WEBVTT

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>> HOST: COMING UP ON ARTWORKS.

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SURREALIST PAINTER RENE MAGRITTE

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WHERE THE ORDINARY BECOMES

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MYSTERIOUS.

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>> AND IT IS THE VERY,

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VERY FIRST EVER TO LOOK AT

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HOW AND WHEN DID MAGRITTE

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BECOME MAGRITTE.

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>> HOST: WHAT IT TAKES

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TO BECOME LEAD CELLIST

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FOR THE BALTIMORE SYMPHONY

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ORCHESTRA.

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>> I ABSOLUTELY STRIVE

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FOR TECHNICAL PERFECTION.

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>> HOST: A PHOTOGRAPHER CAPTURES

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THE MYTHIC AND VANISHING

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WESTERN FRONTIER.

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>> MY ANCESTORS CAME HERE

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FROM VALENCIA, SPAIN,

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IN THE 1840s AND THEY WERE

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COMING TO TUCSON BY COVERED

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WAGON.

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>> HOST: AND WOVEN REVELATIONS

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BEHIND A CURTAIN OF SOOT.

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>> THE MUSEUM SENT FOUR

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TAPESTRIES TO BELGIUM

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FOR HIGH TECH CLEANING.

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THE RESULT WAS A REVELATION.

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UP NEXT ON ARTWORKS!

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CLOSED CAPTIONING HAS BEEN MADE

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POSSIBLE BY MARYLAND RELAY,

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EMPOWERING THOSE WHO ARE DEAF,

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HARD OF HEARING

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OR SPEECH DISABLED

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TO STAY CONNECTED BY PHONE.

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>> ANNOUNCER: ARTWORKS IS MADE

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POSSIBLE IN PART BY THE CITIZENS

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OF BALTIMORE COUNTY.

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>> RHEA: WELCOME TO ARTWORKS.

01:25.719 --> 01:26.753
WE BRING YOU ARTISTS FROM

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ACROSS THE COUNTRY

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AND IN EVERY GENRE,

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FROM DANCE, AND PAINTING,

01:31.124 --> 01:32.793
TO ANIMATION.

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I'M YOUR HOST, RHEA FEIKIN,

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AND I'M REALLY EXCITED

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TO INTRODUCE OUR MOST

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DISTINGUISHED CO-HOST.

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>> AND I'M KIMBERLY JONES,

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ASSOCIATE CURATOR

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OF FRENCH PAINTINGS AT

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THE NATIONAL GALLERY OF ART

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IN WASHINGTON, DC.

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>> RHEA: WELL,

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LAST WEEK DEGAS AND CASSATT,

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WHAT'S NEXT?

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>> KIMBERLY: WELL,

01:49.509 --> 01:50.444
ANOTHER REALLY EXCITING

01:50.510 --> 01:51.578
EXHIBITION WE HAVE ALSO OPENING

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IN MAY IS ANDREW WYETH

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"LOOKING OUT, LOOKING IN."

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>> RHEA: "LOOKING OUT,

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LOOKING IN,"

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THERE MUST BE A REASON FOR THAT

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TITLE.

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>> KIMBERLY: THERE IS INDEED.

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ALTHOUGH ANDREW WYETH

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IS A GREAT AMERICAN ARTIST,

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IS A NAME THAT PEOPLE KNOW,

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BUT THEY KNOW HIM MOSTLY FOR HIS

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FIGURAL WORKS.

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PAINTINGS LIKE

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"CHRISTINA'S WORLD" FOR EXAMPLE.

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BUT THIS EXHIBITION IS A BIT

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UNUSUAL BECAUSE IT FOCUSES ON

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HIS "WINDOW ICONOGRAPHY."

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THIS IS AN EXTRAORDINARY BODY

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OF WORKS,

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ITS 300 WORKS OF "THE WINDOW."

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AND WE WILL INCLUDE 60 OF THEM

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IN THIS EXHIBITION WHICH I THINK

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IS GOING TO BE A FASCINATING

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REVELATION FOR OUR VISITORS.

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>> RHEA: SO,

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THEY'RE GOING TO SEE AN

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ABSOLUTELY OTHER SIDE OF HIM

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FROM THE ONE THAT WE USUALLY

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THINK OF.

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>> KIMBERLY: ABSOLUTELY,

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IT'S A COMPLETELY FRESH

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PERSPECTIVE ON A VERY WELL

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KNOWN ARTIST.

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PEOPLE HAVE LOTS OF TIME IT'S ON

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VIEW AT THE NATIONAL GALLERY

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FROM MAY 4TH THROUGH

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NOVEMBER 30TH.

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AND ONLY IN WASHINGTON,

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ANOTHER ONE THAT THEY WILL HAVE

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TO COME TO TOWN TO SEE.

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>> RHEA: GREAT.

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WHAT ABOUT THE FUTURE,

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IS THERE SOMETHING THAT WE

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ABSOLUTELY HAVE TO LOOK FORWARD

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TO?

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>> KIMBERLY: ONE GREAT

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EXHIBITION WE HAVE AT THE VERY

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END OF THE YEAR IS EL GRECO FROM

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WASHINGTON AREA COLLECTIONS.

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AND THIS IS AN EXHIBITION IN

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CELEBRATION OF THE 400TH

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ANNIVERSARY OF THE DEATH

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OF THIS VERY FAMOUS ARTIST.

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A GREEK ARTIST NAMED EL GRECO

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WHO SPENT HIS ENTIRE CAREER

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IN SPAIN WHERE HE DEVELOPED

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QUITE THE REPUTATION AS A GREAT

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PAINTER OF RELIGIOUS SUBJECTS.

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

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HE IS ONE OF MY FAVORITE

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PAINTERS.

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IT ALL SOUNDS EXCITING,

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SO MARK YOUR CALENDARS!

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AND NOW ONTO OUR FIRST STORY

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ANOTHER MAJOR EXHIBITION.

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FOR THE FIRST TIME,

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WORKS BY BELGIAN SURREALIST

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RENE MAGRITTE ARE ON A U.S.

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TOUR.

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>> KIMBERLY: FIRST STOP WAS

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THE MUSEUM OF MODERN ART

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IN NEW YORK.

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CURATOR ANNE UMLAND GIVES US

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AN INSIDER VIEW.

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* 

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>> ANNE UMLAND: THIS IS

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THE FIRST MAJOR MUSEUM

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EXHIBITION OF MAGRITTE'S WORK

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IN NEW YORK CITY TO BE HELD

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IN OVER A GENERATION.

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AND IT IS THE VERY,

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VERY FIRST EVER TO LOOK AT

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HOW AND WHEN DID MAGRITTE

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BECOME MAGRITTE.

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THE TITLE OF THE EXHIBITION

03:59.272 --> 04:00.240
"MAGRITTE: THE MYSTERY

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OF THE ORDINARY, 1926-1938"

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BEGAN WITH A PHRASE THAT

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MAGRITTE'S CLOSE FRIEND

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AND CONTEMPORARY,

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A BELGIAN SURREALIST PAUL NOUGE

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SAID ABOUT MAGRITTE'S WORK

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IN 1931:

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TO LOOK AT MAGRITTE'S PAINTINGS

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AND TO TURN AWAY FROM THEM

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AGAIN AND TO CONFRONT THE WORLD

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ITSELF WAS TO FIND THAT REALITY

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HAD BEEN ALTERED.

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THERE ARE NO LONGER ANY ORDINARY

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THINGS.

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MAGRITTE SOUGHT TO REVEAL

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THE MYSTERY THAT HE BELIEVED

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TO BE LATENT IN EVERY OBJECT.

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AND SO,

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WE ENDED UP PUTTING THOSE

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TWO WORDS TOGETHER,

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MYSTERY AND ORDINARY,

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BECAUSE I THINK WITH MAGRITTE

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HE'S ALWAYS CREATING WORKS

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THAT GO BACK AND FORTH BETWEEN

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THINGS THAT ARE SO RECOGNIZABLE

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AND NAMABLE, AND YET,

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HE MAKES THEM DEEPLY MYSTERIOUS.

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* 

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MAGRITTE HAS A RATHER UNIQUE

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BACKGROUND IN THAT HE TRAINED

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BOTH IN A FINE ARTS ACADEMY

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AND AS A COMMERCIAL ARTIST.

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I THINK THAT THE KIND OF BOLD,

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GRAPHIC, LEGIBLE,

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IDENTIFIABLE CLARITY THAT

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HE ACHIEVES IN HIS PAINTING

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SURELY IS INFORMED BY

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A COMMERCIAL BACKGROUND.

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* 

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FOR ME,

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THE BEAUTY OF DOING A SHOW

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THAT IS A SLICE LIKE THIS,

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THAT'S THIS SORT OF INTENSELY

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INNOVATIVE 13 YEAR PERIOD

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IS THAT YOU GET TO GO IN-DEPTH.

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* 

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THE EXHIBITION IN ITS MOST BASIC

05:41.141 --> 05:43.143
IS CHRONOLOGICAL.

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"THE LOST JOCKEY"

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IS ONE OF A WHOLE GROUP

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OF COLLAGES THAT MAGRITTE

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MADE IN 1926 AND 1927.

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IT COMBINES A NUMBER

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OF MAGRITTE'S EARLY TECHNIQUES,

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AND IMAGES,

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AND TYPES OF MATERIALS.

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SO,

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THERE ARE THESE STRANGE FORMS

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THAT LOOK A LITTLE BIT

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LIKE CHESS PIECES,

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THAT MAGRITTE CALLED

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"BILBOQUET."

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AND IN ENGLISH,

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THE WORD "BILBOQUET" REFERS

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

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THERE'S ALSO IN THIS PICTURE,

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THE IDEA OF THE STAGE.

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THE CURTAINS OPEN ON EITHER

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SIDE.

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HE'S TELLING US THIS IS SOME

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MAGICAL SURREAL PLACE.

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THE CENTRAL ELEMENT IS THIS

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CHARCOAL DRAWN FIGURE

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OF A HORSE AND JOCKEY.

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AND MAGRITTE'S FRIENDS

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AT THAT MOMENT IDENTIFIED THAT

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FIGURE WITH THE ARTIST HIMSELF,

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SORT OF GALLOPING OFF INTO

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THE UNKNOWN OF THE AVANT-GARDE.

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SURREALISM WAS A MOVEMENT THAT

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WAS FOUNDED BY A PARIS POET

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NAMED ANDRE BRETON IN 1924

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AND AT ITS ESSENCE IT ASKED

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PEOPLE TO TAKE NOTHING

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FOR GRANTED.

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AND I THINK THAT,

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THAT WHOLE IDEA OF BEHIND

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ORDINARY EVERY DAY APPEARANCES,

07:05.191 --> 07:08.461
THERE IS ALWAYS ANOTHER REALITY

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OR SURREALITY,

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IS JUST KEY TO UNDERSTANDING

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MAGRITTE'S LARGER PROJECT

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OF DE-FAMILIARIZING

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THE FAMILIAR OR HELPING US TO

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LOOK AT THE WORLD AROUND US

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WITH FRESH EYES.

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"THE TREACHERY OF IMAGES"

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IS PROBABLY MAGRITTE'S MOST

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DIRECT INTERROGATION OF WHAT

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IT MEANS TO MAKE A PICTURE

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AND WHAT THE ACT

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OF REPRESENTATION ENTAILS.

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HE PRESENTS YOU WITH THIS

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ABSOLUTELY LEGIBLE IMAGE

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OF A PIPE.

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AND THEN UNDERNEATH IT,

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IN SORT OF SCHOOL BOY

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OR GIRL SCRIPT WRITES,

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"CECI N'EST PAS UNE PIPE":

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"THIS IS NOT A PIPE."

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AND THAT IMMEDIATELY, SORT OF,

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THROWS EVERYTHING UP INTO

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QUESTION.

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NEITHER WORDS NOR PICTURES

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ARE EVER THE SAME AS THE THINGS

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THEMSELVES,

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THEY ARE JUST CONVENTIONS.

08:06.553 --> 08:09.356
* 

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THERE ARE A NUMBER OF WORKS

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IN THE SHOW THAT HAVE NEVER BEEN

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SEEN IN THE UNITED STATES

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BEFORE.

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AMONG THEM, FOR INSTANCE,

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"NOT TO BE REPRODUCED,"

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THIS ANTI-PORTRAIT FROM 1937

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OF MAGRITTE'S GREAT PATRON,

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THE ECCENTRIC BRITISH COLLECTOR

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EDWARD JAMES.

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* 

08:29.642 --> 08:30.877
ALL THE DIFFERENT THEMES

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THAT YOU SEE THROUGHOUT

08:31.845 --> 08:32.512
THE SHOW.

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THE DOUBLING, AND REPETITION,

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AND MIRRORING,

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AND CONCEALMENT I THINK

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ARE SO BEAUTIFULLY ENCAPSULATED

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IN THIS PORTRAIT.

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AND,

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JUST TO KEEP THINGS FROM

08:43.289 --> 08:44.924
BEING TOO OBVIOUS,

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THE BOOK BY EDGAR ALLEN POE,

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WHO WAS ONE MAGRITTE'S

08:48.528 --> 08:50.263
FAVORITE AUTHORS,

08:50.330 --> 08:52.465
IS REFLECTED IN THE CONVENTIONAL

08:52.532 --> 08:54.200
WAY IN THE MIRROR.

08:54.267 --> 08:54.701
SO,

08:54.768 --> 08:55.602
RIGHT AWAY YOU HAVE THESE

08:55.668 --> 08:57.637
TWO CONTRADICTORY SYSTEMS

08:57.704 --> 08:58.872
AND THE MORE YOU LOOK THE MORE

08:58.938 --> 09:00.106
YOU SEE THESE THINGS

09:00.173 --> 09:01.274
THAT DON'T ADD UP.

09:04.444 --> 09:05.078
>> KIMBERLY: THE MAGRITTE

09:05.145 --> 09:05.912
EXHIBITION IS AT

09:05.979 --> 09:07.480
THE MENIL COLLECTION IN HOUSTON

09:07.547 --> 09:08.848
UNTIL THE BEGINNING OF JUNE,

09:08.915 --> 09:10.483
AND COMPLETES ITS TOUR AT

09:10.550 --> 09:11.851
THE ART INSTITUTE OF CHICAGO

09:11.918 --> 09:12.819
IN MID-OCTOBER.

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>> RHEA: OUR NEXT ARTIST

09:27.534 --> 09:28.868
IS BALTIMORE-BASED.

09:28.935 --> 09:31.037
DARIUSZ SKORACZEWSKI

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IS PRINCIPAL CELLIST

09:32.705 --> 09:33.907
FOR THE BALTIMORE SYMPHONY

09:33.973 --> 09:34.674
ORCHESTRA.

09:34.741 --> 09:36.309
HE'S WON MANY AWARDS,

09:36.376 --> 09:37.777
INCLUDING A BAKER ARTIST

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AWARD LAST YEAR.

09:39.345 --> 09:40.313
>> KIMBERLY: DARIUSZ IS IMMERSED

09:40.380 --> 09:41.614
IN MUSIC FROM EARLY

09:41.681 --> 09:42.649
TO CONTEMPORARY.

09:42.715 --> 09:43.716
YOU COULD SAY HE'S A MUSICIAN'S

09:43.783 --> 09:44.617
MUSICIAN.

09:49.789 --> 09:50.356
>> DARIUSZ SKORACZEWSKI: WHEN I

09:50.423 --> 09:52.192
WAS ABOUT SIX OR SEVEN YEARS OLD

09:52.258 --> 09:54.060
BACK IN WARSAW, POLAND,

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MY PARENTS TOOK ME TO

09:55.361 --> 09:58.865
A ELEMENTARY MUSIC SCHOOL.

09:58.932 --> 10:00.533
YOU GOT A CHOICE OF VIOLIN,

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CELLO, OR PIANO.

10:03.303 --> 10:05.371
AND IT HAPPENED THAT I WAS

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ALREADY VERY TALL FOR

10:06.873 --> 10:08.274
A SIX-YEAR-OLD,

10:08.341 --> 10:10.510
AND A CELLO WAS A NATURAL CHOICE

10:10.577 --> 10:13.012
FOR ME AT THAT POINT.

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AND I'VE BEEN PLAYING EVER

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SINCE.

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MY NAME IS DARIUSZ SKORACZEWSKI.

10:20.253 --> 10:21.688
I'M A CELLIST;

10:21.754 --> 10:22.622
PRINCIPAL CELLIST FOR

10:22.689 --> 10:23.556
THE BALTIMORE SYMPHONY

10:23.623 --> 10:25.492
ORCHESTRA.

10:26.092 --> 10:27.093
MAINLY I'VE BEEN PLAYING

10:27.160 --> 10:28.495
IN BALTIMORE SYMPHONY BUT

10:28.561 --> 10:29.963
I'VE PLAYED IN MANY,

10:30.029 --> 10:31.397
MANY CHAMBER GROUPS,

10:31.464 --> 10:32.832
PIANO TRIO, AND QUARTETS,

10:32.899 --> 10:35.468
AND SEXTETS, OCTETS,

10:35.535 --> 10:38.271
JUST ABOUT ANY CONFIGURATION

10:38.338 --> 10:40.507
OF INSTRUMENTS.

10:41.608 --> 10:42.442
I THINK THE CELLO

10:42.509 --> 10:43.743
IS JUST A VERY,

10:43.810 --> 10:45.044
VERY BEAUTIFUL INSTRUMENT.

10:45.111 --> 10:46.112
ESPECIALLY WHEN YOU PLAY THINGS

10:46.179 --> 10:48.181
LIKE A BACH SOLO SUITE,

10:48.248 --> 10:50.517
WHEN IT'S QUIET, AND MELLOW,

10:50.583 --> 10:51.451
AND JUST BEAUTIFUL.

10:51.885 --> 11:12.205
* 

11:12.272 --> 11:13.039
WHAT I TRY TO DO IN MY

11:13.106 --> 11:15.508
PERFORMANCES IS MAKE

11:15.575 --> 11:16.843
OF THE AUDIENCE,

11:16.910 --> 11:17.510
FIRST OF ALL,

11:17.577 --> 11:18.444
UNDERSTAND THE PIECE.

11:18.511 --> 11:19.646
ESPECIALLY IF THEY HAVEN'T HEARD

11:19.712 --> 11:20.146
IT BEFORE.

11:20.513 --> 11:24.250
* 

11:24.317 --> 11:25.518
I TRY TO PLAY AS BEAUTIFULLY

11:25.585 --> 11:27.453
AS HUMANLY POSSIBLE.

11:27.520 --> 11:29.322
ALWAYS DOING, YOU KNOW,

11:29.389 --> 11:30.657
200% OF MY EFFORT.

11:31.090 --> 11:32.892
* 

11:32.959 --> 11:33.693
I ABSOLUTELY STRIVE

11:33.760 --> 11:34.861
FOR TECHNICAL PERFECTION.

11:35.361 --> 11:40.700
* 

11:40.767 --> 11:42.702
I'VE PLAYED VERY EARLY MUSIC,

11:42.769 --> 11:43.836
AND BAROQUE MUSIC,

11:43.903 --> 11:45.939
CLASSICAL MUSIC, ROMANTIC,

11:46.005 --> 11:46.539
20TH CENTURY.

11:46.940 --> 11:55.615
* 

11:55.682 --> 11:57.617
MODERN MUSIC IS SOMETHING

11:57.684 --> 11:59.219
THAT I REALLY LIKE.

11:59.719 --> 12:06.559
* 

12:06.626 --> 12:08.795
LUTOSLAWSKI'S SACHER VARIATION,

12:08.861 --> 12:09.896
I REALLY LOVE THAT PIECE.

12:09.963 --> 12:12.332
IT EXPLORES DIFFERENT TECHNIQUES

12:12.398 --> 12:14.500
THAT AUDIENCES SOMETIMES

12:14.567 --> 12:15.335
ARE NOT USED TO,

12:15.635 --> 12:52.138
* 

12:52.205 --> 12:53.373
I TRY TO BE FULLY ENGAGED,

12:53.439 --> 12:56.676
ALWAYS, IN A PERFORMANCE.

12:56.743 --> 12:58.011
I PUT MY HEART COMPLETELY

12:58.077 --> 12:59.712
INTO EVERY SINGLE OPPORTUNITY

12:59.779 --> 13:01.014
THAT I GET.

13:08.655 --> 13:09.889
>> RHEA: I LOVE THE SOUND

13:09.956 --> 13:10.857
OF A CELLO.

13:10.923 --> 13:12.191
AND I PARTICULARLY LIKE

13:12.258 --> 13:13.993
THE BACH SOLO SUITES.

13:14.060 --> 13:14.727
>> KIMBERLY: ABSOLUTELY,

13:14.794 --> 13:15.795
AND THE CELLO REALLY

13:15.862 --> 13:17.397
IT PROVIDES SUCH DEPTH

13:17.463 --> 13:18.665
AND RICHNESS AND THAT MELANCHOLY

13:18.731 --> 13:19.899
NOTE TO THE ORCHESTRA.

13:19.966 --> 13:21.334
IT IS JUST AMAZING.

13:21.401 --> 13:22.235
>> RHEA: SO YOU LIKE IT TOO.

13:22.302 --> 13:23.403
>> KIMBERLY: I DO TOO.

13:23.469 --> 13:24.504
>> RHEA: AND YOU CAN SEE MORE

13:24.570 --> 13:25.638
OF HIS WORK AT

13:25.705 --> 13:28.441
TWO WEBSITES DSKORA.COM

13:28.508 --> 13:30.810
AND BAKERARTISTAWARDS.ORG.

13:42.488 --> 13:42.989
>> RHEA: NEXT,

13:43.056 --> 13:43.990
WE MEET PHOTOGRAPHER

13:44.057 --> 13:45.325
SCOTT BAXTER,

13:45.391 --> 13:46.793
WHO'S FOUND INSPIRATION

13:46.859 --> 13:48.394
IN THE AMERICAN FRONTIER

13:48.461 --> 13:49.996
IN ARIZONA.

13:50.063 --> 13:51.097
>> KIMBERLY: BAXTER HAS

13:51.164 --> 13:52.532
PHOTOGRAPHED OVER ONE HUNDRED

13:52.598 --> 13:54.200
ANCESTRAL CATTLE RANCHES.

13:54.267 --> 13:55.368
HIS MISSION,

13:55.435 --> 13:56.235
DOCUMENT THE VANISHING

13:56.302 --> 13:57.570
TRADITIONS OF AMERICA'S

13:57.637 --> 13:58.671
LEGENDARY WE.

14:05.712 --> 14:06.946
>> HEY! HEY!

14:07.013 --> 14:10.583
(MOOING)

14:10.650 --> 14:11.284
>> SCOTT BAXTER: SOME OF THESE

14:11.351 --> 14:12.919
RANCHES THAT WE'RE PHOTOGRAPHING

14:12.985 --> 14:13.920
AREN'T GOING TO BE AROUND

14:13.986 --> 14:15.588
BECAUSE DEVELOPMENT IS GONNA

14:15.655 --> 14:17.623
FIND ITS WAY IN.

14:17.690 --> 14:18.991
AND THERE'S A LOT OF RANCHES

14:19.058 --> 14:19.992
I KNOW THAT THERE'S NO ONE

14:20.059 --> 14:21.427
COMING UP BEHIND THEM, SO,

14:21.494 --> 14:22.795
THEY'LL MOST LIKELY BE SOLD.

14:25.765 --> 14:26.532
AND I JUST THOUGHT,

14:26.599 --> 14:27.734
WHAT IF PHOTOGRAPHICALLY I COULD

14:27.800 --> 14:29.435
AT LEAST TRY TO RECORD SOME

14:29.502 --> 14:30.303
OF THESE FAMILIES THAT

14:30.370 --> 14:32.872
HAVE BEEN AROUND HERE SINCE 1912

14:32.939 --> 14:33.539
OR EARLIER.

14:33.606 --> 14:34.807
AND THAT'S HOW IT

14:34.874 --> 14:35.375
KIND OF STARTED THAT WAY.

14:35.441 --> 14:36.042
I DIDN'T REALLY PLAN TO DO

14:36.109 --> 14:36.709
ANYTHING WITH IT,

14:36.776 --> 14:37.643
I JUST WANTED TO SEE IF I COULD

14:37.710 --> 14:38.311
ACCOMPLISH IT.

14:43.216 --> 14:43.883
>> SCOTT: WE CALL IT

14:43.950 --> 14:45.318
"100 YEARS, 100 RANCHERS."

14:45.385 --> 14:46.619
AND BASICALLY THE CRITERIA

14:46.686 --> 14:48.287
IS THE FAMILY HAS BEEN RANCHING

14:48.354 --> 14:49.655
IN ARIZONA CONTINUOUSLY SINCE

14:49.722 --> 14:50.957
1912 OR EARLIER.

14:53.092 --> 14:53.860
>> HENRY AMADO: MY ANCESTORS

14:53.926 --> 14:56.062
CAME HERE FROM VALENCIA, SPAIN,

14:56.129 --> 14:58.097
IN THE 1840s AND THEY WERE

14:58.164 --> 14:59.632
COMING TO TUCSON BY COVERED

14:59.699 --> 15:00.800
WAGON.

15:00.867 --> 15:02.735
THIS IS THE AMADO FAMILY

15:02.802 --> 15:04.737
THIS IS MY GREAT GRANDFATHER.

15:04.804 --> 15:07.440
BY 1852 IS WHEN THEY SET UP

15:07.507 --> 15:09.709
TO RANCH IN ALAMO BONITO,

15:09.776 --> 15:12.612
IN WHAT IS CALLED "AMADO."

15:14.480 --> 15:15.448
>> SCOTT BAXTER: THIS FAMILY

15:15.515 --> 15:16.549
IS A VERY HISTORIC FAMILY,

15:16.616 --> 15:18.184
AND GOES BACK A LONG WAYS,

15:18.251 --> 15:19.185
AND A BEAUTIFUL RANCH TOO.

15:19.252 --> 15:20.253
ONE OF MY,

15:20.319 --> 15:21.320
SANTA CRUZ COUNTY'S

15:21.387 --> 15:22.255
PROBABLY ONE OF MY FAVORITE

15:22.321 --> 15:24.857
PLACES TO BE IN THE WHOLE STATE.

15:27.960 --> 15:28.494
THE PHOTOGRAPHS SHOULD BE

15:28.561 --> 15:30.263
REALLY EASY FOR YOU TO LOOK AT.

15:30.329 --> 15:31.230
DOESN'T MEAN IT HAS TO BE

15:31.297 --> 15:32.398
POLLYANNAISH,

15:32.465 --> 15:33.666
OR BEAUTIFUL, OR ANYTHING.

15:33.733 --> 15:35.034
JUST HAS TO BE EASY.

15:35.101 --> 15:36.102
IF IT'S EASY, IT'S GOOD.

15:40.206 --> 15:40.907
IF I PUSH TOO HARD,

15:40.973 --> 15:42.175
IF I REALLY TRY TOO HARD

15:42.241 --> 15:43.443
TO PUSH A PHOTOGRAPH,

15:43.509 --> 15:45.178
IT DOESN'T WORK OUT FOR ME.

15:45.244 --> 15:46.446
I KIND OF LET THE PHOTOGRAPH

15:46.512 --> 15:48.214
COME TO ME.

15:48.281 --> 15:49.982
THERE'S NOT A SET PROCESS.

15:50.049 --> 15:50.950
I WANT TO GET THIS SIDE, TOO,

15:51.017 --> 15:51.617
BECAUSE IT'S GOT YOUR BRAND

15:51.684 --> 15:53.119
ON THE HORSE'S SHOULDER.

15:53.186 --> 15:54.687
ASIDE FROM SCOUTING A LITTLE

15:54.754 --> 15:55.588
BIT THE DAY BEFORE OR KNOWING

15:55.655 --> 15:56.355
I WANTED TO USE THAT BIG

15:56.422 --> 15:57.190
SYCAMORE TREE.

15:57.256 --> 15:59.992
THERE'S NOT A, YOU KNOW,

16:00.059 --> 16:01.294
I DON'T HAVE A LIST WHAT

16:01.360 --> 16:02.328
I'M GOING TO DO.

16:02.395 --> 16:03.329
I JUST KIND OF WALK IN

16:03.396 --> 16:04.831
AND IT'S KIND OF THE WAY

16:04.897 --> 16:05.832
I ALWAYS WORK.

16:05.898 --> 16:07.033
I JUST KIND OF WING IT

16:07.099 --> 16:08.468
AND KIND OF WORKS FOR ME.

16:08.534 --> 16:09.135
DOESN'T WORK FOR EVERYBODY,

16:09.202 --> 16:10.036
BUT IT DOES FOR ME.

16:12.338 --> 16:13.206
THE LAST ONE WITH THE CAMERA

16:13.272 --> 16:14.006
FOR NOW AT LEAST.

16:16.275 --> 16:16.776
>> HENRY AMADO: I WAS

16:16.843 --> 16:17.376
STANDING THERE.

16:17.443 --> 16:19.245
>> SCOTT: STRAIGHT IN.

16:19.312 --> 16:20.079
>> HENRY: LAST EVENING

16:20.146 --> 16:20.847
BY THE TREE,

16:20.913 --> 16:22.515
AND BETWEEN TWO HORSES,

16:22.582 --> 16:26.953
AND WITH MY SON, AND GRANDSON,

16:27.019 --> 16:27.987
ON EACH SIDE OF ME.

16:31.057 --> 16:32.191
VERY PROUD.

16:34.894 --> 16:35.495
>> SCOTT: JUST GIVES YOU

16:35.561 --> 16:36.028
AN IDEA.

16:36.095 --> 16:36.662
IT'S A SMALL SHOT.

16:36.729 --> 16:37.263
NOW,

16:37.330 --> 16:38.064
YOU GOT TO KIND OF LOOK AT IT.

16:38.130 --> 16:39.432
I WANT TO SHOW THAT PRIDE.

16:39.499 --> 16:40.566
I MEAN THEY'RE VERY...

16:40.633 --> 16:41.200
AS A GROUP,

16:41.267 --> 16:42.602
THEY'RE VERY PROUD OF THEIR

16:42.668 --> 16:44.036
HERITAGE AND PROUD OF WHAT

16:44.103 --> 16:45.404
THEY DO.

16:45.471 --> 16:47.139
SO THAT'S WHERE WE'RE AT.

16:47.206 --> 16:48.074
WE'RE GOING TO SHOOT A FEW MORE

16:48.140 --> 16:49.075
WITH THIS CAMERA.

16:49.141 --> 16:49.876
WITH THE PORTRAITS,

16:49.942 --> 16:50.610
YOU JUST KIND OF,

16:50.676 --> 16:51.577
YOU KIND OF TAKE A LITTLE MORE

16:51.644 --> 16:52.979
TIME AND GET THE FRAME THE WAY

16:53.045 --> 16:54.046
YOU WANT IT

16:54.113 --> 16:56.749
AND READ THE LIGHT AND SHOOT IT.

16:56.816 --> 16:58.584
5-6-125.

16:58.651 --> 16:59.285
>> HENRY: I THINK IT'S

16:59.352 --> 17:01.087
A WONDERFUL THING THAT SCOTT

17:01.153 --> 17:03.322
CAME UP WITH THIS IDEA.

17:03.389 --> 17:04.524
>> SCOTT: THIS IS ACTUALLY VERY

17:04.590 --> 17:05.558
NICE, WHERE WE'RE AT NOW.

17:07.927 --> 17:09.161
>> HENRY: IT'S RECORDED HISTORY.

17:11.063 --> 17:11.764
>> SCOTT: I DON'T THINK THEY'RE

17:11.831 --> 17:13.099
REALLY LOOKING FOR RECOGNITION

17:13.165 --> 17:14.000
BUT I THINK THEY LIKE THE FACT

17:14.066 --> 17:15.301
THERE'S GOING TO BE A RECORD

17:15.368 --> 17:16.569
OF THIS SOMEWHERE.

17:16.636 --> 17:17.570
FOR THEIR KIDS.

17:19.839 --> 17:21.607
I TREATED THIS IN A LOT OF WAYS

17:21.674 --> 17:23.342
JUST LIKE IT COULD HAVE BEEN

17:23.409 --> 17:25.144
SHOT, YOU KNOW, 100 YEARS AGO.

17:25.211 --> 17:26.913
I BRING A DIGITAL WITH ME,

17:26.979 --> 17:27.847
BUT THAT'S TO SHOOT STUFF

17:27.914 --> 17:28.748
FOR THEM.

17:28.814 --> 17:29.682
WE'RE SHOOTING STRAIGHT

17:29.749 --> 17:30.349
BLACK, AND WHITE,

17:30.416 --> 17:31.584
NO LIGHTS,

17:31.651 --> 17:32.552
SO IT'S BASICALLY CAMERA,

17:32.618 --> 17:33.686
FILM, AND A TRIPOD.

17:33.753 --> 17:35.288
AND THAT KIND OF FORCES ME

17:35.354 --> 17:36.222
TO REALLY THINK ABOUT MY

17:36.289 --> 17:37.423
COMPOSITION BECAUSE I DON'T HAVE

17:37.490 --> 17:38.991
A LOT OF TRICKS IN MY BAG,

17:39.058 --> 17:39.992
AND IT KIND OF MAKES YOU THINK

17:40.059 --> 17:40.760
A LITTLE BIT MORE

17:40.826 --> 17:41.928
AS A PHOTOGRAPHER.

17:41.994 --> 17:44.463
(MOOING)

17:44.530 --> 17:45.097
>> HENRY: I DON'T KNOW OF ANY

17:45.164 --> 17:46.299
RANCHER THAT DOESN'T WORK HARD.

17:47.533 --> 17:48.434
THEY HAVE TO.

17:50.603 --> 17:51.304
NO,

17:51.370 --> 17:52.872
I DON'T HAVE TO DO THIS.

17:52.939 --> 17:54.440
I'VE ALWAYS BEEN A VERY

17:54.507 --> 17:58.077
SUCCESSFUL C.P.A. AND WITH

17:58.144 --> 17:59.712
MY SON AS MY PARTNER,

17:59.779 --> 18:01.614
THE BUSINESS IS STILL GOING,

18:01.681 --> 18:03.516
AND MAYBE THAT'S WHY I CAN

18:03.583 --> 18:05.017
AFFORD TO BE HERE,

18:05.084 --> 18:06.319
BECAUSE IF HE'S THERE,

18:06.385 --> 18:07.153
I DON'T HAVE TO BE

18:07.219 --> 18:08.120
AT THE OFFICE.

18:08.187 --> 18:11.490
BUT I ENJOY BEING HERE AND,

18:11.557 --> 18:13.225
AT MY AGE, I DESERVE TO BE HERE.

18:17.563 --> 18:20.166
I THINK IT'S LOVE OF THE RANCH,

18:20.232 --> 18:25.338
LOVE OF THE LAND.

18:25.404 --> 18:27.540
>> SCOTT: THE BRANDINGS CAN BE

18:27.607 --> 18:29.976
KIND OF EXCITING.

18:30.042 --> 18:31.010
YOU GOT TWO GUYS ROPING,

18:31.077 --> 18:32.144
AND DRAGGING CALVES,

18:32.211 --> 18:33.112
AND YOU'VE GOT THREE,

18:33.179 --> 18:34.413
OR FOUR COWBOYS THROWING COWS

18:34.480 --> 18:35.181
ON THE GROUND.

18:37.650 --> 18:38.250
SOMETIMES WITH THE ACTION STUFF,

18:38.317 --> 18:39.652
I DON'T HAVE TIME TO DO TOO MUCH

18:39.719 --> 18:43.122
BUT JUST KIND OF HANG IN THERE.

18:44.290 --> 18:45.024
YOU DON'T WANT TO BE THE CAUSE

18:45.091 --> 18:47.026
OF SOMEBODY GETTING HURT.

18:47.093 --> 18:47.927
YOU DON'T WANT TO BE THE CAUSE

18:47.994 --> 18:49.929
OF LIVESTOCK GETTING INJURED.

18:49.996 --> 18:51.030
AND YOU CERTAINLY DON'T WANT

18:51.097 --> 18:51.797
TO GET HURT YOURSELF.

18:51.864 --> 18:52.465
SO,

18:52.531 --> 18:53.432
YOU STAY DIALED IN TO THE FRAME.

18:53.499 --> 18:55.101
BUT YOU CERTAINLY KIND OF HAVE

18:55.167 --> 18:56.969
TO HAVE A FEW THINGS GOING ON

18:57.036 --> 18:58.237
IN YOUR HEAD AT THE SAME TIME,

18:58.304 --> 19:00.239
AND KEEP YOURSELF COGNIZANT

19:00.306 --> 19:01.941
OF WHAT'S REALLY GOING ON

19:02.008 --> 19:02.708
AROUND YOU.

19:05.044 --> 19:06.612
THIS ONE IS A BIT MORE THIS

19:06.679 --> 19:08.080
LIKE THE OLD STYLE.

19:13.519 --> 19:15.388
I'VE NOT HAD A BAD EXPERIENCE.

19:15.454 --> 19:16.656
AND I'VE GOT A STORY FOR EVERY

19:16.722 --> 19:18.090
SINGLE RANCH THAT I'VE BEEN IN.

19:18.157 --> 19:18.991
THAT'S PERFECT, RIGHT THERE.

19:19.058 --> 19:21.260
HOLD THAT YOU KNOW

19:21.327 --> 19:22.495
THE PHOTOGRAPHS ARE THE ICING

19:22.561 --> 19:23.195
ON THE CAKE,

19:23.262 --> 19:25.164
BUT THE REAL THING IS I JUST

19:25.231 --> 19:28.634
(VOICES) THAT'S IT?

19:28.701 --> 19:29.535
>> SCOTT: THANK YOU SIR.

19:29.602 --> 19:30.169
IT'S IN?

19:30.236 --> 19:30.803
YEA, THAT'S IT.

19:30.870 --> 19:31.570
YOU KNOW THERE ARE A GREAT GROUP

19:31.637 --> 19:32.238
OF PEOPLE.

19:32.304 --> 19:33.072
I HAVE JUST BEEN HONORED

19:33.139 --> 19:34.006
TO HAVE THE OPPORTUNITY TO MEET

19:34.073 --> 19:35.041
THEM AND SPEND SOME TIME

19:35.107 --> 19:35.875
WITH THEM.

19:35.941 --> 19:36.776
THEY ARE ALL HARD WORKING.

19:36.842 --> 19:37.777
THEY ARE JUST HARD WORKING

19:37.843 --> 19:39.645
PEOPLE WHO JUST LIKE,

19:39.712 --> 19:40.680
THEY LOVE WHAT THEY DO.

19:42.448 --> 19:43.783
AND THEY REALLY LOVE THEIR LAND.

19:43.849 --> 19:44.984
AND THAT'S THE THING THAT

19:45.051 --> 19:45.918
I'VE KIND OF COME AWAY WITH.

19:45.985 --> 19:47.753
THEY REALLY LOVE THIS LAND

19:47.820 --> 19:48.721
AND THEY REALLY WANT

19:48.788 --> 19:49.555
TO TAKE CARE OF IT.

19:54.827 --> 19:55.428
>> KIMBERLY: BAXTER HAS

19:55.494 --> 19:56.228
PUBLISHED A BOOK OF HIS

19:56.295 --> 19:57.530
PHOTOGRAPHS AND YOU CAN FIND

19:57.596 --> 19:58.230
IT AT

19:58.297 --> 19:59.865
ONEHUNDREDYEARSONEHUNDRED

19:59.932 --> 20:02.168
RANCHERS.COM.

20:02.234 --> 20:03.569
>> RHEA: OUR LAST STORY

20:03.636 --> 20:05.004
LOOKS BEHIND THE SCENES AT

20:05.071 --> 20:07.273
A MAJOR ART MUSEUM.

20:07.339 --> 20:08.541
>> RHEA: KIMBERLY,

20:08.607 --> 20:10.276
I SUSPECT YOU ARE FAMILIAR WITH

20:10.342 --> 20:11.811
THESE KINDS OF ADVENTURES?

20:11.877 --> 20:13.312
>> KIMBERLY: OH, ABSOLUTELY.

20:13.379 --> 20:15.081
PEOPLE HAVE NO IDEA WHAT GOES ON

20:15.147 --> 20:16.382
BEHIND THE SCENES.

20:16.449 --> 20:17.650
AND HOW COMPLICATED

20:17.717 --> 20:18.951
AND TIME CONSUMING IT IS TO

20:19.018 --> 20:20.219
MAINTAIN YOUR PERMANENT

20:20.286 --> 20:20.886
COLLECTION,

20:20.953 --> 20:21.987
LET ALONE MOUNT A TEMPORARY

20:22.054 --> 20:22.822
EXHIBITION.

20:22.888 --> 20:23.856
>> RHEA: DO YOU REMEMBER

20:23.923 --> 20:25.991
A SPECIFIC RESTORATION PROJECT?

20:26.058 --> 20:26.525
>> KIMBERY: WELL,

20:26.592 --> 20:27.460
ONE THAT WAS VERY EXCITING THAT

20:27.526 --> 20:28.461
I WAS INVOLVED IN WAS

20:28.527 --> 20:29.595
THE CLEANING OF OUR

20:29.662 --> 20:30.463
EDOUARD MANET PAINTING,

20:30.529 --> 20:31.664
"THE OLD MUSICIAN."

20:31.731 --> 20:32.598
IT WAS A VERY BIG,

20:32.665 --> 20:34.433
VERY COMPLEX TRANSFORMATION

20:34.500 --> 20:35.801
BUT WHEN IT WAS DONE

20:35.868 --> 20:37.169
THE PAINTING WAS AN ABSOLUTE

20:37.236 --> 20:38.037
REVELATION.

20:38.104 --> 20:38.771
IT WAS LIKE A BRAND NEW

20:38.838 --> 20:39.638
PAINTING.

20:39.705 --> 20:40.372
>> RHEA: THAT MUST HAVE BEEN

20:40.439 --> 20:41.474
THRILLING FOR ALL OF YOU

20:41.540 --> 20:42.274
WHO WORKED ON IT.

20:42.341 --> 20:43.175
>> KIMBERLY: OH, IT WAS.

20:43.242 --> 20:44.076
>> RHEA: OUR LAST SEGMENT

20:44.143 --> 20:46.045
FOLLOWS THE COMPLICATED PROCESS

20:46.112 --> 20:48.881
OF MAINTAINING PRICELESS 16TH

20:48.948 --> 20:50.382
CENTURY TAPESTRIES AT

20:50.449 --> 20:52.318
THE ISABELLA STEWART GARDNER

20:52.384 --> 20:54.420
MUSEUM IN BOSTON.

20:54.487 --> 20:55.087
>> KIMBERLY: IT TOOK SEVEN

20:55.154 --> 20:55.821
MONTHS,

20:55.888 --> 20:56.689
BUT CLEANING THESE FLEMISH

20:56.756 --> 20:57.623
TAPESTRIES REVEALED SCENES

20:57.690 --> 21:00.159
AND COLORS NEVER BEFORE SEEN.

21:00.226 --> 21:01.894
REPORTER JARED BOWEN GIVES

21:01.961 --> 21:02.962
TAKES US THERE.

21:04.563 --> 21:05.097
>> JARED BOWEN: ONE OF

21:05.164 --> 21:06.031
THE GRANDEST SPACES IN

21:06.098 --> 21:07.099
THE ISABELLA STEWART GARDNER

21:07.166 --> 21:08.334
MUSEUM IS THE SOARING,

21:08.400 --> 21:11.036
4,000 SQUARE FOOT TAPESTRY ROOM.

21:11.103 --> 21:12.905
OPENED IN 1914 TO HOUSE

21:12.972 --> 21:14.140
TAPESTRIES MRS. GARDNER

21:14.206 --> 21:16.041
COLLECTED OVER 35 YEARS,

21:16.108 --> 21:17.376
IT WAS ALSO ONE OF THE FIRST

21:17.443 --> 21:19.145
SPACES THE MUSEUM TURNED

21:19.211 --> 21:21.547
TO AFTER OPENING ITS NEW WING.

21:21.614 --> 21:22.681
>> TESS FREDETTE: THIS ROOM HAS

21:22.748 --> 21:24.049
JUST BEEN REFURBISHED BRINGING

21:24.116 --> 21:25.451
THIS ROOM BACK TO THE GLORY

21:25.518 --> 21:27.753
OF WHAT IT ONCE WAS.

21:27.820 --> 21:28.521
>> JARED: THE MUSEUM TREATED

21:28.587 --> 21:29.355
PAINTINGS,

21:29.421 --> 21:30.556
RETURNED THE TILE FLOOR

21:30.623 --> 21:31.757
TO ITS ORIGINAL SHINE,

21:31.824 --> 21:32.892
IMPROVED THE LIGHTING

21:32.958 --> 21:34.360
AND COMPLETELY RESTORED ITS

21:34.426 --> 21:36.762
14TH CENTURY FRENCH FIREPLACE.

21:36.829 --> 21:38.397
PERHAPS MOST DAUNTING THOUGH,

21:38.464 --> 21:40.099
WAS THE CLEANING OF ITS

21:40.166 --> 21:42.401
LONG-SOILED 16TH CENTURY

21:42.468 --> 21:44.436
FLEMISH TAPESTRIES LIKE THIS

21:44.503 --> 21:45.070
ONE.

21:45.137 --> 21:45.805
>> TESS: IT HASN'T BEEN CLEANED

21:45.871 --> 21:47.239
SINCE THE '60s

21:47.306 --> 21:48.841
AND AT THAT PARTICULAR TIME

21:48.908 --> 21:50.142
THERE WERE STILL FIRES IN

21:50.209 --> 21:51.343
THE FIREPLACE,

21:51.410 --> 21:54.346
AND WE WERE STILL BURNING COAL.

21:54.413 --> 21:55.648
SO IT WAS A RATHER SOOTY

21:55.714 --> 21:56.949
ENVIRONMENT.

21:57.016 --> 21:57.950
SO WE NEED TO REMOVE SOME

21:58.017 --> 21:59.118
OF THAT SOOT.

21:59.185 --> 21:59.885
>> JARED: TESS FREDETTE

21:59.952 --> 22:01.220
IS THE TEXTILE CONSERVATOR AT

22:01.287 --> 22:02.555
THE GARDNER MUSEUM.

22:02.621 --> 22:04.256
WE MET WITH HER LAST OCTOBER

22:04.323 --> 22:05.558
AS SHE PREPPED THE TAPESTRY

22:05.624 --> 22:06.725
FOR CLEANING.

22:06.792 --> 22:07.693
IT'S BEING SENT ALL THE WAY

22:07.760 --> 22:08.427
TO BELGIUM.

22:08.494 --> 22:08.994
>> TESS: CORRECT.

22:09.061 --> 22:10.429
SO, THAT'S THE NEAREST PLACE,

22:10.496 --> 22:11.897
YOU CAN'T OBVIOUSLY TAKE

22:11.964 --> 22:12.932
THIS TO ZOOTS.

22:12.998 --> 22:14.333
>> TESS: EXACTLY.

22:14.400 --> 22:16.302
THE REASON WHY WE'RE GOING

22:16.368 --> 22:19.538
TO DEWITT IN BELGIUM IS BECAUSE

22:19.605 --> 22:21.574
THEY HAVE THIS SORT OF STATE

22:21.640 --> 22:22.908
OF THE ART CLEANING SYSTEM

22:22.975 --> 22:23.976
THAT I BELIEVE IS THE WAVE

22:24.043 --> 22:24.944
OF THE FUTURE.

22:25.010 --> 22:25.611
>> JARED: BUT FIRST,

22:25.678 --> 22:26.612
ONE OF THE MUSEUM'S MOST FRAGILE

22:26.679 --> 22:29.248
MASTERPIECES HAD TO BE REMOVED

22:29.315 --> 22:30.916
AND ROLLED.

22:30.983 --> 22:31.483
>>TESS: IT'S MORE

22:31.550 --> 22:32.585
NERVE-WRACKING A LITTLE BIT.

22:32.651 --> 22:34.620
BECAUSE A PIECE OF CLOTH,

22:34.687 --> 22:36.188
IT'S VERY FLEXIBLE,

22:36.255 --> 22:37.356
SO WE WANT TO BE CAREFUL

22:37.423 --> 22:38.123
NOT TO BEND IT,

22:38.190 --> 22:39.091
ALTHOUGH ONCE IT CURLS

22:39.158 --> 22:40.659
ONTO THE FLOOR IT WILL BEND,

22:40.726 --> 22:41.894
SO WE HAVE TO MAKE SURE

22:41.961 --> 22:43.028
IT'S REALLY A GENTLE HANDLING.

22:44.930 --> 22:46.765
>> OKAY, PASSING IT DOWN TO YOU.

22:46.832 --> 22:49.702
>> OKAY. ALRIGHT, GOT IT.

23:08.888 --> 23:09.588
>> TESS: AND WE'LL JUST GET IT

23:09.655 --> 23:11.857
UNWOUND AS SOON AS WE CAN.

23:15.094 --> 23:15.694
>> JARED: OVER THE FALL

23:15.761 --> 23:16.495
AND WINTER,

23:16.562 --> 23:17.930
THE MUSEUM SENT FOUR TAPESTRIES

23:17.997 --> 23:19.431
TO BELGIUM FOR HIGH TECH

23:19.498 --> 23:20.399
CLEANING.

23:20.466 --> 23:22.001
THE RESULT WAS A REVELATION

23:22.067 --> 23:23.569
AS WE SAW WHEN WE MET UP

23:23.636 --> 23:25.204
WITH FREDETTE AGAIN SEVEN MONTHS

23:25.271 --> 23:26.205
LATER.

23:26.272 --> 23:26.939
>> JARED: THIS IS ALMOST

23:27.006 --> 23:28.340
A NEW TAPESTRY, ISN'T IT?

23:28.407 --> 23:29.408
>> TESS: IT CERTAINLY IS.

23:29.475 --> 23:31.844
IT'S SO MUCH BRIGHTER.

23:31.911 --> 23:32.478
IT WAS CLEANED,

23:32.544 --> 23:33.812
IT HAD THIS HEAVY GRAY PALLOR

23:33.879 --> 23:35.781
OF PARTICULATE SOILS ALL OVER IT

23:35.848 --> 23:37.783
THAT HAVE NOW BEEN REMOVED.

23:37.850 --> 23:39.218
THEY PUT THE TAPESTRY ON

23:39.285 --> 23:41.086
THIS BIG SUCTIONED TABLE,

23:41.153 --> 23:42.454
AND THEN THEY HAVE THIS AEROSOL

23:42.521 --> 23:43.756
SYSTEM IN THE CEILING THAT

23:43.822 --> 23:45.991
JUST SLOWLY RELEASES THIS MIST.

23:46.058 --> 23:47.526
AND THEY TURN ON A SUCTION

23:47.593 --> 23:49.161
UNDERNEATH AND SO THEY DRAW IT,

23:49.228 --> 23:51.163
VERY SLOWLY DRAW IT THROUGH

23:51.230 --> 23:52.331
THE TAPESTRY.

23:52.398 --> 23:53.132
AND SO,

23:53.198 --> 23:54.600
THE SOILS COME WITH IT.

23:54.667 --> 23:55.901
>> JARED: DID YOU SEE WHAT

23:55.968 --> 23:56.769
THE SOIL WAS LIKE?

23:56.835 --> 23:57.670
>> TESS: YES.

23:57.736 --> 23:58.537
>> JARED: WHAT WAS THAT LIKE?

23:58.604 --> 23:59.538
>> TESS: IT WAS VERY BLACK.

23:59.605 --> 24:00.940
(LAUGHS)

24:01.006 --> 24:02.141
THE CLARITY OF THE IMAGERY

24:02.207 --> 24:03.175
HAS IMPROVED,

24:03.242 --> 24:04.343
THE COLORS THAT WERE HIDDEN

24:04.410 --> 24:05.878
BENEATH THAT GRAYNESS HAVE

24:05.945 --> 24:07.546
POPPED FORWARD.

24:07.613 --> 24:08.447
>> JARED: WITH THE TAPESTRY

24:08.514 --> 24:09.515
LAID OUT IN THE MUSEUM'S

24:09.581 --> 24:10.582
CONSERVATION LAB,

24:10.649 --> 24:12.017
FREDETTE SAYS THERE ARE ELEMENTS

24:12.084 --> 24:14.320
OF THE WORK "A HARE LAID BARE"

24:14.386 --> 24:15.387
THAT SHE DIDN'T EVEN KNOW

24:15.454 --> 24:16.355
EXISTED.

24:16.422 --> 24:17.556
>>TESS: "THE HARE" IS OUTLINED

24:17.623 --> 24:18.958
ON ONE SIDE WITH THE DARK BROWN

24:19.024 --> 24:20.592
AND ON THE OTHER SIDE WITH

24:20.659 --> 24:21.794
A NAVY BLUE,

24:21.860 --> 24:23.963
WHICH REALLY ADDS TO THAT,

24:24.029 --> 24:25.331
GIVES IT A LITTLE MORE

24:25.397 --> 24:26.365
DIMENSION.

24:26.432 --> 24:27.499
AND THAT'S NOT SOMETHING

24:27.566 --> 24:29.168
THAT WE COULD SEE BEFORE.

24:29.234 --> 24:29.835
>> JARED: AND WITH

24:29.902 --> 24:30.669
THE TAPESTRIES RETURNED

24:30.736 --> 24:31.937
TO THEIR SPACE AND PRISTINE

24:32.004 --> 24:33.038
ONCE MORE,

24:33.105 --> 24:34.540
THE ENTIRE ROOM IS SOMETHING

24:34.606 --> 24:36.842
GENERATIONS HAVE NOT SEEN

24:36.909 --> 24:37.376
BEFORE.

24:38.978 --> 24:39.645
>> RHEA: TO LEARN MORE ABOUT

24:39.712 --> 24:40.546
THE MUSEUM,

24:40.612 --> 24:41.313
VISIT

24:41.380 --> 24:42.848
GARDNERMUSEUM.ORG.

25:07.206 --> 25:07.806
>> RHEA: THAT'S IT

25:07.873 --> 25:08.240
FOR THIS WEEK,

25:08.307 --> 25:10.576
BUT YOU CAN STAY UP ALL NIGHT

25:10.642 --> 25:12.244
WATCHING MORE EPISODES AT

25:12.311 --> 25:14.947
MPT.ORG/ARTWORKS.

25:15.014 --> 25:16.115
I'M RHEA FEIKIN.

25:16.181 --> 25:17.116
>> AND I'M KIMBERLY JONES,

25:17.182 --> 25:18.050
ASSOCIATE CURATOR

25:18.117 --> 25:18.884
OF FRENCH PAINTINGS AT

25:18.951 --> 25:20.085
THE NATIONAL GALLERY OF ART

25:20.152 --> 25:21.787
IN WASHINGTON, DC.

25:21.854 --> 25:22.354
>> RHEA: WE'LL SEE YOU

25:22.421 --> 25:23.022
NEXT WEEK,

25:23.088 --> 25:23.889
THANKS FOR WATCHING.

25:26.925 --> 25:27.693
>> ANNOUNCER: ARTWORKS IS MADE

25:27.760 --> 25:29.361
POSSIBLE IN PART BY THE CITIZENS

25:29.428 --> 25:30.596
OF BALTIMORE COUNTY.

25:34.700 --> 25:36.068
CLOSED CAPTIONING HAS BEEN MADE

25:36.135 --> 25:37.436
POSSIBLE BY MARYLAND RELAY,

25:37.503 --> 25:38.470
EMPOWERING THOSE WITH

25:38.537 --> 25:39.838
HEARING AND SPEECH LOSS

25:39.905 --> 25:40.773
TO STAY CONNECTED.