1 00:00:01,468 --> 00:00:03,637 >> HOST: COMING UP ON ARTWORKS. 2 00:00:03,704 --> 00:00:06,006 SURREALIST PAINTER RENE MAGRITTE 3 00:00:06,073 --> 00:00:07,908 WHERE THE ORDINARY BECOMES 4 00:00:07,975 --> 00:00:09,209 MYSTERIOUS. 5 00:00:09,843 --> 00:00:11,011 >> AND IT IS THE VERY, 6 00:00:11,078 --> 00:00:12,312 VERY FIRST EVER TO LOOK AT 7 00:00:12,379 --> 00:00:14,815 HOW AND WHEN DID MAGRITTE 8 00:00:14,882 --> 00:00:16,350 BECOME MAGRITTE. 9 00:00:18,919 --> 00:00:19,419 >> HOST: WHAT IT TAKES 10 00:00:19,486 --> 00:00:20,687 TO BECOME LEAD CELLIST 11 00:00:20,754 --> 00:00:21,922 FOR THE BALTIMORE SYMPHONY 12 00:00:21,989 --> 00:00:23,257 ORCHESTRA. 13 00:00:24,091 --> 00:00:24,992 >> I ABSOLUTELY STRIVE 14 00:00:25,058 --> 00:00:26,059 FOR TECHNICAL PERFECTION. 15 00:00:28,662 --> 00:00:30,230 >> HOST: A PHOTOGRAPHER CAPTURES 16 00:00:30,297 --> 00:00:31,965 THE MYTHIC AND VANISHING 17 00:00:32,032 --> 00:00:33,367 WESTERN FRONTIER. 18 00:00:34,401 --> 00:00:35,335 >> MY ANCESTORS CAME HERE 19 00:00:35,402 --> 00:00:37,004 FROM VALENCIA, SPAIN, 20 00:00:37,070 --> 00:00:39,439 IN THE 1840s AND THEY WERE 21 00:00:39,506 --> 00:00:41,108 COMING TO TUCSON BY COVERED 22 00:00:41,174 --> 00:00:41,808 WAGON. 23 00:00:43,043 --> 00:00:44,811 >> HOST: AND WOVEN REVELATIONS 24 00:00:44,878 --> 00:00:47,080 BEHIND A CURTAIN OF SOOT. 25 00:00:47,981 --> 00:00:48,782 >> THE MUSEUM SENT FOUR 26 00:00:48,849 --> 00:00:50,183 TAPESTRIES TO BELGIUM 27 00:00:50,250 --> 00:00:51,785 FOR HIGH TECH CLEANING. 28 00:00:51,852 --> 00:00:53,754 THE RESULT WAS A REVELATION. 29 00:00:54,288 --> 00:00:55,989 UP NEXT ON ARTWORKS! 30 00:00:58,091 --> 00:00:59,660 CLOSED CAPTIONING HAS BEEN MADE 31 00:00:59,726 --> 00:01:01,161 POSSIBLE BY MARYLAND RELAY, 32 00:01:01,228 --> 00:01:02,462 EMPOWERING THOSE WHO ARE DEAF, 33 00:01:02,529 --> 00:01:03,664 HARD OF HEARING 34 00:01:03,730 --> 00:01:04,765 OR SPEECH DISABLED 35 00:01:04,831 --> 00:01:05,899 TO STAY CONNECTED BY PHONE. 36 00:01:14,942 --> 00:01:15,709 >> ANNOUNCER: ARTWORKS IS MADE 37 00:01:15,776 --> 00:01:17,644 POSSIBLE IN PART BY THE CITIZENS 38 00:01:17,711 --> 00:01:18,812 OF BALTIMORE COUNTY. 39 00:01:24,084 --> 00:01:25,652 >> RHEA: WELCOME TO ARTWORKS. 40 00:01:25,719 --> 00:01:26,753 WE BRING YOU ARTISTS FROM 41 00:01:26,820 --> 00:01:27,754 ACROSS THE COUNTRY 42 00:01:27,821 --> 00:01:29,489 AND IN EVERY GENRE, 43 00:01:29,556 --> 00:01:31,058 FROM DANCE, AND PAINTING, 44 00:01:31,124 --> 00:01:32,793 TO ANIMATION. 45 00:01:32,859 --> 00:01:33,860 I'M YOUR HOST, RHEA FEIKIN, 46 00:01:33,927 --> 00:01:34,895 AND I'M REALLY EXCITED 47 00:01:34,962 --> 00:01:36,396 TO INTRODUCE OUR MOST 48 00:01:36,463 --> 00:01:38,198 DISTINGUISHED CO-HOST. 49 00:01:38,265 --> 00:01:39,533 >> AND I'M KIMBERLY JONES, 50 00:01:39,600 --> 00:01:40,367 ASSOCIATE CURATOR 51 00:01:40,434 --> 00:01:41,368 OF FRENCH PAINTINGS AT 52 00:01:41,435 --> 00:01:42,536 THE NATIONAL GALLERY OF ART 53 00:01:42,603 --> 00:01:44,171 IN WASHINGTON, DC. 54 00:01:44,237 --> 00:01:44,871 >> RHEA: WELL, 55 00:01:44,938 --> 00:01:47,874 LAST WEEK DEGAS AND CASSATT, 56 00:01:47,941 --> 00:01:48,709 WHAT'S NEXT? 57 00:01:48,775 --> 00:01:49,443 >> KIMBERLY: WELL, 58 00:01:49,509 --> 00:01:50,444 ANOTHER REALLY EXCITING 59 00:01:50,510 --> 00:01:51,578 EXHIBITION WE HAVE ALSO OPENING 60 00:01:51,645 --> 00:01:53,313 IN MAY IS ANDREW WYETH 61 00:01:53,380 --> 00:01:55,048 "LOOKING OUT, LOOKING IN." 62 00:01:55,115 --> 00:01:55,949 >> RHEA: "LOOKING OUT, 63 00:01:56,016 --> 00:01:56,617 LOOKING IN," 64 00:01:56,683 --> 00:01:57,684 THERE MUST BE A REASON FOR THAT 65 00:01:57,751 --> 00:01:58,485 TITLE. 66 00:01:58,552 --> 00:01:59,086 >> KIMBERLY: THERE IS INDEED. 67 00:01:59,152 --> 00:02:00,988 ALTHOUGH ANDREW WYETH 68 00:02:01,054 --> 00:02:02,155 IS A GREAT AMERICAN ARTIST, 69 00:02:02,222 --> 00:02:03,090 IS A NAME THAT PEOPLE KNOW, 70 00:02:03,156 --> 00:02:04,524 BUT THEY KNOW HIM MOSTLY FOR HIS 71 00:02:04,591 --> 00:02:05,292 FIGURAL WORKS. 72 00:02:05,359 --> 00:02:05,859 PAINTINGS LIKE 73 00:02:05,926 --> 00:02:07,127 "CHRISTINA'S WORLD" FOR EXAMPLE. 74 00:02:07,194 --> 00:02:08,295 BUT THIS EXHIBITION IS A BIT 75 00:02:08,362 --> 00:02:10,330 UNUSUAL BECAUSE IT FOCUSES ON 76 00:02:10,397 --> 00:02:12,232 HIS "WINDOW ICONOGRAPHY." 77 00:02:12,299 --> 00:02:13,734 THIS IS AN EXTRAORDINARY BODY 78 00:02:13,800 --> 00:02:14,334 OF WORKS, 79 00:02:14,401 --> 00:02:15,969 ITS 300 WORKS OF "THE WINDOW." 80 00:02:16,036 --> 00:02:17,704 AND WE WILL INCLUDE 60 OF THEM 81 00:02:17,771 --> 00:02:19,239 IN THIS EXHIBITION WHICH I THINK 82 00:02:19,306 --> 00:02:20,407 IS GOING TO BE A FASCINATING 83 00:02:20,474 --> 00:02:21,808 REVELATION FOR OUR VISITORS. 84 00:02:21,875 --> 00:02:22,476 >> RHEA: SO, 85 00:02:22,542 --> 00:02:23,310 THEY'RE GOING TO SEE AN 86 00:02:23,377 --> 00:02:25,479 ABSOLUTELY OTHER SIDE OF HIM 87 00:02:25,545 --> 00:02:26,546 FROM THE ONE THAT WE USUALLY 88 00:02:26,613 --> 00:02:27,481 THINK OF. 89 00:02:27,547 --> 00:02:28,181 >> KIMBERLY: ABSOLUTELY, 90 00:02:28,248 --> 00:02:29,650 IT'S A COMPLETELY FRESH 91 00:02:29,716 --> 00:02:31,051 PERSPECTIVE ON A VERY WELL 92 00:02:31,118 --> 00:02:32,319 KNOWN ARTIST. 93 00:02:32,386 --> 00:02:33,286 PEOPLE HAVE LOTS OF TIME IT'S ON 94 00:02:33,353 --> 00:02:34,488 VIEW AT THE NATIONAL GALLERY 95 00:02:34,554 --> 00:02:35,822 FROM MAY 4TH THROUGH 96 00:02:35,889 --> 00:02:36,757 NOVEMBER 30TH. 97 00:02:36,823 --> 00:02:37,858 AND ONLY IN WASHINGTON, 98 00:02:37,924 --> 00:02:38,759 ANOTHER ONE THAT THEY WILL HAVE 99 00:02:38,825 --> 00:02:39,893 TO COME TO TOWN TO SEE. 100 00:02:39,960 --> 00:02:40,661 >> RHEA: GREAT. 101 00:02:40,727 --> 00:02:42,029 WHAT ABOUT THE FUTURE, 102 00:02:42,095 --> 00:02:43,263 IS THERE SOMETHING THAT WE 103 00:02:43,330 --> 00:02:44,831 ABSOLUTELY HAVE TO LOOK FORWARD 104 00:02:44,898 --> 00:02:45,565 TO? 105 00:02:45,632 --> 00:02:46,233 >> KIMBERLY: ONE GREAT 106 00:02:46,299 --> 00:02:47,000 EXHIBITION WE HAVE AT THE VERY 107 00:02:47,067 --> 00:02:48,468 END OF THE YEAR IS EL GRECO FROM 108 00:02:48,535 --> 00:02:50,504 WASHINGTON AREA COLLECTIONS. 109 00:02:50,570 --> 00:02:51,905 AND THIS IS AN EXHIBITION IN 110 00:02:51,972 --> 00:02:53,674 CELEBRATION OF THE 400TH 111 00:02:53,740 --> 00:02:55,575 ANNIVERSARY OF THE DEATH 112 00:02:55,642 --> 00:02:57,010 OF THIS VERY FAMOUS ARTIST. 113 00:02:57,077 --> 00:02:59,079 A GREEK ARTIST NAMED EL GRECO 114 00:02:59,146 --> 00:03:01,181 WHO SPENT HIS ENTIRE CAREER 115 00:03:01,248 --> 00:03:03,083 IN SPAIN WHERE HE DEVELOPED 116 00:03:03,150 --> 00:03:04,918 QUITE THE REPUTATION AS A GREAT 117 00:03:04,985 --> 00:03:06,486 PAINTER OF RELIGIOUS SUBJECTS. 118 00:03:06,553 --> 00:03:07,354 >> RHEA: I CAN'T WAIT TO SEE IT. 119 00:03:07,421 --> 00:03:08,488 HE IS ONE OF MY FAVORITE 120 00:03:08,555 --> 00:03:09,656 PAINTERS. 121 00:03:09,723 --> 00:03:11,725 IT ALL SOUNDS EXCITING, 122 00:03:11,792 --> 00:03:13,994 SO MARK YOUR CALENDARS! 123 00:03:14,061 --> 00:03:15,395 AND NOW ONTO OUR FIRST STORY 124 00:03:15,462 --> 00:03:17,664 ANOTHER MAJOR EXHIBITION. 125 00:03:17,731 --> 00:03:19,132 FOR THE FIRST TIME, 126 00:03:19,199 --> 00:03:21,268 WORKS BY BELGIAN SURREALIST 127 00:03:21,334 --> 00:03:23,503 RENE MAGRITTE ARE ON A U.S. 128 00:03:23,570 --> 00:03:24,771 TOUR. 129 00:03:24,838 --> 00:03:25,572 >> KIMBERLY: FIRST STOP WAS 130 00:03:25,639 --> 00:03:27,040 THE MUSEUM OF MODERN ART 131 00:03:27,107 --> 00:03:28,141 IN NEW YORK. 132 00:03:28,208 --> 00:03:30,010 CURATOR ANNE UMLAND GIVES US 133 00:03:30,077 --> 00:03:31,178 AN INSIDER VIEW. 134 00:03:31,945 --> 00:03:40,487 * 135 00:03:40,554 --> 00:03:41,088 >> ANNE UMLAND: THIS IS 136 00:03:41,154 --> 00:03:43,090 THE FIRST MAJOR MUSEUM 137 00:03:43,156 --> 00:03:44,391 EXHIBITION OF MAGRITTE'S WORK 138 00:03:44,458 --> 00:03:45,592 IN NEW YORK CITY TO BE HELD 139 00:03:45,659 --> 00:03:47,828 IN OVER A GENERATION. 140 00:03:47,894 --> 00:03:49,596 AND IT IS THE VERY, 141 00:03:49,663 --> 00:03:51,098 VERY FIRST EVER TO LOOK AT 142 00:03:51,164 --> 00:03:53,800 HOW AND WHEN DID MAGRITTE 143 00:03:53,867 --> 00:03:55,535 BECOME MAGRITTE. 144 00:03:57,738 --> 00:03:59,206 THE TITLE OF THE EXHIBITION 145 00:03:59,272 --> 00:04:00,240 "MAGRITTE: THE MYSTERY 146 00:04:00,307 --> 00:04:03,710 OF THE ORDINARY, 1926-1938" 147 00:04:03,777 --> 00:04:06,279 BEGAN WITH A PHRASE THAT 148 00:04:06,346 --> 00:04:08,148 MAGRITTE'S CLOSE FRIEND 149 00:04:08,215 --> 00:04:09,449 AND CONTEMPORARY, 150 00:04:09,516 --> 00:04:11,918 A BELGIAN SURREALIST PAUL NOUGE 151 00:04:11,985 --> 00:04:12,919 SAID ABOUT MAGRITTE'S WORK 152 00:04:12,986 --> 00:04:14,654 IN 1931: 153 00:04:14,721 --> 00:04:16,690 TO LOOK AT MAGRITTE'S PAINTINGS 154 00:04:16,757 --> 00:04:18,091 AND TO TURN AWAY FROM THEM 155 00:04:18,158 --> 00:04:20,527 AGAIN AND TO CONFRONT THE WORLD 156 00:04:20,594 --> 00:04:23,930 ITSELF WAS TO FIND THAT REALITY 157 00:04:23,997 --> 00:04:25,332 HAD BEEN ALTERED. 158 00:04:25,398 --> 00:04:28,101 THERE ARE NO LONGER ANY ORDINARY 159 00:04:28,168 --> 00:04:29,269 THINGS. 160 00:04:30,303 --> 00:04:31,571 MAGRITTE SOUGHT TO REVEAL 161 00:04:31,638 --> 00:04:33,440 THE MYSTERY THAT HE BELIEVED 162 00:04:33,507 --> 00:04:37,010 TO BE LATENT IN EVERY OBJECT. 163 00:04:37,077 --> 00:04:38,044 AND SO, 164 00:04:38,111 --> 00:04:39,513 WE ENDED UP PUTTING THOSE 165 00:04:39,579 --> 00:04:40,547 TWO WORDS TOGETHER, 166 00:04:40,614 --> 00:04:42,082 MYSTERY AND ORDINARY, 167 00:04:42,149 --> 00:04:43,950 BECAUSE I THINK WITH MAGRITTE 168 00:04:44,017 --> 00:04:46,119 HE'S ALWAYS CREATING WORKS 169 00:04:46,186 --> 00:04:48,121 THAT GO BACK AND FORTH BETWEEN 170 00:04:48,188 --> 00:04:50,090 THINGS THAT ARE SO RECOGNIZABLE 171 00:04:50,157 --> 00:04:52,259 AND NAMABLE, AND YET, 172 00:04:52,325 --> 00:04:53,860 HE MAKES THEM DEEPLY MYSTERIOUS. 173 00:04:54,294 --> 00:04:56,930 * 174 00:04:56,997 --> 00:04:58,832 MAGRITTE HAS A RATHER UNIQUE 175 00:04:58,899 --> 00:05:01,168 BACKGROUND IN THAT HE TRAINED 176 00:05:01,234 --> 00:05:03,170 BOTH IN A FINE ARTS ACADEMY 177 00:05:03,236 --> 00:05:04,671 AND AS A COMMERCIAL ARTIST. 178 00:05:04,738 --> 00:05:06,306 I THINK THAT THE KIND OF BOLD, 179 00:05:06,373 --> 00:05:07,707 GRAPHIC, LEGIBLE, 180 00:05:07,774 --> 00:05:10,343 IDENTIFIABLE CLARITY THAT 181 00:05:10,410 --> 00:05:12,312 HE ACHIEVES IN HIS PAINTING 182 00:05:12,379 --> 00:05:15,182 SURELY IS INFORMED BY 183 00:05:15,248 --> 00:05:16,483 A COMMERCIAL BACKGROUND. 184 00:05:17,017 --> 00:05:21,555 * 185 00:05:21,621 --> 00:05:22,222 FOR ME, 186 00:05:22,289 --> 00:05:23,323 THE BEAUTY OF DOING A SHOW 187 00:05:23,390 --> 00:05:24,858 THAT IS A SLICE LIKE THIS, 188 00:05:24,925 --> 00:05:26,827 THAT'S THIS SORT OF INTENSELY 189 00:05:26,893 --> 00:05:28,595 INNOVATIVE 13 YEAR PERIOD 190 00:05:28,662 --> 00:05:30,564 IS THAT YOU GET TO GO IN-DEPTH. 191 00:05:30,964 --> 00:05:38,438 * 192 00:05:38,505 --> 00:05:41,074 THE EXHIBITION IN ITS MOST BASIC 193 00:05:41,141 --> 00:05:43,143 IS CHRONOLOGICAL. 194 00:05:43,210 --> 00:05:44,544 "THE LOST JOCKEY" 195 00:05:44,611 --> 00:05:46,213 IS ONE OF A WHOLE GROUP 196 00:05:46,279 --> 00:05:47,814 OF COLLAGES THAT MAGRITTE 197 00:05:47,881 --> 00:05:51,451 MADE IN 1926 AND 1927. 198 00:05:51,518 --> 00:05:53,286 IT COMBINES A NUMBER 199 00:05:53,353 --> 00:05:55,655 OF MAGRITTE'S EARLY TECHNIQUES, 200 00:05:55,722 --> 00:05:56,823 AND IMAGES, 201 00:05:56,890 --> 00:05:58,725 AND TYPES OF MATERIALS. 202 00:05:58,792 --> 00:05:59,292 SO, 203 00:05:59,359 --> 00:06:00,894 THERE ARE THESE STRANGE FORMS 204 00:06:00,961 --> 00:06:02,062 THAT LOOK A LITTLE BIT 205 00:06:02,128 --> 00:06:03,530 LIKE CHESS PIECES, 206 00:06:03,597 --> 00:06:05,098 THAT MAGRITTE CALLED 207 00:06:05,165 --> 00:06:06,166 "BILBOQUET." 208 00:06:06,233 --> 00:06:07,367 AND IN ENGLISH, 209 00:06:07,434 --> 00:06:08,702 THE WORD "BILBOQUET" REFERS 210 00:06:08,768 --> 00:06:11,104 TO A CHILD'S CUP-AND-BALL TOY. 211 00:06:11,171 --> 00:06:13,006 THERE'S ALSO IN THIS PICTURE, 212 00:06:13,073 --> 00:06:15,108 THE IDEA OF THE STAGE. 213 00:06:15,175 --> 00:06:17,444 THE CURTAINS OPEN ON EITHER 214 00:06:17,510 --> 00:06:18,745 SIDE. 215 00:06:18,812 --> 00:06:20,747 HE'S TELLING US THIS IS SOME 216 00:06:20,814 --> 00:06:24,417 MAGICAL SURREAL PLACE. 217 00:06:24,484 --> 00:06:26,052 THE CENTRAL ELEMENT IS THIS 218 00:06:26,119 --> 00:06:27,988 CHARCOAL DRAWN FIGURE 219 00:06:28,054 --> 00:06:30,590 OF A HORSE AND JOCKEY. 220 00:06:30,657 --> 00:06:33,093 AND MAGRITTE'S FRIENDS 221 00:06:33,159 --> 00:06:35,095 AT THAT MOMENT IDENTIFIED THAT 222 00:06:35,161 --> 00:06:37,664 FIGURE WITH THE ARTIST HIMSELF, 223 00:06:37,731 --> 00:06:39,532 SORT OF GALLOPING OFF INTO 224 00:06:39,599 --> 00:06:41,968 THE UNKNOWN OF THE AVANT-GARDE. 225 00:06:43,370 --> 00:06:45,372 SURREALISM WAS A MOVEMENT THAT 226 00:06:45,438 --> 00:06:47,707 WAS FOUNDED BY A PARIS POET 227 00:06:47,774 --> 00:06:52,112 NAMED ANDRE BRETON IN 1924 228 00:06:52,178 --> 00:06:54,180 AND AT ITS ESSENCE IT ASKED 229 00:06:54,247 --> 00:06:57,384 PEOPLE TO TAKE NOTHING 230 00:06:57,450 --> 00:06:58,318 FOR GRANTED. 231 00:06:59,786 --> 00:07:00,620 AND I THINK THAT, 232 00:07:00,687 --> 00:07:02,422 THAT WHOLE IDEA OF BEHIND 233 00:07:02,489 --> 00:07:05,125 ORDINARY EVERY DAY APPEARANCES, 234 00:07:05,191 --> 00:07:08,461 THERE IS ALWAYS ANOTHER REALITY 235 00:07:08,528 --> 00:07:10,597 OR SURREALITY, 236 00:07:10,664 --> 00:07:12,565 IS JUST KEY TO UNDERSTANDING 237 00:07:12,632 --> 00:07:14,401 MAGRITTE'S LARGER PROJECT 238 00:07:14,467 --> 00:07:15,869 OF DE-FAMILIARIZING 239 00:07:15,936 --> 00:07:19,372 THE FAMILIAR OR HELPING US TO 240 00:07:19,439 --> 00:07:22,609 LOOK AT THE WORLD AROUND US 241 00:07:22,676 --> 00:07:24,744 WITH FRESH EYES. 242 00:07:25,812 --> 00:07:27,147 "THE TREACHERY OF IMAGES" 243 00:07:27,213 --> 00:07:28,715 IS PROBABLY MAGRITTE'S MOST 244 00:07:28,782 --> 00:07:31,885 DIRECT INTERROGATION OF WHAT 245 00:07:31,952 --> 00:07:33,987 IT MEANS TO MAKE A PICTURE 246 00:07:34,054 --> 00:07:35,822 AND WHAT THE ACT 247 00:07:35,889 --> 00:07:39,960 OF REPRESENTATION ENTAILS. 248 00:07:40,560 --> 00:07:42,195 HE PRESENTS YOU WITH THIS 249 00:07:42,262 --> 00:07:45,198 ABSOLUTELY LEGIBLE IMAGE 250 00:07:45,265 --> 00:07:46,066 OF A PIPE. 251 00:07:46,132 --> 00:07:47,534 AND THEN UNDERNEATH IT, 252 00:07:47,600 --> 00:07:49,536 IN SORT OF SCHOOL BOY 253 00:07:49,602 --> 00:07:51,471 OR GIRL SCRIPT WRITES, 254 00:07:51,538 --> 00:07:53,239 "CECI N'EST PAS UNE PIPE": 255 00:07:53,306 --> 00:07:55,542 "THIS IS NOT A PIPE." 256 00:07:55,608 --> 00:07:57,243 AND THAT IMMEDIATELY, SORT OF, 257 00:07:57,310 --> 00:07:59,379 THROWS EVERYTHING UP INTO 258 00:07:59,446 --> 00:08:00,447 QUESTION. 259 00:08:00,513 --> 00:08:01,781 NEITHER WORDS NOR PICTURES 260 00:08:01,848 --> 00:08:03,116 ARE EVER THE SAME AS THE THINGS 261 00:08:03,183 --> 00:08:04,351 THEMSELVES, 262 00:08:04,417 --> 00:08:06,019 THEY ARE JUST CONVENTIONS. 263 00:08:06,553 --> 00:08:09,356 * 264 00:08:09,422 --> 00:08:10,457 THERE ARE A NUMBER OF WORKS 265 00:08:10,523 --> 00:08:12,359 IN THE SHOW THAT HAVE NEVER BEEN 266 00:08:12,425 --> 00:08:14,160 SEEN IN THE UNITED STATES 267 00:08:14,227 --> 00:08:15,195 BEFORE. 268 00:08:15,261 --> 00:08:16,496 AMONG THEM, FOR INSTANCE, 269 00:08:16,563 --> 00:08:17,931 "NOT TO BE REPRODUCED," 270 00:08:17,998 --> 00:08:21,835 THIS ANTI-PORTRAIT FROM 1937 271 00:08:21,901 --> 00:08:24,304 OF MAGRITTE'S GREAT PATRON, 272 00:08:24,371 --> 00:08:26,506 THE ECCENTRIC BRITISH COLLECTOR 273 00:08:26,573 --> 00:08:27,774 EDWARD JAMES. 274 00:08:28,508 --> 00:08:29,576 * 275 00:08:29,642 --> 00:08:30,877 ALL THE DIFFERENT THEMES 276 00:08:30,944 --> 00:08:31,778 THAT YOU SEE THROUGHOUT 277 00:08:31,845 --> 00:08:32,512 THE SHOW. 278 00:08:32,579 --> 00:08:34,714 THE DOUBLING, AND REPETITION, 279 00:08:34,781 --> 00:08:36,016 AND MIRRORING, 280 00:08:36,082 --> 00:08:37,350 AND CONCEALMENT I THINK 281 00:08:37,417 --> 00:08:39,986 ARE SO BEAUTIFULLY ENCAPSULATED 282 00:08:40,053 --> 00:08:41,354 IN THIS PORTRAIT. 283 00:08:41,421 --> 00:08:42,055 AND, 284 00:08:42,122 --> 00:08:43,223 JUST TO KEEP THINGS FROM 285 00:08:43,289 --> 00:08:44,924 BEING TOO OBVIOUS, 286 00:08:44,991 --> 00:08:47,227 THE BOOK BY EDGAR ALLEN POE, 287 00:08:47,293 --> 00:08:48,461 WHO WAS ONE MAGRITTE'S 288 00:08:48,528 --> 00:08:50,263 FAVORITE AUTHORS, 289 00:08:50,330 --> 00:08:52,465 IS REFLECTED IN THE CONVENTIONAL 290 00:08:52,532 --> 00:08:54,200 WAY IN THE MIRROR. 291 00:08:54,267 --> 00:08:54,701 SO, 292 00:08:54,768 --> 00:08:55,602 RIGHT AWAY YOU HAVE THESE 293 00:08:55,668 --> 00:08:57,637 TWO CONTRADICTORY SYSTEMS 294 00:08:57,704 --> 00:08:58,872 AND THE MORE YOU LOOK THE MORE 295 00:08:58,938 --> 00:09:00,106 YOU SEE THESE THINGS 296 00:09:00,173 --> 00:09:01,274 THAT DON'T ADD UP. 297 00:09:04,444 --> 00:09:05,078 >> KIMBERLY: THE MAGRITTE 298 00:09:05,145 --> 00:09:05,912 EXHIBITION IS AT 299 00:09:05,979 --> 00:09:07,480 THE MENIL COLLECTION IN HOUSTON 300 00:09:07,547 --> 00:09:08,848 UNTIL THE BEGINNING OF JUNE, 301 00:09:08,915 --> 00:09:10,483 AND COMPLETES ITS TOUR AT 302 00:09:10,550 --> 00:09:11,851 THE ART INSTITUTE OF CHICAGO 303 00:09:11,918 --> 00:09:12,819 IN MID-OCTOBER. 304 00:09:26,599 --> 00:09:27,467 >> RHEA: OUR NEXT ARTIST 305 00:09:27,534 --> 00:09:28,868 IS BALTIMORE-BASED. 306 00:09:28,935 --> 00:09:31,037 DARIUSZ SKORACZEWSKI 307 00:09:31,104 --> 00:09:32,639 IS PRINCIPAL CELLIST 308 00:09:32,705 --> 00:09:33,907 FOR THE BALTIMORE SYMPHONY 309 00:09:33,973 --> 00:09:34,674 ORCHESTRA. 310 00:09:34,741 --> 00:09:36,309 HE'S WON MANY AWARDS, 311 00:09:36,376 --> 00:09:37,777 INCLUDING A BAKER ARTIST 312 00:09:37,844 --> 00:09:39,279 AWARD LAST YEAR. 313 00:09:39,345 --> 00:09:40,313 >> KIMBERLY: DARIUSZ IS IMMERSED 314 00:09:40,380 --> 00:09:41,614 IN MUSIC FROM EARLY 315 00:09:41,681 --> 00:09:42,649 TO CONTEMPORARY. 316 00:09:42,715 --> 00:09:43,716 YOU COULD SAY HE'S A MUSICIAN'S 317 00:09:43,783 --> 00:09:44,617 MUSICIAN. 318 00:09:49,789 --> 00:09:50,356 >> DARIUSZ SKORACZEWSKI: WHEN I 319 00:09:50,423 --> 00:09:52,192 WAS ABOUT SIX OR SEVEN YEARS OLD 320 00:09:52,258 --> 00:09:54,060 BACK IN WARSAW, POLAND, 321 00:09:54,127 --> 00:09:55,295 MY PARENTS TOOK ME TO 322 00:09:55,361 --> 00:09:58,865 A ELEMENTARY MUSIC SCHOOL. 323 00:09:58,932 --> 00:10:00,533 YOU GOT A CHOICE OF VIOLIN, 324 00:10:00,600 --> 00:10:03,236 CELLO, OR PIANO. 325 00:10:03,303 --> 00:10:05,371 AND IT HAPPENED THAT I WAS 326 00:10:05,438 --> 00:10:06,806 ALREADY VERY TALL FOR 327 00:10:06,873 --> 00:10:08,274 A SIX-YEAR-OLD, 328 00:10:08,341 --> 00:10:10,510 AND A CELLO WAS A NATURAL CHOICE 329 00:10:10,577 --> 00:10:13,012 FOR ME AT THAT POINT. 330 00:10:13,079 --> 00:10:13,746 AND I'VE BEEN PLAYING EVER 331 00:10:13,813 --> 00:10:15,081 SINCE. 332 00:10:18,551 --> 00:10:20,186 MY NAME IS DARIUSZ SKORACZEWSKI. 333 00:10:20,253 --> 00:10:21,688 I'M A CELLIST; 334 00:10:21,754 --> 00:10:22,622 PRINCIPAL CELLIST FOR 335 00:10:22,689 --> 00:10:23,556 THE BALTIMORE SYMPHONY 336 00:10:23,623 --> 00:10:25,492 ORCHESTRA. 337 00:10:26,092 --> 00:10:27,093 MAINLY I'VE BEEN PLAYING 338 00:10:27,160 --> 00:10:28,495 IN BALTIMORE SYMPHONY BUT 339 00:10:28,561 --> 00:10:29,963 I'VE PLAYED IN MANY, 340 00:10:30,029 --> 00:10:31,397 MANY CHAMBER GROUPS, 341 00:10:31,464 --> 00:10:32,832 PIANO TRIO, AND QUARTETS, 342 00:10:32,899 --> 00:10:35,468 AND SEXTETS, OCTETS, 343 00:10:35,535 --> 00:10:38,271 JUST ABOUT ANY CONFIGURATION 344 00:10:38,338 --> 00:10:40,507 OF INSTRUMENTS. 345 00:10:41,608 --> 00:10:42,442 I THINK THE CELLO 346 00:10:42,509 --> 00:10:43,743 IS JUST A VERY, 347 00:10:43,810 --> 00:10:45,044 VERY BEAUTIFUL INSTRUMENT. 348 00:10:45,111 --> 00:10:46,112 ESPECIALLY WHEN YOU PLAY THINGS 349 00:10:46,179 --> 00:10:48,181 LIKE A BACH SOLO SUITE, 350 00:10:48,248 --> 00:10:50,517 WHEN IT'S QUIET, AND MELLOW, 351 00:10:50,583 --> 00:10:51,451 AND JUST BEAUTIFUL. 352 00:10:51,885 --> 00:11:12,205 * 353 00:11:12,272 --> 00:11:13,039 WHAT I TRY TO DO IN MY 354 00:11:13,106 --> 00:11:15,508 PERFORMANCES IS MAKE 355 00:11:15,575 --> 00:11:16,843 OF THE AUDIENCE, 356 00:11:16,910 --> 00:11:17,510 FIRST OF ALL, 357 00:11:17,577 --> 00:11:18,444 UNDERSTAND THE PIECE. 358 00:11:18,511 --> 00:11:19,646 ESPECIALLY IF THEY HAVEN'T HEARD 359 00:11:19,712 --> 00:11:20,146 IT BEFORE. 360 00:11:20,513 --> 00:11:24,250 * 361 00:11:24,317 --> 00:11:25,518 I TRY TO PLAY AS BEAUTIFULLY 362 00:11:25,585 --> 00:11:27,453 AS HUMANLY POSSIBLE. 363 00:11:27,520 --> 00:11:29,322 ALWAYS DOING, YOU KNOW, 364 00:11:29,389 --> 00:11:30,657 200% OF MY EFFORT. 365 00:11:31,090 --> 00:11:32,892 * 366 00:11:32,959 --> 00:11:33,693 I ABSOLUTELY STRIVE 367 00:11:33,760 --> 00:11:34,861 FOR TECHNICAL PERFECTION. 368 00:11:35,361 --> 00:11:40,700 * 369 00:11:40,767 --> 00:11:42,702 I'VE PLAYED VERY EARLY MUSIC, 370 00:11:42,769 --> 00:11:43,836 AND BAROQUE MUSIC, 371 00:11:43,903 --> 00:11:45,939 CLASSICAL MUSIC, ROMANTIC, 372 00:11:46,005 --> 00:11:46,539 20TH CENTURY. 373 00:11:46,940 --> 00:11:55,615 * 374 00:11:55,682 --> 00:11:57,617 MODERN MUSIC IS SOMETHING 375 00:11:57,684 --> 00:11:59,219 THAT I REALLY LIKE. 376 00:11:59,719 --> 00:12:06,559 * 377 00:12:06,626 --> 00:12:08,795 LUTOSLAWSKI'S SACHER VARIATION, 378 00:12:08,861 --> 00:12:09,896 I REALLY LOVE THAT PIECE. 379 00:12:09,963 --> 00:12:12,332 IT EXPLORES DIFFERENT TECHNIQUES 380 00:12:12,398 --> 00:12:14,500 THAT AUDIENCES SOMETIMES 381 00:12:14,567 --> 00:12:15,335 ARE NOT USED TO, 382 00:12:15,635 --> 00:12:52,138 * 383 00:12:52,205 --> 00:12:53,373 I TRY TO BE FULLY ENGAGED, 384 00:12:53,439 --> 00:12:56,676 ALWAYS, IN A PERFORMANCE. 385 00:12:56,743 --> 00:12:58,011 I PUT MY HEART COMPLETELY 386 00:12:58,077 --> 00:12:59,712 INTO EVERY SINGLE OPPORTUNITY 387 00:12:59,779 --> 00:13:01,014 THAT I GET. 388 00:13:08,655 --> 00:13:09,889 >> RHEA: I LOVE THE SOUND 389 00:13:09,956 --> 00:13:10,857 OF A CELLO. 390 00:13:10,923 --> 00:13:12,191 AND I PARTICULARLY LIKE 391 00:13:12,258 --> 00:13:13,993 THE BACH SOLO SUITES. 392 00:13:14,060 --> 00:13:14,727 >> KIMBERLY: ABSOLUTELY, 393 00:13:14,794 --> 00:13:15,795 AND THE CELLO REALLY 394 00:13:15,862 --> 00:13:17,397 IT PROVIDES SUCH DEPTH 395 00:13:17,463 --> 00:13:18,665 AND RICHNESS AND THAT MELANCHOLY 396 00:13:18,731 --> 00:13:19,899 NOTE TO THE ORCHESTRA. 397 00:13:19,966 --> 00:13:21,334 IT IS JUST AMAZING. 398 00:13:21,401 --> 00:13:22,235 >> RHEA: SO YOU LIKE IT TOO. 399 00:13:22,302 --> 00:13:23,403 >> KIMBERLY: I DO TOO. 400 00:13:23,469 --> 00:13:24,504 >> RHEA: AND YOU CAN SEE MORE 401 00:13:24,570 --> 00:13:25,638 OF HIS WORK AT 402 00:13:25,705 --> 00:13:28,441 TWO WEBSITES DSKORA.COM 403 00:13:28,508 --> 00:13:30,810 AND BAKERARTISTAWARDS.ORG. 404 00:13:42,488 --> 00:13:42,989 >> RHEA: NEXT, 405 00:13:43,056 --> 00:13:43,990 WE MEET PHOTOGRAPHER 406 00:13:44,057 --> 00:13:45,325 SCOTT BAXTER, 407 00:13:45,391 --> 00:13:46,793 WHO'S FOUND INSPIRATION 408 00:13:46,859 --> 00:13:48,394 IN THE AMERICAN FRONTIER 409 00:13:48,461 --> 00:13:49,996 IN ARIZONA. 410 00:13:50,063 --> 00:13:51,097 >> KIMBERLY: BAXTER HAS 411 00:13:51,164 --> 00:13:52,532 PHOTOGRAPHED OVER ONE HUNDRED 412 00:13:52,598 --> 00:13:54,200 ANCESTRAL CATTLE RANCHES. 413 00:13:54,267 --> 00:13:55,368 HIS MISSION, 414 00:13:55,435 --> 00:13:56,235 DOCUMENT THE VANISHING 415 00:13:56,302 --> 00:13:57,570 TRADITIONS OF AMERICA'S 416 00:13:57,637 --> 00:13:58,671 LEGENDARY WE. 417 00:14:05,712 --> 00:14:06,946 >> HEY! HEY! 418 00:14:07,013 --> 00:14:10,583 (MOOING) 419 00:14:10,650 --> 00:14:11,284 >> SCOTT BAXTER: SOME OF THESE 420 00:14:11,351 --> 00:14:12,919 RANCHES THAT WE'RE PHOTOGRAPHING 421 00:14:12,985 --> 00:14:13,920 AREN'T GOING TO BE AROUND 422 00:14:13,986 --> 00:14:15,588 BECAUSE DEVELOPMENT IS GONNA 423 00:14:15,655 --> 00:14:17,623 FIND ITS WAY IN. 424 00:14:17,690 --> 00:14:18,991 AND THERE'S A LOT OF RANCHES 425 00:14:19,058 --> 00:14:19,992 I KNOW THAT THERE'S NO ONE 426 00:14:20,059 --> 00:14:21,427 COMING UP BEHIND THEM, SO, 427 00:14:21,494 --> 00:14:22,795 THEY'LL MOST LIKELY BE SOLD. 428 00:14:25,765 --> 00:14:26,532 AND I JUST THOUGHT, 429 00:14:26,599 --> 00:14:27,734 WHAT IF PHOTOGRAPHICALLY I COULD 430 00:14:27,800 --> 00:14:29,435 AT LEAST TRY TO RECORD SOME 431 00:14:29,502 --> 00:14:30,303 OF THESE FAMILIES THAT 432 00:14:30,370 --> 00:14:32,872 HAVE BEEN AROUND HERE SINCE 1912 433 00:14:32,939 --> 00:14:33,539 OR EARLIER. 434 00:14:33,606 --> 00:14:34,807 AND THAT'S HOW IT 435 00:14:34,874 --> 00:14:35,375 KIND OF STARTED THAT WAY. 436 00:14:35,441 --> 00:14:36,042 I DIDN'T REALLY PLAN TO DO 437 00:14:36,109 --> 00:14:36,709 ANYTHING WITH IT, 438 00:14:36,776 --> 00:14:37,643 I JUST WANTED TO SEE IF I COULD 439 00:14:37,710 --> 00:14:38,311 ACCOMPLISH IT. 440 00:14:43,216 --> 00:14:43,883 >> SCOTT: WE CALL IT 441 00:14:43,950 --> 00:14:45,318 "100 YEARS, 100 RANCHERS." 442 00:14:45,385 --> 00:14:46,619 AND BASICALLY THE CRITERIA 443 00:14:46,686 --> 00:14:48,287 IS THE FAMILY HAS BEEN RANCHING 444 00:14:48,354 --> 00:14:49,655 IN ARIZONA CONTINUOUSLY SINCE 445 00:14:49,722 --> 00:14:50,957 1912 OR EARLIER. 446 00:14:53,092 --> 00:14:53,860 >> HENRY AMADO: MY ANCESTORS 447 00:14:53,926 --> 00:14:56,062 CAME HERE FROM VALENCIA, SPAIN, 448 00:14:56,129 --> 00:14:58,097 IN THE 1840s AND THEY WERE 449 00:14:58,164 --> 00:14:59,632 COMING TO TUCSON BY COVERED 450 00:14:59,699 --> 00:15:00,800 WAGON. 451 00:15:00,867 --> 00:15:02,735 THIS IS THE AMADO FAMILY 452 00:15:02,802 --> 00:15:04,737 THIS IS MY GREAT GRANDFATHER. 453 00:15:04,804 --> 00:15:07,440 BY 1852 IS WHEN THEY SET UP 454 00:15:07,507 --> 00:15:09,709 TO RANCH IN ALAMO BONITO, 455 00:15:09,776 --> 00:15:12,612 IN WHAT IS CALLED "AMADO." 456 00:15:14,480 --> 00:15:15,448 >> SCOTT BAXTER: THIS FAMILY 457 00:15:15,515 --> 00:15:16,549 IS A VERY HISTORIC FAMILY, 458 00:15:16,616 --> 00:15:18,184 AND GOES BACK A LONG WAYS, 459 00:15:18,251 --> 00:15:19,185 AND A BEAUTIFUL RANCH TOO. 460 00:15:19,252 --> 00:15:20,253 ONE OF MY, 461 00:15:20,319 --> 00:15:21,320 SANTA CRUZ COUNTY'S 462 00:15:21,387 --> 00:15:22,255 PROBABLY ONE OF MY FAVORITE 463 00:15:22,321 --> 00:15:24,857 PLACES TO BE IN THE WHOLE STATE. 464 00:15:27,960 --> 00:15:28,494 THE PHOTOGRAPHS SHOULD BE 465 00:15:28,561 --> 00:15:30,263 REALLY EASY FOR YOU TO LOOK AT. 466 00:15:30,329 --> 00:15:31,230 DOESN'T MEAN IT HAS TO BE 467 00:15:31,297 --> 00:15:32,398 POLLYANNAISH, 468 00:15:32,465 --> 00:15:33,666 OR BEAUTIFUL, OR ANYTHING. 469 00:15:33,733 --> 00:15:35,034 JUST HAS TO BE EASY. 470 00:15:35,101 --> 00:15:36,102 IF IT'S EASY, IT'S GOOD. 471 00:15:40,206 --> 00:15:40,907 IF I PUSH TOO HARD, 472 00:15:40,973 --> 00:15:42,175 IF I REALLY TRY TOO HARD 473 00:15:42,241 --> 00:15:43,443 TO PUSH A PHOTOGRAPH, 474 00:15:43,509 --> 00:15:45,178 IT DOESN'T WORK OUT FOR ME. 475 00:15:45,244 --> 00:15:46,446 I KIND OF LET THE PHOTOGRAPH 476 00:15:46,512 --> 00:15:48,214 COME TO ME. 477 00:15:48,281 --> 00:15:49,982 THERE'S NOT A SET PROCESS. 478 00:15:50,049 --> 00:15:50,950 I WANT TO GET THIS SIDE, TOO, 479 00:15:51,017 --> 00:15:51,617 BECAUSE IT'S GOT YOUR BRAND 480 00:15:51,684 --> 00:15:53,119 ON THE HORSE'S SHOULDER. 481 00:15:53,186 --> 00:15:54,687 ASIDE FROM SCOUTING A LITTLE 482 00:15:54,754 --> 00:15:55,588 BIT THE DAY BEFORE OR KNOWING 483 00:15:55,655 --> 00:15:56,355 I WANTED TO USE THAT BIG 484 00:15:56,422 --> 00:15:57,190 SYCAMORE TREE. 485 00:15:57,256 --> 00:15:59,992 THERE'S NOT A, YOU KNOW, 486 00:16:00,059 --> 00:16:01,294 I DON'T HAVE A LIST WHAT 487 00:16:01,360 --> 00:16:02,328 I'M GOING TO DO. 488 00:16:02,395 --> 00:16:03,329 I JUST KIND OF WALK IN 489 00:16:03,396 --> 00:16:04,831 AND IT'S KIND OF THE WAY 490 00:16:04,897 --> 00:16:05,832 I ALWAYS WORK. 491 00:16:05,898 --> 00:16:07,033 I JUST KIND OF WING IT 492 00:16:07,099 --> 00:16:08,468 AND KIND OF WORKS FOR ME. 493 00:16:08,534 --> 00:16:09,135 DOESN'T WORK FOR EVERYBODY, 494 00:16:09,202 --> 00:16:10,036 BUT IT DOES FOR ME. 495 00:16:12,338 --> 00:16:13,206 THE LAST ONE WITH THE CAMERA 496 00:16:13,272 --> 00:16:14,006 FOR NOW AT LEAST. 497 00:16:16,275 --> 00:16:16,776 >> HENRY AMADO: I WAS 498 00:16:16,843 --> 00:16:17,376 STANDING THERE. 499 00:16:17,443 --> 00:16:19,245 >> SCOTT: STRAIGHT IN. 500 00:16:19,312 --> 00:16:20,079 >> HENRY: LAST EVENING 501 00:16:20,146 --> 00:16:20,847 BY THE TREE, 502 00:16:20,913 --> 00:16:22,515 AND BETWEEN TWO HORSES, 503 00:16:22,582 --> 00:16:26,953 AND WITH MY SON, AND GRANDSON, 504 00:16:27,019 --> 00:16:27,987 ON EACH SIDE OF ME. 505 00:16:31,057 --> 00:16:32,191 VERY PROUD. 506 00:16:34,894 --> 00:16:35,495 >> SCOTT: JUST GIVES YOU 507 00:16:35,561 --> 00:16:36,028 AN IDEA. 508 00:16:36,095 --> 00:16:36,662 IT'S A SMALL SHOT. 509 00:16:36,729 --> 00:16:37,263 NOW, 510 00:16:37,330 --> 00:16:38,064 YOU GOT TO KIND OF LOOK AT IT. 511 00:16:38,130 --> 00:16:39,432 I WANT TO SHOW THAT PRIDE. 512 00:16:39,499 --> 00:16:40,566 I MEAN THEY'RE VERY... 513 00:16:40,633 --> 00:16:41,200 AS A GROUP, 514 00:16:41,267 --> 00:16:42,602 THEY'RE VERY PROUD OF THEIR 515 00:16:42,668 --> 00:16:44,036 HERITAGE AND PROUD OF WHAT 516 00:16:44,103 --> 00:16:45,404 THEY DO. 517 00:16:45,471 --> 00:16:47,139 SO THAT'S WHERE WE'RE AT. 518 00:16:47,206 --> 00:16:48,074 WE'RE GOING TO SHOOT A FEW MORE 519 00:16:48,140 --> 00:16:49,075 WITH THIS CAMERA. 520 00:16:49,141 --> 00:16:49,876 WITH THE PORTRAITS, 521 00:16:49,942 --> 00:16:50,610 YOU JUST KIND OF, 522 00:16:50,676 --> 00:16:51,577 YOU KIND OF TAKE A LITTLE MORE 523 00:16:51,644 --> 00:16:52,979 TIME AND GET THE FRAME THE WAY 524 00:16:53,045 --> 00:16:54,046 YOU WANT IT 525 00:16:54,113 --> 00:16:56,749 AND READ THE LIGHT AND SHOOT IT. 526 00:16:56,816 --> 00:16:58,584 5-6-125. 527 00:16:58,651 --> 00:16:59,285 >> HENRY: I THINK IT'S 528 00:16:59,352 --> 00:17:01,087 A WONDERFUL THING THAT SCOTT 529 00:17:01,153 --> 00:17:03,322 CAME UP WITH THIS IDEA. 530 00:17:03,389 --> 00:17:04,524 >> SCOTT: THIS IS ACTUALLY VERY 531 00:17:04,590 --> 00:17:05,558 NICE, WHERE WE'RE AT NOW. 532 00:17:07,927 --> 00:17:09,161 >> HENRY: IT'S RECORDED HISTORY. 533 00:17:11,063 --> 00:17:11,764 >> SCOTT: I DON'T THINK THEY'RE 534 00:17:11,831 --> 00:17:13,099 REALLY LOOKING FOR RECOGNITION 535 00:17:13,165 --> 00:17:14,000 BUT I THINK THEY LIKE THE FACT 536 00:17:14,066 --> 00:17:15,301 THERE'S GOING TO BE A RECORD 537 00:17:15,368 --> 00:17:16,569 OF THIS SOMEWHERE. 538 00:17:16,636 --> 00:17:17,570 FOR THEIR KIDS. 539 00:17:19,839 --> 00:17:21,607 I TREATED THIS IN A LOT OF WAYS 540 00:17:21,674 --> 00:17:23,342 JUST LIKE IT COULD HAVE BEEN 541 00:17:23,409 --> 00:17:25,144 SHOT, YOU KNOW, 100 YEARS AGO. 542 00:17:25,211 --> 00:17:26,913 I BRING A DIGITAL WITH ME, 543 00:17:26,979 --> 00:17:27,847 BUT THAT'S TO SHOOT STUFF 544 00:17:27,914 --> 00:17:28,748 FOR THEM. 545 00:17:28,814 --> 00:17:29,682 WE'RE SHOOTING STRAIGHT 546 00:17:29,749 --> 00:17:30,349 BLACK, AND WHITE, 547 00:17:30,416 --> 00:17:31,584 NO LIGHTS, 548 00:17:31,651 --> 00:17:32,552 SO IT'S BASICALLY CAMERA, 549 00:17:32,618 --> 00:17:33,686 FILM, AND A TRIPOD. 550 00:17:33,753 --> 00:17:35,288 AND THAT KIND OF FORCES ME 551 00:17:35,354 --> 00:17:36,222 TO REALLY THINK ABOUT MY 552 00:17:36,289 --> 00:17:37,423 COMPOSITION BECAUSE I DON'T HAVE 553 00:17:37,490 --> 00:17:38,991 A LOT OF TRICKS IN MY BAG, 554 00:17:39,058 --> 00:17:39,992 AND IT KIND OF MAKES YOU THINK 555 00:17:40,059 --> 00:17:40,760 A LITTLE BIT MORE 556 00:17:40,826 --> 00:17:41,928 AS A PHOTOGRAPHER. 557 00:17:41,994 --> 00:17:44,463 (MOOING) 558 00:17:44,530 --> 00:17:45,097 >> HENRY: I DON'T KNOW OF ANY 559 00:17:45,164 --> 00:17:46,299 RANCHER THAT DOESN'T WORK HARD. 560 00:17:47,533 --> 00:17:48,434 THEY HAVE TO. 561 00:17:50,603 --> 00:17:51,304 NO, 562 00:17:51,370 --> 00:17:52,872 I DON'T HAVE TO DO THIS. 563 00:17:52,939 --> 00:17:54,440 I'VE ALWAYS BEEN A VERY 564 00:17:54,507 --> 00:17:58,077 SUCCESSFUL C.P.A. AND WITH 565 00:17:58,144 --> 00:17:59,712 MY SON AS MY PARTNER, 566 00:17:59,779 --> 00:18:01,614 THE BUSINESS IS STILL GOING, 567 00:18:01,681 --> 00:18:03,516 AND MAYBE THAT'S WHY I CAN 568 00:18:03,583 --> 00:18:05,017 AFFORD TO BE HERE, 569 00:18:05,084 --> 00:18:06,319 BECAUSE IF HE'S THERE, 570 00:18:06,385 --> 00:18:07,153 I DON'T HAVE TO BE 571 00:18:07,219 --> 00:18:08,120 AT THE OFFICE. 572 00:18:08,187 --> 00:18:11,490 BUT I ENJOY BEING HERE AND, 573 00:18:11,557 --> 00:18:13,225 AT MY AGE, I DESERVE TO BE HERE. 574 00:18:17,563 --> 00:18:20,166 I THINK IT'S LOVE OF THE RANCH, 575 00:18:20,232 --> 00:18:25,338 LOVE OF THE LAND. 576 00:18:25,404 --> 00:18:27,540 >> SCOTT: THE BRANDINGS CAN BE 577 00:18:27,607 --> 00:18:29,976 KIND OF EXCITING. 578 00:18:30,042 --> 00:18:31,010 YOU GOT TWO GUYS ROPING, 579 00:18:31,077 --> 00:18:32,144 AND DRAGGING CALVES, 580 00:18:32,211 --> 00:18:33,112 AND YOU'VE GOT THREE, 581 00:18:33,179 --> 00:18:34,413 OR FOUR COWBOYS THROWING COWS 582 00:18:34,480 --> 00:18:35,181 ON THE GROUND. 583 00:18:37,650 --> 00:18:38,250 SOMETIMES WITH THE ACTION STUFF, 584 00:18:38,317 --> 00:18:39,652 I DON'T HAVE TIME TO DO TOO MUCH 585 00:18:39,719 --> 00:18:43,122 BUT JUST KIND OF HANG IN THERE. 586 00:18:44,290 --> 00:18:45,024 YOU DON'T WANT TO BE THE CAUSE 587 00:18:45,091 --> 00:18:47,026 OF SOMEBODY GETTING HURT. 588 00:18:47,093 --> 00:18:47,927 YOU DON'T WANT TO BE THE CAUSE 589 00:18:47,994 --> 00:18:49,929 OF LIVESTOCK GETTING INJURED. 590 00:18:49,996 --> 00:18:51,030 AND YOU CERTAINLY DON'T WANT 591 00:18:51,097 --> 00:18:51,797 TO GET HURT YOURSELF. 592 00:18:51,864 --> 00:18:52,465 SO, 593 00:18:52,531 --> 00:18:53,432 YOU STAY DIALED IN TO THE FRAME. 594 00:18:53,499 --> 00:18:55,101 BUT YOU CERTAINLY KIND OF HAVE 595 00:18:55,167 --> 00:18:56,969 TO HAVE A FEW THINGS GOING ON 596 00:18:57,036 --> 00:18:58,237 IN YOUR HEAD AT THE SAME TIME, 597 00:18:58,304 --> 00:19:00,239 AND KEEP YOURSELF COGNIZANT 598 00:19:00,306 --> 00:19:01,941 OF WHAT'S REALLY GOING ON 599 00:19:02,008 --> 00:19:02,708 AROUND YOU. 600 00:19:05,044 --> 00:19:06,612 THIS ONE IS A BIT MORE THIS 601 00:19:06,679 --> 00:19:08,080 LIKE THE OLD STYLE. 602 00:19:13,519 --> 00:19:15,388 I'VE NOT HAD A BAD EXPERIENCE. 603 00:19:15,454 --> 00:19:16,656 AND I'VE GOT A STORY FOR EVERY 604 00:19:16,722 --> 00:19:18,090 SINGLE RANCH THAT I'VE BEEN IN. 605 00:19:18,157 --> 00:19:18,991 THAT'S PERFECT, RIGHT THERE. 606 00:19:19,058 --> 00:19:21,260 HOLD THAT YOU KNOW 607 00:19:21,327 --> 00:19:22,495 THE PHOTOGRAPHS ARE THE ICING 608 00:19:22,561 --> 00:19:23,195 ON THE CAKE, 609 00:19:23,262 --> 00:19:25,164 BUT THE REAL THING IS I JUST 610 00:19:25,231 --> 00:19:28,634 (VOICES) THAT'S IT? 611 00:19:28,701 --> 00:19:29,535 >> SCOTT: THANK YOU SIR. 612 00:19:29,602 --> 00:19:30,169 IT'S IN? 613 00:19:30,236 --> 00:19:30,803 YEA, THAT'S IT. 614 00:19:30,870 --> 00:19:31,570 YOU KNOW THERE ARE A GREAT GROUP 615 00:19:31,637 --> 00:19:32,238 OF PEOPLE. 616 00:19:32,304 --> 00:19:33,072 I HAVE JUST BEEN HONORED 617 00:19:33,139 --> 00:19:34,006 TO HAVE THE OPPORTUNITY TO MEET 618 00:19:34,073 --> 00:19:35,041 THEM AND SPEND SOME TIME 619 00:19:35,107 --> 00:19:35,875 WITH THEM. 620 00:19:35,941 --> 00:19:36,776 THEY ARE ALL HARD WORKING. 621 00:19:36,842 --> 00:19:37,777 THEY ARE JUST HARD WORKING 622 00:19:37,843 --> 00:19:39,645 PEOPLE WHO JUST LIKE, 623 00:19:39,712 --> 00:19:40,680 THEY LOVE WHAT THEY DO. 624 00:19:42,448 --> 00:19:43,783 AND THEY REALLY LOVE THEIR LAND. 625 00:19:43,849 --> 00:19:44,984 AND THAT'S THE THING THAT 626 00:19:45,051 --> 00:19:45,918 I'VE KIND OF COME AWAY WITH. 627 00:19:45,985 --> 00:19:47,753 THEY REALLY LOVE THIS LAND 628 00:19:47,820 --> 00:19:48,721 AND THEY REALLY WANT 629 00:19:48,788 --> 00:19:49,555 TO TAKE CARE OF IT. 630 00:19:54,827 --> 00:19:55,428 >> KIMBERLY: BAXTER HAS 631 00:19:55,494 --> 00:19:56,228 PUBLISHED A BOOK OF HIS 632 00:19:56,295 --> 00:19:57,530 PHOTOGRAPHS AND YOU CAN FIND 633 00:19:57,596 --> 00:19:58,230 IT AT 634 00:19:58,297 --> 00:19:59,865 ONEHUNDREDYEARSONEHUNDRED 635 00:19:59,932 --> 00:20:02,168 RANCHERS.COM. 636 00:20:02,234 --> 00:20:03,569 >> RHEA: OUR LAST STORY 637 00:20:03,636 --> 00:20:05,004 LOOKS BEHIND THE SCENES AT 638 00:20:05,071 --> 00:20:07,273 A MAJOR ART MUSEUM. 639 00:20:07,339 --> 00:20:08,541 >> RHEA: KIMBERLY, 640 00:20:08,607 --> 00:20:10,276 I SUSPECT YOU ARE FAMILIAR WITH 641 00:20:10,342 --> 00:20:11,811 THESE KINDS OF ADVENTURES? 642 00:20:11,877 --> 00:20:13,312 >> KIMBERLY: OH, ABSOLUTELY. 643 00:20:13,379 --> 00:20:15,081 PEOPLE HAVE NO IDEA WHAT GOES ON 644 00:20:15,147 --> 00:20:16,382 BEHIND THE SCENES. 645 00:20:16,449 --> 00:20:17,650 AND HOW COMPLICATED 646 00:20:17,717 --> 00:20:18,951 AND TIME CONSUMING IT IS TO 647 00:20:19,018 --> 00:20:20,219 MAINTAIN YOUR PERMANENT 648 00:20:20,286 --> 00:20:20,886 COLLECTION, 649 00:20:20,953 --> 00:20:21,987 LET ALONE MOUNT A TEMPORARY 650 00:20:22,054 --> 00:20:22,822 EXHIBITION. 651 00:20:22,888 --> 00:20:23,856 >> RHEA: DO YOU REMEMBER 652 00:20:23,923 --> 00:20:25,991 A SPECIFIC RESTORATION PROJECT? 653 00:20:26,058 --> 00:20:26,525 >> KIMBERY: WELL, 654 00:20:26,592 --> 00:20:27,460 ONE THAT WAS VERY EXCITING THAT 655 00:20:27,526 --> 00:20:28,461 I WAS INVOLVED IN WAS 656 00:20:28,527 --> 00:20:29,595 THE CLEANING OF OUR 657 00:20:29,662 --> 00:20:30,463 EDOUARD MANET PAINTING, 658 00:20:30,529 --> 00:20:31,664 "THE OLD MUSICIAN." 659 00:20:31,731 --> 00:20:32,598 IT WAS A VERY BIG, 660 00:20:32,665 --> 00:20:34,433 VERY COMPLEX TRANSFORMATION 661 00:20:34,500 --> 00:20:35,801 BUT WHEN IT WAS DONE 662 00:20:35,868 --> 00:20:37,169 THE PAINTING WAS AN ABSOLUTE 663 00:20:37,236 --> 00:20:38,037 REVELATION. 664 00:20:38,104 --> 00:20:38,771 IT WAS LIKE A BRAND NEW 665 00:20:38,838 --> 00:20:39,638 PAINTING. 666 00:20:39,705 --> 00:20:40,372 >> RHEA: THAT MUST HAVE BEEN 667 00:20:40,439 --> 00:20:41,474 THRILLING FOR ALL OF YOU 668 00:20:41,540 --> 00:20:42,274 WHO WORKED ON IT. 669 00:20:42,341 --> 00:20:43,175 >> KIMBERLY: OH, IT WAS. 670 00:20:43,242 --> 00:20:44,076 >> RHEA: OUR LAST SEGMENT 671 00:20:44,143 --> 00:20:46,045 FOLLOWS THE COMPLICATED PROCESS 672 00:20:46,112 --> 00:20:48,881 OF MAINTAINING PRICELESS 16TH 673 00:20:48,948 --> 00:20:50,382 CENTURY TAPESTRIES AT 674 00:20:50,449 --> 00:20:52,318 THE ISABELLA STEWART GARDNER 675 00:20:52,384 --> 00:20:54,420 MUSEUM IN BOSTON. 676 00:20:54,487 --> 00:20:55,087 >> KIMBERLY: IT TOOK SEVEN 677 00:20:55,154 --> 00:20:55,821 MONTHS, 678 00:20:55,888 --> 00:20:56,689 BUT CLEANING THESE FLEMISH 679 00:20:56,756 --> 00:20:57,623 TAPESTRIES REVEALED SCENES 680 00:20:57,690 --> 00:21:00,159 AND COLORS NEVER BEFORE SEEN. 681 00:21:00,226 --> 00:21:01,894 REPORTER JARED BOWEN GIVES 682 00:21:01,961 --> 00:21:02,962 TAKES US THERE. 683 00:21:04,563 --> 00:21:05,097 >> JARED BOWEN: ONE OF 684 00:21:05,164 --> 00:21:06,031 THE GRANDEST SPACES IN 685 00:21:06,098 --> 00:21:07,099 THE ISABELLA STEWART GARDNER 686 00:21:07,166 --> 00:21:08,334 MUSEUM IS THE SOARING, 687 00:21:08,400 --> 00:21:11,036 4,000 SQUARE FOOT TAPESTRY ROOM. 688 00:21:11,103 --> 00:21:12,905 OPENED IN 1914 TO HOUSE 689 00:21:12,972 --> 00:21:14,140 TAPESTRIES MRS. GARDNER 690 00:21:14,206 --> 00:21:16,041 COLLECTED OVER 35 YEARS, 691 00:21:16,108 --> 00:21:17,376 IT WAS ALSO ONE OF THE FIRST 692 00:21:17,443 --> 00:21:19,145 SPACES THE MUSEUM TURNED 693 00:21:19,211 --> 00:21:21,547 TO AFTER OPENING ITS NEW WING. 694 00:21:21,614 --> 00:21:22,681 >> TESS FREDETTE: THIS ROOM HAS 695 00:21:22,748 --> 00:21:24,049 JUST BEEN REFURBISHED BRINGING 696 00:21:24,116 --> 00:21:25,451 THIS ROOM BACK TO THE GLORY 697 00:21:25,518 --> 00:21:27,753 OF WHAT IT ONCE WAS. 698 00:21:27,820 --> 00:21:28,521 >> JARED: THE MUSEUM TREATED 699 00:21:28,587 --> 00:21:29,355 PAINTINGS, 700 00:21:29,421 --> 00:21:30,556 RETURNED THE TILE FLOOR 701 00:21:30,623 --> 00:21:31,757 TO ITS ORIGINAL SHINE, 702 00:21:31,824 --> 00:21:32,892 IMPROVED THE LIGHTING 703 00:21:32,958 --> 00:21:34,360 AND COMPLETELY RESTORED ITS 704 00:21:34,426 --> 00:21:36,762 14TH CENTURY FRENCH FIREPLACE. 705 00:21:36,829 --> 00:21:38,397 PERHAPS MOST DAUNTING THOUGH, 706 00:21:38,464 --> 00:21:40,099 WAS THE CLEANING OF ITS 707 00:21:40,166 --> 00:21:42,401 LONG-SOILED 16TH CENTURY 708 00:21:42,468 --> 00:21:44,436 FLEMISH TAPESTRIES LIKE THIS 709 00:21:44,503 --> 00:21:45,070 ONE. 710 00:21:45,137 --> 00:21:45,805 >> TESS: IT HASN'T BEEN CLEANED 711 00:21:45,871 --> 00:21:47,239 SINCE THE '60s 712 00:21:47,306 --> 00:21:48,841 AND AT THAT PARTICULAR TIME 713 00:21:48,908 --> 00:21:50,142 THERE WERE STILL FIRES IN 714 00:21:50,209 --> 00:21:51,343 THE FIREPLACE, 715 00:21:51,410 --> 00:21:54,346 AND WE WERE STILL BURNING COAL. 716 00:21:54,413 --> 00:21:55,648 SO IT WAS A RATHER SOOTY 717 00:21:55,714 --> 00:21:56,949 ENVIRONMENT. 718 00:21:57,016 --> 00:21:57,950 SO WE NEED TO REMOVE SOME 719 00:21:58,017 --> 00:21:59,118 OF THAT SOOT. 720 00:21:59,185 --> 00:21:59,885 >> JARED: TESS FREDETTE 721 00:21:59,952 --> 00:22:01,220 IS THE TEXTILE CONSERVATOR AT 722 00:22:01,287 --> 00:22:02,555 THE GARDNER MUSEUM. 723 00:22:02,621 --> 00:22:04,256 WE MET WITH HER LAST OCTOBER 724 00:22:04,323 --> 00:22:05,558 AS SHE PREPPED THE TAPESTRY 725 00:22:05,624 --> 00:22:06,725 FOR CLEANING. 726 00:22:06,792 --> 00:22:07,693 IT'S BEING SENT ALL THE WAY 727 00:22:07,760 --> 00:22:08,427 TO BELGIUM. 728 00:22:08,494 --> 00:22:08,994 >> TESS: CORRECT. 729 00:22:09,061 --> 00:22:10,429 SO, THAT'S THE NEAREST PLACE, 730 00:22:10,496 --> 00:22:11,897 YOU CAN'T OBVIOUSLY TAKE 731 00:22:11,964 --> 00:22:12,932 THIS TO ZOOTS. 732 00:22:12,998 --> 00:22:14,333 >> TESS: EXACTLY. 733 00:22:14,400 --> 00:22:16,302 THE REASON WHY WE'RE GOING 734 00:22:16,368 --> 00:22:19,538 TO DEWITT IN BELGIUM IS BECAUSE 735 00:22:19,605 --> 00:22:21,574 THEY HAVE THIS SORT OF STATE 736 00:22:21,640 --> 00:22:22,908 OF THE ART CLEANING SYSTEM 737 00:22:22,975 --> 00:22:23,976 THAT I BELIEVE IS THE WAVE 738 00:22:24,043 --> 00:22:24,944 OF THE FUTURE. 739 00:22:25,010 --> 00:22:25,611 >> JARED: BUT FIRST, 740 00:22:25,678 --> 00:22:26,612 ONE OF THE MUSEUM'S MOST FRAGILE 741 00:22:26,679 --> 00:22:29,248 MASTERPIECES HAD TO BE REMOVED 742 00:22:29,315 --> 00:22:30,916 AND ROLLED. 743 00:22:30,983 --> 00:22:31,483 >>TESS: IT'S MORE 744 00:22:31,550 --> 00:22:32,585 NERVE-WRACKING A LITTLE BIT. 745 00:22:32,651 --> 00:22:34,620 BECAUSE A PIECE OF CLOTH, 746 00:22:34,687 --> 00:22:36,188 IT'S VERY FLEXIBLE, 747 00:22:36,255 --> 00:22:37,356 SO WE WANT TO BE CAREFUL 748 00:22:37,423 --> 00:22:38,123 NOT TO BEND IT, 749 00:22:38,190 --> 00:22:39,091 ALTHOUGH ONCE IT CURLS 750 00:22:39,158 --> 00:22:40,659 ONTO THE FLOOR IT WILL BEND, 751 00:22:40,726 --> 00:22:41,894 SO WE HAVE TO MAKE SURE 752 00:22:41,961 --> 00:22:43,028 IT'S REALLY A GENTLE HANDLING. 753 00:22:44,930 --> 00:22:46,765 >> OKAY, PASSING IT DOWN TO YOU. 754 00:22:46,832 --> 00:22:49,702 >> OKAY. ALRIGHT, GOT IT. 755 00:23:08,888 --> 00:23:09,588 >> TESS: AND WE'LL JUST GET IT 756 00:23:09,655 --> 00:23:11,857 UNWOUND AS SOON AS WE CAN. 757 00:23:15,094 --> 00:23:15,694 >> JARED: OVER THE FALL 758 00:23:15,761 --> 00:23:16,495 AND WINTER, 759 00:23:16,562 --> 00:23:17,930 THE MUSEUM SENT FOUR TAPESTRIES 760 00:23:17,997 --> 00:23:19,431 TO BELGIUM FOR HIGH TECH 761 00:23:19,498 --> 00:23:20,399 CLEANING. 762 00:23:20,466 --> 00:23:22,001 THE RESULT WAS A REVELATION 763 00:23:22,067 --> 00:23:23,569 AS WE SAW WHEN WE MET UP 764 00:23:23,636 --> 00:23:25,204 WITH FREDETTE AGAIN SEVEN MONTHS 765 00:23:25,271 --> 00:23:26,205 LATER. 766 00:23:26,272 --> 00:23:26,939 >> JARED: THIS IS ALMOST 767 00:23:27,006 --> 00:23:28,340 A NEW TAPESTRY, ISN'T IT? 768 00:23:28,407 --> 00:23:29,408 >> TESS: IT CERTAINLY IS. 769 00:23:29,475 --> 00:23:31,844 IT'S SO MUCH BRIGHTER. 770 00:23:31,911 --> 00:23:32,478 IT WAS CLEANED, 771 00:23:32,544 --> 00:23:33,812 IT HAD THIS HEAVY GRAY PALLOR 772 00:23:33,879 --> 00:23:35,781 OF PARTICULATE SOILS ALL OVER IT 773 00:23:35,848 --> 00:23:37,783 THAT HAVE NOW BEEN REMOVED. 774 00:23:37,850 --> 00:23:39,218 THEY PUT THE TAPESTRY ON 775 00:23:39,285 --> 00:23:41,086 THIS BIG SUCTIONED TABLE, 776 00:23:41,153 --> 00:23:42,454 AND THEN THEY HAVE THIS AEROSOL 777 00:23:42,521 --> 00:23:43,756 SYSTEM IN THE CEILING THAT 778 00:23:43,822 --> 00:23:45,991 JUST SLOWLY RELEASES THIS MIST. 779 00:23:46,058 --> 00:23:47,526 AND THEY TURN ON A SUCTION 780 00:23:47,593 --> 00:23:49,161 UNDERNEATH AND SO THEY DRAW IT, 781 00:23:49,228 --> 00:23:51,163 VERY SLOWLY DRAW IT THROUGH 782 00:23:51,230 --> 00:23:52,331 THE TAPESTRY. 783 00:23:52,398 --> 00:23:53,132 AND SO, 784 00:23:53,198 --> 00:23:54,600 THE SOILS COME WITH IT. 785 00:23:54,667 --> 00:23:55,901 >> JARED: DID YOU SEE WHAT 786 00:23:55,968 --> 00:23:56,769 THE SOIL WAS LIKE? 787 00:23:56,835 --> 00:23:57,670 >> TESS: YES. 788 00:23:57,736 --> 00:23:58,537 >> JARED: WHAT WAS THAT LIKE? 789 00:23:58,604 --> 00:23:59,538 >> TESS: IT WAS VERY BLACK. 790 00:23:59,605 --> 00:24:00,940 (LAUGHS) 791 00:24:01,006 --> 00:24:02,141 THE CLARITY OF THE IMAGERY 792 00:24:02,207 --> 00:24:03,175 HAS IMPROVED, 793 00:24:03,242 --> 00:24:04,343 THE COLORS THAT WERE HIDDEN 794 00:24:04,410 --> 00:24:05,878 BENEATH THAT GRAYNESS HAVE 795 00:24:05,945 --> 00:24:07,546 POPPED FORWARD. 796 00:24:07,613 --> 00:24:08,447 >> JARED: WITH THE TAPESTRY 797 00:24:08,514 --> 00:24:09,515 LAID OUT IN THE MUSEUM'S 798 00:24:09,581 --> 00:24:10,582 CONSERVATION LAB, 799 00:24:10,649 --> 00:24:12,017 FREDETTE SAYS THERE ARE ELEMENTS 800 00:24:12,084 --> 00:24:14,320 OF THE WORK "A HARE LAID BARE" 801 00:24:14,386 --> 00:24:15,387 THAT SHE DIDN'T EVEN KNOW 802 00:24:15,454 --> 00:24:16,355 EXISTED. 803 00:24:16,422 --> 00:24:17,556 >>TESS: "THE HARE" IS OUTLINED 804 00:24:17,623 --> 00:24:18,958 ON ONE SIDE WITH THE DARK BROWN 805 00:24:19,024 --> 00:24:20,592 AND ON THE OTHER SIDE WITH 806 00:24:20,659 --> 00:24:21,794 A NAVY BLUE, 807 00:24:21,860 --> 00:24:23,963 WHICH REALLY ADDS TO THAT, 808 00:24:24,029 --> 00:24:25,331 GIVES IT A LITTLE MORE 809 00:24:25,397 --> 00:24:26,365 DIMENSION. 810 00:24:26,432 --> 00:24:27,499 AND THAT'S NOT SOMETHING 811 00:24:27,566 --> 00:24:29,168 THAT WE COULD SEE BEFORE. 812 00:24:29,234 --> 00:24:29,835 >> JARED: AND WITH 813 00:24:29,902 --> 00:24:30,669 THE TAPESTRIES RETURNED 814 00:24:30,736 --> 00:24:31,937 TO THEIR SPACE AND PRISTINE 815 00:24:32,004 --> 00:24:33,038 ONCE MORE, 816 00:24:33,105 --> 00:24:34,540 THE ENTIRE ROOM IS SOMETHING 817 00:24:34,606 --> 00:24:36,842 GENERATIONS HAVE NOT SEEN 818 00:24:36,909 --> 00:24:37,376 BEFORE. 819 00:24:38,978 --> 00:24:39,645 >> RHEA: TO LEARN MORE ABOUT 820 00:24:39,712 --> 00:24:40,546 THE MUSEUM, 821 00:24:40,612 --> 00:24:41,313 VISIT 822 00:24:41,380 --> 00:24:42,848 GARDNERMUSEUM.ORG. 823 00:25:07,206 --> 00:25:07,806 >> RHEA: THAT'S IT 824 00:25:07,873 --> 00:25:08,240 FOR THIS WEEK, 825 00:25:08,307 --> 00:25:10,576 BUT YOU CAN STAY UP ALL NIGHT 826 00:25:10,642 --> 00:25:12,244 WATCHING MORE EPISODES AT 827 00:25:12,311 --> 00:25:14,947 MPT.ORG/ARTWORKS. 828 00:25:15,014 --> 00:25:16,115 I'M RHEA FEIKIN. 829 00:25:16,181 --> 00:25:17,116 >> AND I'M KIMBERLY JONES, 830 00:25:17,182 --> 00:25:18,050 ASSOCIATE CURATOR 831 00:25:18,117 --> 00:25:18,884 OF FRENCH PAINTINGS AT 832 00:25:18,951 --> 00:25:20,085 THE NATIONAL GALLERY OF ART 833 00:25:20,152 --> 00:25:21,787 IN WASHINGTON, DC. 834 00:25:21,854 --> 00:25:22,354 >> RHEA: WE'LL SEE YOU 835 00:25:22,421 --> 00:25:23,022 NEXT WEEK, 836 00:25:23,088 --> 00:25:23,889 THANKS FOR WATCHING. 837 00:25:26,925 --> 00:25:27,693 >> ANNOUNCER: ARTWORKS IS MADE 838 00:25:27,760 --> 00:25:29,361 POSSIBLE IN PART BY THE CITIZENS 839 00:25:29,428 --> 00:25:30,596 OF BALTIMORE COUNTY. 840 00:25:34,700 --> 00:25:36,068 CLOSED CAPTIONING HAS BEEN MADE 841 00:25:36,135 --> 00:25:37,436 POSSIBLE BY MARYLAND RELAY, 842 00:25:37,503 --> 00:25:38,470 EMPOWERING THOSE WITH 843 00:25:38,537 --> 00:25:39,838 HEARING AND SPEECH LOSS 844 00:25:39,905 --> 00:25:40,773 TO STAY CONNECTED.