIKIN.

>> AND I'M KIMBERLY JONES,

ASSOCIATE CURATOR

OF FRENCH PAINTINGS AT

THE NATIONAL GALLERY OF ART

IN WASHINGTON, DC.

>> RHEA: WE'LL SEE YOU

NEXT WEEK,

THANKS FOR WATCHING.

>> ANNOUNCER: ARTWORKS IS MADE

POSSIBLE IN PART BY THE CITIZENS

OF BALTIMORE COUNTY.

CLOSED CAPTIONING HAS BEEN MADE

POSSIBLE BY MARYLAND RELAY,

EMPOWERING THOSE WITH

HEARING AND SPEECH LOSS

TO STAY CONNECTED.