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-Hey, I'm Rick Steves, 
here with a fascinating

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in the rich and inspirational 
story of Europe's art.

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In this hour, we venture from 
dramatic romanticism

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and breezy impressionism

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to bold new architecture

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and the wild and rule-breaking 
art of the 20th century.

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This is the Europe Art 
of the Modern Age.

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Thanks for joining us.

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♪♪

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♪♪

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♪♪

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♪♪

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The last roughly 
two centuries,

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from the mid-1800s on, have 
seen unprecedented change --

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advances in technology, 
the march of democracy,

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as well as two horrific 
world wars.

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And the art reflecting this age 
has been as turbulent,

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exciting, 
and dynamic as the times.

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We'll start with art 
that gave voice to

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the struggles for freedom,

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and art that celebrated 
the Industrial Revolution.

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Then trace how dreamy Romantics 
countered that

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by reveling in nature

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and legends.

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We'll follow the rapid evolution 
of styles,

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from sun-splashed Impressionism 
to sinuous Art Nouveau.

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We'll see art capturing 
the horror of war,

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how art mirrored wild times,

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celebrated Europe's 
modern dynamism,

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and reflects our 
ever-changing world.

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♪♪

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In the early 1800s, in the wake 
of the French Revolution,

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Europe's masses 
were hungry for freedom,

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both political and personal.

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That urge expressed itself 
in art that was not cerebral,

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but about letting 
hearts run wild.

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It was called Romanticism.

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Sure, Romantic art 
embraced traditional romance.

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But it was much more.

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It expressed the full range 
of human emotions,

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from the highest of highs

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to the lowest of lows,

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the awe-inspiring grandeur 
of nature,

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a dreamy nostalgia 
for times past,

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and a fascination 
with the exotic.

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The Romantic style 
is melodramatic,

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with epic scale canvases

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and images 
that stir the emotions.

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♪♪

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Some of the strongest passions 
of the 19th century

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were stoked by the struggles 
of ethnic groups

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rising up to form 
their own nations.

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Romantic artists had 
a natural affinity

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for these 
patriotic underdogs,

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and galleries were filled with 
art that cheered on freedom.

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In Germany, still little more 
than a patchwork

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of medieval dukedoms, 
patriots began

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imagining a united country.

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By embracing their 
common German roots --

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the dreamy medieval legends,

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heroes fighting 
for the fatherland --

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artists stoked idealistic

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dreams of a glorious 
German-speaking future.

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In Scotland, as patriots 
chafed at English rule,

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artists celebrated 
its independent spirit

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with a romanticized blend 
of myth and history.

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Proud warriors 
sport clan regalia,

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as if emboldened 
by kilts and plaid.

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In spite of tragic losses,

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a downtrodden yet resilient 
nation survived, spirit intact.

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In Norway, 
salt-of-the-earth locals

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reveled in their Norwegian-ness,

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celebrating traditional dress, 
heading for a country wedding,

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while engulfed in the majesty 
of the fjords.

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And in Italy, patriots united 
passionately behind dynamic

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leaders against 
their foreign oppressors.

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All across Europe, 
art illustrated

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how the modern forces of social 
progress battled old values,

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as Europeans demanded freedom.

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♪♪

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To appreciate Romantic art,

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it helps to understand 
what preceded it.

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Back in the 1700s, 
in the Age of Enlightenment,

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so much, including art, 
was subjected

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to "the test of reason."

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Art and architecture 
was Neoclassical --

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clean, simple, and logical --

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like this.

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In Neoclassical paintings, 
heroes were posed,

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death scenes were stoic,

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and idealized nudes sat calmly 
while deep in thought.

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But the Romantic-style art 
which followed,

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like this super-charged orgy 
of drama and violence,

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was an unruly explosion 
of emotions.

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This fearless Romantic heroine

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storms the barricades 
in the cause of liberty

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as guns blaze, smoke billows, 
and bodies fall...

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leading the common 
people to victory.

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And what could be more stirring

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than shipwrecked souls 
lost at sea?

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It's a human pyramid of emotion, 
from the depths of despair...

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to a hope-filled pinnacle 
of ecstasy

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as they spot the rescue ship.

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If Romantic art controls 
your heartbeat,

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this is a masterpiece.

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The Neoclassical and Romantic 
styles seem like opposites,

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yet both styles coexisted 
for decades,

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mirroring the conflicting 
social trends of the times.

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The Romantic Spanish painter 
Francisco Goya

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was an artist 
with a social conscience

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and a political agenda.

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As a successful painter 
of royal portraits,

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he dutifully recorded 
their extravagant finery,

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but also their famously 
clueless faces.

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He painted the idle rich 
at play

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while also branching out 
into more serious subjects.

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He explored the most extreme 
of emotions,

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grotesque scenes 
of madness and pain,

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revealing the dark side 
of the human condition.

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And he boldly depicted 
the painful reality

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of foreign oppression.

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First, the brave Spanish 
resistance,

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and then 
the brutal aftermath,

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when the soldiers of 
the French emperor,

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a faceless firing squad,

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mow down 
the revolutionaries,

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idealistic freedom fighters, 
one by one.

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Bodies fall,

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blood stains the ground.

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Men cover their eyes in horror.

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In the darkness, 
Goya throws a dramatic light

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on the next victim,

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a nameless peasant, the common 
man who becomes a hero.

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He spreads his arms and asks, 
"Why?"

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This masterpiece of the Romantic 
style -- vivid brushwork,

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stark shadows, 
distorted features,

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so full of human drama --

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expressed the anguish of 
Europe's masses

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longing to be free.

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Even amid Europe's 
surging national movements,

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another revolution 
was transforming

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the landscape -- 
the Industrial Revolution.

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Europe built more 
in the 19th century

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than in all previous 
centuries combined.

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But all this had a downside --

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an increasingly machine-like 
pace of life.

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Artists, 
with their free spirits,

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pushed back.

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Nature was appreciated 
as never before.

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Painters were 
climbing mountains,

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poets were hugging trees.

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Here in the English countryside,

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artists retreated to take long 
walks and commune with nature.

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Romantic painters captured 
the majesty of soaring clouds,

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an almost supernatural power 
charged from within,

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and soul-stirring mountains 
and rainbows that say,

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"Nature is big, we are small."

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The English artist 
William Turner

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infused his canvases with 
the Romantic forces of Nature --

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burning sun, swirling clouds,

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churning waves,

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storm-tossed souls.

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His old sailing ship 
being towed into the sunset

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by a steamship was a metaphor

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for the coming 
of the modern world.

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As he aged, Turner's brushwork 
became frenetic

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and more intense,

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capturing the stormy 
and tumultuous inner passions

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that defined the Romantic Age.

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In England, around 1850, 
the energy of Romanticism

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was channeled by a spirited 
brotherhood of artists.

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Turning away from the frenzy 
of the Industrial Age

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and inspired by the dreamy 
medieval world

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before the great 
Renaissance painter Raphael,

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they called themselves 
the Pre-Raphaelites.

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The Pre-Raphaelites reveled 
in medieval damsels,

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mythical goddesses,

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and legendary lovers,

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all immersed in the fertile 
serenity of nature,

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captured in radiant colors 
and luminous clarity.

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They created melancholy visions 
of pure beauty.

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In this quintessential 
Pre-Raphaelite masterpiece,

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tragic Ophelia,

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who's fallen while picking 
a garland of wildflowers,

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is singing before she drowns.

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Her body, open and skyward,

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is somewhere between 
saintly and sensual...

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and the nature engulfing her 
is so fertile

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while decaying 
at the same time.

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So pale in contrast 
to the richness of nature,

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she had finally found happiness 
on the verge of death.

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Dreamlike beauty, 
medieval themes,

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the wonder of nature --

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these elements of 
the Romantic style

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also came together all across 
Europe in fairy-tale castles.

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Built during the same 
generation,

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fanciful architectural dreams

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like these capped hills 
from Portugal

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to Romania

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to the foothills 
of Bavaria's Alps.

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Neuschwanstein, 
which looks medieval,

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was built 
only in the late 1800s.

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When Bavaria's King Ludwig 
wanted an escape

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from the grinding reality 
of governing, he found it here.

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Ludwig, a romantic's romantic, 
had grown up in this castle.

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From his bedroom chair, 
reading medieval legends

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while surrounded 
by the grandeur of nature,

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he dreamed up 
the ultimate castle.

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And just up the hill, 
he built it.

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His medieval fantasy was 
completely modern

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with all the comforts 
of the 1870s.

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It sits on a hilltop, 
not for defensive reasons,

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but because the king 
liked the view.

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♪♪

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Ludwig slathered the interior 
with misty medieval themes

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taken from operas 
written by his friend,

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the Romantic composer 
Richard Wagner.

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The golden throne room, 
saintly kings,

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and crown-shaped 
chandelier placed Ludwig

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among the great kings of old.

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With its natural setting, 
exotic décor,

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and joyous spirit of freedom,

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Ludwig's castle is a virtual 
theme park of Romanticism.

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Ludwig's historic-looking castle 
was an example

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of an architectural style 
called Historicism.

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The style spread widely 
in the late 1800s

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when Europe was prosperous 
and confident.

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In England it was 
the Victorian Age, in France,

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the "Belle Epoque" 
or beautiful age.

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And here in Vienna, 
they built this.

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With the changes 
of the modern world,

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many were like King Ludwig,

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nostalgic for an idealized past.

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Historicism showed itself 
in a Romantic mix

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of both old and new.

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19th century architects 
looked back

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into history for inspiration.

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Taking a little from here

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and a little from there, 
and employing new advances

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in iron, enabling bigger 
and more decorative

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architecture, they cobbled it 
into something that looked old

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but was "new," or "Neo."

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Neo-classical, 
like here in Vienna,

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Neo-Byzantine here in Paris,

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and when London's medieval 
parliament building burned down,

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they rebuilt it 
in Neo-Gothic style,

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complete with a bell tower 
to match.

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The most elaborate 
medieval-looking architecture,

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like the the spires 
of this church in Prague,

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or this castle in Segovia, 
is not 800 years old

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like you might think.

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It's actually neo-medieval,

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about 150 years old.

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00:13:27,200 --> 00:13:28,466
All of this was built

255
00:13:28,533 --> 00:13:30,800
or rebuilt 
in the same generation

256
00:13:30,866 --> 00:13:32,266
as the Eiffel Tower.

257
00:13:32,333 --> 00:13:36,200
Whether neo-this or neo-that, 
this style was a romantic way

258
00:13:36,266 --> 00:13:39,233
to hang onto a nation's 
historical roots

259
00:13:39,300 --> 00:13:42,066
while embracing 
the fast-changing times.

260
00:13:44,300 --> 00:13:47,633
By the way, I love how art, 
as it journeys through the ages,

261
00:13:47,700 --> 00:13:52,100
swings like a pendulum 
from emotional to cerebral --

262
00:13:52,166 --> 00:13:55,133
Gothic, Renaissance, Baroque,

263
00:13:55,200 --> 00:13:58,133
neo-Classical, Romanticism.

264
00:13:58,200 --> 00:14:01,133
Back and forth between 
your heart and your head.

265
00:14:01,200 --> 00:14:04,266
That pendulum of art 
just kept on swinging.

266
00:14:06,033 --> 00:14:07,133
Think about it --

267
00:14:07,200 --> 00:14:11,066
Gothic speaks to your heart, 
to your soul,

268
00:14:11,133 --> 00:14:14,133
while Renaissance 
was calculated and logical.

269
00:14:14,200 --> 00:14:21,333
♪♪

270
00:14:21,400 --> 00:14:26,200
Then Baroque was emotional 
again, with such exuberance.

271
00:14:28,600 --> 00:14:30,633
The reaction to all that drama?

272
00:14:30,700 --> 00:14:32,600
The cool and intellectual art

273
00:14:32,666 --> 00:14:35,333
of the neo-Classical age,

274
00:14:35,400 --> 00:14:38,066
which then inspired artists 
to unleash

275
00:14:38,133 --> 00:14:42,866
their hearts yet again 
and embrace Romanticism.

276
00:14:42,933 --> 00:14:46,600
♪♪

277
00:14:48,433 --> 00:14:51,233
In the late-19th century, 
the art world was dominated

278
00:14:51,300 --> 00:14:54,766
by the prestigious French art 
school called the Academy.

279
00:14:54,833 --> 00:14:56,200
But some independent artists

280
00:14:56,266 --> 00:14:58,866
struggled to be free 
from its stuffy dictates.

281
00:14:58,933 --> 00:15:01,766
The result -- a period with 
both conservative

282
00:15:01,833 --> 00:15:05,000
and revolutionary art 
at the same time.

283
00:15:05,066 --> 00:15:07,500
To earn a living, 
conforming artists

284
00:15:07,566 --> 00:15:13,166
painted gauzy, market-pleasing 
scenes like this Venus.

285
00:15:13,233 --> 00:15:15,666
Idealized beauty sold well.

286
00:15:15,733 --> 00:15:18,600
It was made-to-order 
for well-off customers

287
00:15:18,666 --> 00:15:21,400
who were afraid of change.

288
00:15:21,466 --> 00:15:24,333
But outside the Academy, 
a new breed of artists

289
00:15:24,400 --> 00:15:28,133
was painting 
the real life of real people.

290
00:15:28,200 --> 00:15:29,900
Called the Realists,

291
00:15:29,966 --> 00:15:34,066
they captured honest snapshots 
of everyday life,

292
00:15:34,133 --> 00:15:38,333
from no-nonsense portraits,

293
00:15:38,400 --> 00:15:42,300
to peasant spinners of yarn,

294
00:15:42,366 --> 00:15:44,833
to gleaners bending low 
to scavenge

295
00:15:44,900 --> 00:15:48,866
what they can from 
an already harvested field.

296
00:15:48,933 --> 00:15:52,366
This unvarnished 
Realism proved shocking.

297
00:15:52,433 --> 00:15:55,066
Instead of painting 
more dreamy goddesses,

298
00:15:55,133 --> 00:15:57,900
Gustave Courbet gave a gritty 
behind-the-scenes

299
00:15:57,966 --> 00:16:00,966
look at his studio.

300
00:16:01,033 --> 00:16:03,900
His model, not a goddess 
but a real woman,

301
00:16:03,966 --> 00:16:06,900
takes a break to watch 
Courbet at work.

302
00:16:06,966 --> 00:16:09,933
And the little boy 
admires the brave artist

303
00:16:10,000 --> 00:16:12,166
for bucking conformity.

304
00:16:14,400 --> 00:16:17,600
Edouard Manet took Realism 
to another level.

305
00:16:17,666 --> 00:16:21,533
He posed this prostitute 
like a classic goddess,

306
00:16:21,600 --> 00:16:25,400
but instead of golden skin 
and a radiant face,

307
00:16:25,466 --> 00:16:29,466
he made her shockingly ordinary.

308
00:16:29,533 --> 00:16:31,666
Her hand is a clamp,

309
00:16:31,733 --> 00:16:34,766
her stare, calculating.

310
00:16:34,833 --> 00:16:38,500
Ignoring the flowers her servant 
brings from her last customer,

311
00:16:38,566 --> 00:16:43,366
she looks out 
as if to say, "Next."

312
00:16:43,433 --> 00:16:44,733
Manet innovated.

313
00:16:44,800 --> 00:16:47,133
He placed this woman 
alongside men

314
00:16:47,200 --> 00:16:51,266
in business suits, brazenly 
accentuating her nudity.

315
00:16:51,333 --> 00:16:54,000
Rather than the polished 
brushwork of the Academy,

316
00:16:54,066 --> 00:16:57,900
he experimented with thick 
paint, sharp outlines,

317
00:16:57,966 --> 00:17:02,366
and odd perspective, 
further perplexing the critics.

318
00:17:02,433 --> 00:17:05,933
When Manet had his work 
rejected in 1867,

319
00:17:06,000 --> 00:17:11,266
he put on his own show, thumbing 
his nose at the establishment.

320
00:17:11,333 --> 00:17:15,400
Manet's boldness attracted 
a younger generation of artists.

321
00:17:15,466 --> 00:17:18,500
They admired him 
for his everyday subjects,

322
00:17:18,566 --> 00:17:23,066
experimental techniques, 
and his artistic integrity.

323
00:17:23,133 --> 00:17:25,900
Soon, they'd strike out 
on their own.

324
00:17:25,966 --> 00:17:30,566
Let the Impressionist 
revolution begin.

325
00:17:30,633 --> 00:17:33,733
These artists were known 
as the Impressionists.

326
00:17:33,800 --> 00:17:36,766
Freed from the stifling 
constraints of the Academy

327
00:17:36,833 --> 00:17:41,033
and inspired by the Realists, 
they took their easels outdoors.

328
00:17:41,100 --> 00:17:44,166
Their philosophy, like a 
declaration of independence,

329
00:17:44,233 --> 00:17:48,400
it was "Out of the studio 
and into nature."

330
00:17:48,466 --> 00:17:51,433
The Impressionists painted 
the French countryside,

331
00:17:51,500 --> 00:17:54,600
but the true subject 
wasn't so much the farms,

332
00:17:54,666 --> 00:17:56,300
rivers, and forests.

333
00:17:56,366 --> 00:17:59,033
It was all about the light.

334
00:18:01,733 --> 00:18:04,033
They even studied which pigments 
would reproduce

335
00:18:04,100 --> 00:18:06,833
reflected light most accurately.

336
00:18:06,900 --> 00:18:10,433
And when the light was just 
right, they painted furiously

337
00:18:10,500 --> 00:18:13,566
to catch the scene 
before it was gone,

338
00:18:13,633 --> 00:18:16,600
the way the light reflected off 
the passing clouds,

339
00:18:16,666 --> 00:18:18,266
the waving grass,

340
00:18:18,333 --> 00:18:20,133
a billowing dress.

341
00:18:22,133 --> 00:18:25,500
The father of Impressionism 
was Claude Monet.

342
00:18:25,566 --> 00:18:28,500
The son of a grocer 
with little formal education,

343
00:18:28,566 --> 00:18:31,333
he dedicated his life 
to discovering new ways

344
00:18:31,400 --> 00:18:33,400
of seeing things.

345
00:18:33,466 --> 00:18:37,033
With this quick impression 
of a harbor at sunrise,

346
00:18:37,100 --> 00:18:40,366
Monet helped give 
the movement its name.

347
00:18:40,433 --> 00:18:43,300
The real subject -- 
the impression of the light

348
00:18:43,366 --> 00:18:46,933
reflected on the water, 
rendered in a few squiggly lines

349
00:18:47,000 --> 00:18:49,466
or broad strokes of paint.

350
00:18:49,533 --> 00:18:52,933
Impressionists used an 
innovative technique.

351
00:18:53,000 --> 00:18:54,800
They applied bright colors

352
00:18:54,866 --> 00:18:58,100
in thick dabs 
side-by-side on the canvas,

353
00:18:58,166 --> 00:19:01,500
and let them mix 
as they traveled to your eye.

354
00:19:01,566 --> 00:19:03,866
Up close, it's a mess.

355
00:19:03,933 --> 00:19:08,166
But move back, and voilà!

356
00:19:08,233 --> 00:19:10,766
Since the colors never 
completely resolve,

357
00:19:10,833 --> 00:19:13,233
they continue to vibrate 
in the mind,

358
00:19:13,300 --> 00:19:17,300
giving Impressionist paintings 
their shimmering vitality.

359
00:19:20,500 --> 00:19:23,066
With Impressionism, the 
physical object in the painting

360
00:19:23,133 --> 00:19:26,100
was now just the rack upon 
which the light, shadow,

361
00:19:26,166 --> 00:19:27,833
and color would hang.

362
00:19:27,900 --> 00:19:31,400
And that's what the artist 
worked to capture.

363
00:19:31,466 --> 00:19:33,133
Monet would paint 
the same subject

364
00:19:33,200 --> 00:19:36,066
at different times of day, 
and in different weather

365
00:19:36,133 --> 00:19:38,400
to capture 
the different light --

366
00:19:38,466 --> 00:19:43,500
a cathedral, for example, 
in morning sun...

367
00:19:43,566 --> 00:19:46,866
full sun...

368
00:19:46,933 --> 00:19:49,400
and gray weather.

369
00:19:49,466 --> 00:19:52,266
The same building becomes 
a montage of subjects

370
00:19:52,333 --> 00:19:56,300
as it dissolves 
into pure light and color.

371
00:19:58,766 --> 00:20:00,433
Monet's friend, Renoir,

372
00:20:00,500 --> 00:20:04,100
also pioneered 
the Impressionist style.

373
00:20:04,166 --> 00:20:06,333
With his working-class 
background,

374
00:20:06,400 --> 00:20:09,133
Renoir loved to paint 
everyday Parisians

375
00:20:09,200 --> 00:20:10,966
dressed in their Sunday best,

376
00:20:11,033 --> 00:20:15,933
gathering at outdoor cafes 
to eat, drink, and dance.

377
00:20:16,000 --> 00:20:20,000
Renoir's bright colors caught 
the glowing afternoon sunlight,

378
00:20:20,066 --> 00:20:21,866
filtering through the leaves,

379
00:20:21,933 --> 00:20:24,500
dappling the dancers 
with darts of light

380
00:20:24,566 --> 00:20:27,266
like a 19th-century disco ball.

381
00:20:27,333 --> 00:20:30,366
As if snapping a photo 
with a slow shutter speed,

382
00:20:30,433 --> 00:20:34,933
he created 
a waltzing blur of joy.

383
00:20:35,033 --> 00:20:37,700
With soft focus 
and broad brushstrokes,

384
00:20:37,766 --> 00:20:42,266
Renoir painted easy-going scenes 
of everyday people,

385
00:20:42,333 --> 00:20:45,233
especially women.

386
00:20:45,300 --> 00:20:49,033
His nudes were voluptuous,

387
00:20:49,100 --> 00:20:54,566
and he caught the innocent joy 
of middle-class life.

388
00:20:54,633 --> 00:20:58,966
As Renoir himself said of his 
always-happy paintings,

389
00:20:59,033 --> 00:21:02,100
"There are enough 
ugly things in life."

390
00:21:04,733 --> 00:21:06,000
Each of the Impressionists

391
00:21:06,066 --> 00:21:08,466
developed their own 
distinctive style --

392
00:21:08,533 --> 00:21:11,500
Pissarro with his 
grainy earthiness,

393
00:21:11,566 --> 00:21:15,166
Sisley with his 
cloudy landscapes,

394
00:21:15,233 --> 00:21:20,200
and Edgar Degas 
with his ballerinas.

395
00:21:20,266 --> 00:21:23,933
With his knack for catching 
subjects at an unguarded moment,

396
00:21:24,000 --> 00:21:26,366
Degas showed dancers 
rehearsing --

397
00:21:26,433 --> 00:21:29,966
hot, tired, and bored.

398
00:21:30,033 --> 00:21:31,700
But when the lights came on,

399
00:21:31,766 --> 00:21:34,766
Degas captured all 
the onstage glitter,

400
00:21:34,833 --> 00:21:36,900
the joie de vivre of France's

401
00:21:36,966 --> 00:21:39,800
"Beautiful Age" -- 
the Belle Epoque.

402
00:21:42,400 --> 00:21:45,266
From his mansion in Paris, 
Auguste Rodin

403
00:21:45,333 --> 00:21:48,100
brought Impressionism 
to sculpting.

404
00:21:48,166 --> 00:21:49,733
His rough surfaces,

405
00:21:49,800 --> 00:21:51,966
rippling with 
frosting-like texture,

406
00:21:52,033 --> 00:21:54,633
were like thick brushstrokes 
on a canvas,

407
00:21:54,700 --> 00:21:57,133
capturing the effect 
of reflected light

408
00:21:57,200 --> 00:22:00,433
on stone or bronze.

409
00:22:00,500 --> 00:22:03,600
Rodin made ordinary people 
seem noble,

410
00:22:03,666 --> 00:22:07,566
and their nudity 
makes them universal.

411
00:22:07,633 --> 00:22:11,566
Their restless poses 
express their deepest emotions.

412
00:22:12,966 --> 00:22:16,733
As this passionate woman twines 
around her solid man,

413
00:22:16,800 --> 00:22:19,733
lost in an embrace 
with a forever kiss,

414
00:22:19,800 --> 00:22:21,800
we can almost read the emotions

415
00:22:21,866 --> 00:22:25,033
that led up 
to this meeting of the lips.

416
00:22:27,333 --> 00:22:30,166
Rodin's famous "Thinker," 
leaning forward,

417
00:22:30,233 --> 00:22:31,633
tense and compact,

418
00:22:31,700 --> 00:22:33,700
every muscle 
working toward producing

419
00:22:33,766 --> 00:22:36,866
that one great thought, 
captured the intensity

420
00:22:36,933 --> 00:22:39,833
of Rodin's own creative process.

421
00:22:39,900 --> 00:22:44,033
Said Rodin -- 
"It is a statue of myself."

422
00:22:46,233 --> 00:22:49,333
Impressionism reached its 
culmination with the same man

423
00:22:49,400 --> 00:22:51,766
who started it -- Claude Monet.

424
00:22:51,833 --> 00:22:55,200
Late in life, Monet moved 
to this garden estate.

425
00:22:55,266 --> 00:22:58,066
The colorful gardens 
were like his brushstrokes --

426
00:22:58,133 --> 00:23:02,633
a bit slapdash, but part 
of a carefully composed mosaic.

427
00:23:02,700 --> 00:23:08,700
Monet made a pond 
and filled it with water lilies.

428
00:23:08,766 --> 00:23:12,833
He painted the water lilies 
in this ensemble of canvases,

429
00:23:12,900 --> 00:23:16,000
all focusing on 
the ever-changing light,

430
00:23:16,066 --> 00:23:18,000
from the pre-dawn darkness,

431
00:23:18,066 --> 00:23:19,866
to clear morning light,

432
00:23:19,933 --> 00:23:22,200
to afternoon lavender,

433
00:23:22,266 --> 00:23:26,133
to golden sunset.

434
00:23:26,200 --> 00:23:28,233
He'd start by laying down thick,

435
00:23:28,300 --> 00:23:32,766
big brushstrokes of a single 
color, horizontal and vertical

436
00:23:32,833 --> 00:23:36,233
to create 
a dense mesh of foliage,

437
00:23:36,300 --> 00:23:39,600
then add more color 
for the dramatic highlights,

438
00:23:39,666 --> 00:23:43,933
until he got a dense paste 
of piled-up paint.

439
00:23:44,000 --> 00:23:46,766
Up close, it's messy, 
but back up,

440
00:23:46,833 --> 00:23:50,100
and the colors resolve 
into a luminous scene,

441
00:23:50,166 --> 00:23:54,266
just pure reflected color.

442
00:23:54,333 --> 00:23:57,466
The true subject 
is not really the lilies,

443
00:23:57,533 --> 00:24:00,600
but the changing reflections 
on the pond,

444
00:24:00,666 --> 00:24:04,733
where lilies mingle 
with the clouds and trees.

445
00:24:04,800 --> 00:24:07,466
Monet cropped his scenes 
ever closer,

446
00:24:07,533 --> 00:24:10,900
until there was no shoreline, 
no horizon,

447
00:24:10,966 --> 00:24:13,666
no sense of what's up or down,

448
00:24:13,733 --> 00:24:17,833
until you're completely 
immersed.

449
00:24:17,900 --> 00:24:20,466
In his final paintings, 
the great Impressionist

450
00:24:20,533 --> 00:24:23,133
dissolved the physical subject 
more and more

451
00:24:23,200 --> 00:24:26,566
into purely abstract patterns 
of colorful paint,

452
00:24:26,633 --> 00:24:30,033
anticipating the future of art.

453
00:24:30,100 --> 00:24:32,966
♪♪

454
00:24:34,333 --> 00:24:36,333
The Impressionists 
were like a tribe.

455
00:24:36,400 --> 00:24:38,600
They spoke the same 
artistic language.

456
00:24:38,666 --> 00:24:40,433
But after that, more than ever,

457
00:24:40,500 --> 00:24:42,866
artists went in 
different directions,

458
00:24:42,933 --> 00:24:45,300
creating art that was 
uniquely their own.

459
00:24:45,366 --> 00:24:49,100
And those artists 
were the Post-Impressionists.

460
00:24:49,166 --> 00:24:51,366
Georges Seurat took 
the Impressionist technique

461
00:24:51,433 --> 00:24:53,366
to its logical conclusion,

462
00:24:53,433 --> 00:24:57,033
reducing the brush stroke 
to a brush dot.

463
00:24:57,100 --> 00:24:59,366
This was Pointillism.

464
00:24:59,433 --> 00:25:01,266
All the dots would blend 
in the eye

465
00:25:01,333 --> 00:25:04,500
like a shimmering mosaic 
of reflected light.

466
00:25:04,566 --> 00:25:09,766
♪♪

467
00:25:09,833 --> 00:25:12,766
Paul Cézanne built his scenes 
not with dots

468
00:25:12,833 --> 00:25:16,033
but with thick slabs.

469
00:25:16,100 --> 00:25:18,933
His subjects were simple 
and familiar,

470
00:25:19,000 --> 00:25:22,966
objects reduced to their basic 
geometrical forms --

471
00:25:23,033 --> 00:25:25,200
circular apples,

472
00:25:25,266 --> 00:25:27,333
rectangular houses,

473
00:25:27,400 --> 00:25:31,600
and people posed 
in triangles.

474
00:25:31,666 --> 00:25:35,066
By simplifying reality 
into fundamental shapes,

475
00:25:35,133 --> 00:25:37,300
Cézanne inspired future artists

476
00:25:37,366 --> 00:25:40,733
to see ordinary things 
in a new way.

477
00:25:40,800 --> 00:25:50,400
♪♪

478
00:25:50,466 --> 00:25:53,066
Paul Gauguin sailed 
to exotic Tahiti,

479
00:25:53,133 --> 00:25:55,200
where he painted 
the native people.

480
00:25:58,966 --> 00:26:01,033
What may seem primitive 
and simple

481
00:26:01,100 --> 00:26:04,666
is actually intentional --

482
00:26:04,733 --> 00:26:07,700
flat scenes with no shading,

483
00:26:07,766 --> 00:26:10,866
black outlines filled in 
with bright colors.

484
00:26:10,933 --> 00:26:13,566
The space stacks up 
rather than recedes

485
00:26:13,633 --> 00:26:16,100
when he uses the same colors 
in the foreground

486
00:26:16,166 --> 00:26:19,533
and the background.

487
00:26:19,600 --> 00:26:22,966
His women, so different 
from the establishment Venuses

488
00:26:23,033 --> 00:26:26,833
of the Academy back in Paris, 
lounge innocently,

489
00:26:26,900 --> 00:26:29,266
giving uptight Europeans 
a glimpse

490
00:26:29,333 --> 00:26:31,566
of a Pacific Garden of Eden.

491
00:26:33,933 --> 00:26:36,866
And among the boldest 
of these post-Impressionists

492
00:26:36,933 --> 00:26:39,300
was Vincent van Gogh.

493
00:26:39,366 --> 00:26:44,433
For van Gogh, his life 
and art were intertwined.

494
00:26:44,500 --> 00:26:47,433
A humble pastor's son 
from a small Dutch town,

495
00:26:47,500 --> 00:26:49,966
he spent time helping 
poor coal miners

496
00:26:50,033 --> 00:26:52,533
in search of his calling.

497
00:26:52,600 --> 00:26:54,933
He gave farm laborers 
the same dignity

498
00:26:55,000 --> 00:26:57,366
usually afforded aristocrats.

499
00:26:57,433 --> 00:27:00,633
Through his art, 
he portrayed a vibrant world

500
00:27:00,700 --> 00:27:04,300
he felt so intensely.

501
00:27:04,366 --> 00:27:06,133
He moved to Paris, 
and the City of Light

502
00:27:06,200 --> 00:27:08,500
opened up 
a whole new world of color.

503
00:27:08,566 --> 00:27:11,066
Vincent hobnobbed 
with the Impressionists.

504
00:27:11,133 --> 00:27:13,733
He studied their bright colors, 
rough brushwork,

505
00:27:13,800 --> 00:27:16,900
and everyday scenes.

506
00:27:16,966 --> 00:27:20,700
He painted shimmering 
reflections like Monet,

507
00:27:20,766 --> 00:27:24,300
café snapshots like Degas,

508
00:27:24,366 --> 00:27:27,500
still-lifes like Cézanne,

509
00:27:27,566 --> 00:27:30,633
and self-portraits 
like nobody else.

510
00:27:33,366 --> 00:27:35,700
He set out 
for the south of France.

511
00:27:35,766 --> 00:27:37,966
Energized 
by the sun-drenched colors

512
00:27:38,033 --> 00:27:41,833
and the breathtaking vistas, 
in just two years Vincent

513
00:27:41,900 --> 00:27:45,733
produced an explosion 
of canvases.

514
00:27:45,800 --> 00:27:47,166
Sunshine..

515
00:27:47,233 --> 00:27:48,700
rolling hills...

516
00:27:48,766 --> 00:27:50,966
the patchwork farms.

517
00:27:51,033 --> 00:27:52,433
Working in the open-air,

518
00:27:52,500 --> 00:27:55,766
he feverishly 
painted the landscape,

519
00:27:55,833 --> 00:28:00,666
the simple workers, 
and the starry, starry nights.

520
00:28:03,100 --> 00:28:06,433
His unique style -- 
thicker paint, brighter colors,

521
00:28:06,500 --> 00:28:08,266
and swirling brushwork --

522
00:28:08,333 --> 00:28:11,966
made everything he painted 
pulse with life.

523
00:28:14,700 --> 00:28:17,933
Vincent's ecstasy alternated 
with dark times.

524
00:28:18,000 --> 00:28:20,700
He painted the loneliness 
of his own room.

525
00:28:20,766 --> 00:28:25,400
He drank too much and 
suffered bouts of depression.

526
00:28:25,466 --> 00:28:27,533
He was admitted to 
a local hospital

527
00:28:27,600 --> 00:28:31,633
where he found peace 
painting calm scenes of nature.

528
00:28:31,700 --> 00:28:34,766
But it seems he also wrestled 
with his inner demons,

529
00:28:34,833 --> 00:28:38,100
capturing spiritual scenes 
with surreal colors,

530
00:28:38,166 --> 00:28:42,533
twisted forms, 
and dark outlines.

531
00:28:42,600 --> 00:28:44,166
In one of his last works,

532
00:28:44,233 --> 00:28:46,866
the canvas is a wall 
of thick paint,

533
00:28:46,933 --> 00:28:51,933
with roads leading nowhere, 
and ominous crows taking flight.

534
00:28:52,000 --> 00:28:53,600
Overwhelmed with life,

535
00:28:53,666 --> 00:28:56,466
Vincent walked into a field 
like this one...

536
00:28:56,533 --> 00:28:59,900
and shot himself.

537
00:28:59,966 --> 00:29:02,966
With his paintings, van Gogh, 
though unappreciated

538
00:29:03,033 --> 00:29:06,066
in his own time, 
inspired his fellow artists

539
00:29:06,133 --> 00:29:08,766
to seek a new kind of beauty.

540
00:29:12,466 --> 00:29:15,200
The year before Van Gogh died, 
in 1889,

541
00:29:15,266 --> 00:29:17,800
Paris erected its Eiffel Tower.

542
00:29:17,866 --> 00:29:19,700
The centerpiece 
of a world's fair,

543
00:29:19,766 --> 00:29:21,900
it was a symbol 
of Europe's progress,

544
00:29:21,966 --> 00:29:24,933
celebrating how technology 
could merge with art

545
00:29:25,000 --> 00:29:28,000
to be both functional 
and beautiful.

546
00:29:28,066 --> 00:29:29,466
The mighty tower proclaimed

547
00:29:29,533 --> 00:29:32,400
the can-do spirit 
of the Industrial Age.

548
00:29:32,466 --> 00:29:34,033
Its no-nonsense iron beams

549
00:29:34,100 --> 00:29:36,433
were not plastered over 
with older styles,

550
00:29:36,500 --> 00:29:39,033
like Neo-Gothic 
or Neo-Classical,

551
00:29:39,100 --> 00:29:42,100
but proudly displayed.

552
00:29:42,166 --> 00:29:46,333
With its graceful curves and 
unabashed embrace of technology,

553
00:29:46,400 --> 00:29:49,166
the Tower helped inspire 
a new style of art --

554
00:29:49,233 --> 00:29:52,000
Art Nouveau.

555
00:29:52,066 --> 00:29:55,200
This "New Art" 
turned modern technology --

556
00:29:55,266 --> 00:30:00,066
iron, glass, ceramic tiles -- 
into beauty.

557
00:30:00,133 --> 00:30:02,200
Inspired by the curves 
of plants,

558
00:30:02,266 --> 00:30:07,066
artists made columns 
and ribs feel like a forest.

559
00:30:07,133 --> 00:30:09,366
They decorated humdrum 
Metro entrances

560
00:30:09,433 --> 00:30:11,566
with artistic ironwork,

561
00:30:11,633 --> 00:30:14,200
employed a playful blend 
of organic swoops

562
00:30:14,266 --> 00:30:16,600
and vertical lines,

563
00:30:16,666 --> 00:30:19,833
facades are colorful,

564
00:30:19,900 --> 00:30:23,333
and interiors glow 
with stained glass.

565
00:30:23,400 --> 00:30:29,933
♪♪

566
00:30:30,833 --> 00:30:32,866
Art Nouveau was an ethic 
of beauty.

567
00:30:32,933 --> 00:30:35,833
It celebrated creativity 
and the notion that art,

568
00:30:35,900 --> 00:30:40,933
design, fine living, 
it all flowed together.

569
00:30:41,000 --> 00:30:46,300
In their homes, the wealthy 
decorated with leafy designs.

570
00:30:46,366 --> 00:30:49,900
They added curves and beautiful 
inlays to furniture

571
00:30:49,966 --> 00:30:53,733
and even added a graceful touch 
to the latest home technology

572
00:30:53,800 --> 00:30:56,866
turning even the most practical 
everyday objects

573
00:30:56,933 --> 00:30:59,500
into works of art.

574
00:30:59,566 --> 00:31:01,766
The sumptuous beauty of 
Art Nouveau

575
00:31:01,833 --> 00:31:05,433
was wearable, as well.

576
00:31:05,500 --> 00:31:09,633
In Paris, a struggling Czech 
immigrant named Alphonse Mucha

577
00:31:09,700 --> 00:31:14,066
created a theatrical poster 
with a uniquely sinuous touch.

578
00:31:14,133 --> 00:31:16,366
It was an overnight sensation,

579
00:31:16,433 --> 00:31:20,800
and Mucha had set a template 
for Art Nouveau --

580
00:31:20,866 --> 00:31:23,300
willowy maidens 
with elegant gowns

581
00:31:23,366 --> 00:31:26,466
and flowing hair

582
00:31:26,533 --> 00:31:31,300
immersed in a background 
of flowery pastel designs,

583
00:31:31,366 --> 00:31:35,366
visions of the good life 
and pure beauty.

584
00:31:37,333 --> 00:31:41,733
The flowery style blossomed 
all over Europe.

585
00:31:41,800 --> 00:31:44,866
While in France, 
it was called Art Nouveau,

586
00:31:44,933 --> 00:31:47,866
in Germany and Austria, 
it was Jugendstil --

587
00:31:47,933 --> 00:31:49,666
"young style."

588
00:31:49,733 --> 00:31:53,633
♪♪

589
00:31:55,033 --> 00:32:00,166
And in Barcelona, 
it was Modernisme.

590
00:32:00,233 --> 00:32:03,900
Upscale neighborhoods 
shimmered with colorful, leafy,

591
00:32:03,966 --> 00:32:07,033
and organic shapes.

592
00:32:07,100 --> 00:32:08,500
On this street,

593
00:32:08,566 --> 00:32:12,233
several mansions jostled to 
outdo each other in creativity.

594
00:32:14,400 --> 00:32:16,100
Galloping gables...

595
00:32:18,100 --> 00:32:20,666
...molded concrete...

596
00:32:20,733 --> 00:32:24,833
colorful ceramic tiles, 
and shards of glass.

597
00:32:24,900 --> 00:32:27,300
Perhaps the most innovative 
mansion of all,

598
00:32:27,366 --> 00:32:31,366
with its roller-coaster curves 
and melting ice cream eves,

599
00:32:31,433 --> 00:32:34,833
was by hometown boy 
Antoni Gaudí.

600
00:32:34,900 --> 00:32:44,233
♪♪

601
00:32:44,300 --> 00:32:46,400
Gaudí's grandest work is his

602
00:32:46,466 --> 00:32:50,433
Church of the Sagrada Família, 
or Holy Family.

603
00:32:50,500 --> 00:32:54,000
He worked on this mega-structure 
for over 40 years

604
00:32:54,066 --> 00:32:57,200
and left it to later 
architects to finish.

605
00:32:57,266 --> 00:32:59,700
With its soaring 
honeycomb towers,

606
00:32:59,766 --> 00:33:04,366
it radiates like 
a spiritual lighthouse.

607
00:33:04,433 --> 00:33:07,633
The stone ripples and 
the surface crawls with life --

608
00:33:07,700 --> 00:33:11,266
animals, birds, trees, 
and people.

609
00:33:11,333 --> 00:33:15,266
Gaudí combined Christian 
symbolism, images from nature,

610
00:33:15,333 --> 00:33:19,900
and the playful flair 
of Modernisme.

611
00:33:19,966 --> 00:33:21,333
Like a concrete forest,

612
00:33:21,400 --> 00:33:24,400
the church seems 
to grow organically,

613
00:33:24,466 --> 00:33:26,666
reaching to heaven.

614
00:33:26,733 --> 00:33:30,433
The soaring nave features 
columns that blossom with life.

615
00:33:30,500 --> 00:33:33,200
Gaudí said, 
"Nothing is invented,

616
00:33:33,266 --> 00:33:36,166
for it's first 
written in nature."

617
00:33:36,233 --> 00:33:39,733
Light filters in, as if through 
the canopy of a rainforest,

618
00:33:39,800 --> 00:33:45,033
creating space for an intimate 
connection with God.

619
00:33:45,100 --> 00:33:48,166
Gaudí's futuristic vision 
captured the spirit

620
00:33:48,233 --> 00:33:51,566
of Art Nouveau 
on an epic scale.

621
00:33:53,666 --> 00:33:57,200
As the 20th century dawned, from 
telephones and cars to physics

622
00:33:57,266 --> 00:34:00,000
and Freud, 
the world was moving fast.

623
00:34:00,066 --> 00:34:03,766
Artists kept up, capturing 
the accelerated pace of life,

624
00:34:03,833 --> 00:34:06,800
as Europe stepped boldly 
into the modern age.

625
00:34:06,866 --> 00:34:08,933
As the world changed, 
so did art,

626
00:34:09,000 --> 00:34:12,300
fragmenting into a kaleidoscope 
of new styles.

627
00:34:14,100 --> 00:34:15,900
Atop Paris' Montmartre hill,

628
00:34:15,966 --> 00:34:18,633
crowned by the dramatic 
Sacré-Coeur church,

629
00:34:18,700 --> 00:34:21,466
bohemians and free spirits 
could literally

630
00:34:21,533 --> 00:34:22,933
look down on the stuffy,

631
00:34:23,000 --> 00:34:25,833
bourgeois values of Paris.

632
00:34:25,900 --> 00:34:27,400
Since the days of Renoir,

633
00:34:27,466 --> 00:34:31,333
artists gathered here for 
the low rent, rustic ambience,

634
00:34:31,400 --> 00:34:33,966
and to stoke each 
other's non-conformity,

635
00:34:34,033 --> 00:34:37,700
to live carefree lives 
with a hint of decadence

636
00:34:37,766 --> 00:34:41,200
and watch can-can girls 
kick up their heels.

637
00:34:42,633 --> 00:34:44,566
Henri de Toulouse-Lautrec

638
00:34:44,633 --> 00:34:47,300
captured the turn-of-the-century 
scene.

639
00:34:47,366 --> 00:34:49,166
Crippled from youth, 
Toulouse-Lautrec

640
00:34:49,233 --> 00:34:52,633
felt most at home 
among fellow outcasts --

641
00:34:52,700 --> 00:34:55,833
the women of the brothels 
he frequented,

642
00:34:55,900 --> 00:34:57,700
and the performers 
of the decadent

643
00:34:57,766 --> 00:35:00,266
Moulin Rouge nightclub.

644
00:35:00,333 --> 00:35:04,166
He gave them a dignity denied 
them by society,

645
00:35:04,233 --> 00:35:07,133
like this aristocratic-looking 
dancer,

646
00:35:07,200 --> 00:35:11,133
weary of the nightlife 
yet unable to escape it.

647
00:35:11,200 --> 00:35:13,800
Predictably, Toulouse-Lautrec 
died young,

648
00:35:13,866 --> 00:35:17,966
but with his unabashed realism, 
candid subjects,

649
00:35:18,033 --> 00:35:20,033
spontaneous snapshots

650
00:35:20,100 --> 00:35:23,666
like dashed-off sketches 
in paint, he had documented

651
00:35:23,733 --> 00:35:27,100
this golden age 
of artistic rebellion.

652
00:35:27,166 --> 00:35:34,733
♪♪

653
00:35:36,300 --> 00:35:39,633
In opulent Vienna, 
this simmering hedonism came out

654
00:35:39,700 --> 00:35:43,233
in the sumptuous paintings 
of Gustav Klimt.

655
00:35:45,900 --> 00:35:47,766
Klimt favored sensual women,

656
00:35:47,833 --> 00:35:51,200
who he depicted 
as alternately noble...

657
00:35:53,566 --> 00:35:55,200
...bewitching...

658
00:35:57,466 --> 00:35:59,100
...mysterious...

659
00:36:01,733 --> 00:36:05,133
...and dangerous,

660
00:36:05,200 --> 00:36:06,900
like this biblical heroine

661
00:36:06,966 --> 00:36:10,933
with the head of her victim, 
a modern femme fatale.

662
00:36:13,300 --> 00:36:16,533
Here, Klimt's woman 
is no longer dominant.

663
00:36:16,600 --> 00:36:20,166
Kneeling on a grassy precipice 
in a vast universe,

664
00:36:20,233 --> 00:36:23,900
the passionate couple 
is engulfed in colorful patterns

665
00:36:23,966 --> 00:36:26,533
and the golden glow 
of their desire.

666
00:36:28,533 --> 00:36:31,200
As the two patterned shapes 
flow together,

667
00:36:31,266 --> 00:36:34,500
the figures merge.

668
00:36:34,566 --> 00:36:38,866
The only thing that stands out 
clearly is the woman's face --

669
00:36:38,933 --> 00:36:43,966
eyes closed, cheeks flushed, 
as she succumbs to the pleasure

670
00:36:44,033 --> 00:36:45,666
of "The Kiss."

671
00:36:49,033 --> 00:36:51,800
The early 20th century 
was a time of new "isms,"

672
00:36:51,866 --> 00:36:53,500
including Fauvism.

673
00:36:53,566 --> 00:36:55,333
With their bold, 
primitive style,

674
00:36:55,400 --> 00:36:57,233
the Fauves, 
or "wild beasts,"

675
00:36:57,300 --> 00:37:00,900
brought an untamed spirit 
to the art world.

676
00:37:00,966 --> 00:37:03,566
The Fauves, 
led by Henri Matisse,

677
00:37:03,633 --> 00:37:06,633
painted with intense 
and clashing colors,

678
00:37:06,700 --> 00:37:08,966
colors that ignored reality.

679
00:37:09,033 --> 00:37:12,233
Artists, using thick paint 
with rough brushwork,

680
00:37:12,300 --> 00:37:16,166
portrayed more what they felt 
than what they saw.

681
00:37:16,233 --> 00:37:17,600
Fauves painted simple

682
00:37:17,666 --> 00:37:21,600
but powerful figures 
with mask-like faces.

683
00:37:21,666 --> 00:37:23,633
This simplification 
to abstraction

684
00:37:23,700 --> 00:37:25,800
is quintessentially modern --

685
00:37:25,866 --> 00:37:28,033
modern yet primeval,

686
00:37:28,100 --> 00:37:31,500
a celebration of the sheer 
joy of life.

687
00:37:31,566 --> 00:37:34,200
While the movement lasted 
only a few years,

688
00:37:34,266 --> 00:37:36,066
Fauvism helped pave the way

689
00:37:36,133 --> 00:37:39,100
for the abstract artists 
who followed.

690
00:37:39,166 --> 00:37:46,166
♪♪

691
00:37:46,233 --> 00:37:49,400
A young artistic genius 
from Spain, Pablo Picasso,

692
00:37:49,466 --> 00:37:51,766
was a brilliant example 
of the creativity

693
00:37:51,833 --> 00:37:53,533
that came 
with the new century.

694
00:37:53,600 --> 00:37:56,166
His work showed both 
where Art had come from

695
00:37:56,233 --> 00:38:00,000
and where it was headed.

696
00:38:00,066 --> 00:38:03,500
Even as a teenager, 
Picasso had exceptional talent,

697
00:38:03,566 --> 00:38:06,366
capturing the human anatomy 
brilliantly,

698
00:38:06,433 --> 00:38:10,533
learning the rules 
he would later break.

699
00:38:10,600 --> 00:38:14,533
His early self-portraits 
show great self-awareness,

700
00:38:14,600 --> 00:38:19,900
and he could paint realistically 
while conveying great feeling.

701
00:38:19,966 --> 00:38:23,333
Young Picasso moved to 
turn-of-the-century Paris,

702
00:38:23,400 --> 00:38:26,566
where he went bohemian, 
making friends with poets,

703
00:38:26,633 --> 00:38:29,833
prostitutes, 
and fellow artists.

704
00:38:29,900 --> 00:38:32,366
He experimented with 
many different styles,

705
00:38:32,433 --> 00:38:35,566
painting Impressionist 
landscapes like Monet,

706
00:38:35,633 --> 00:38:40,566
posters like Toulouse-Lautrec, 
still-lifes like Cézanne,

707
00:38:40,633 --> 00:38:43,100
and the bright colors 
of Van Gogh.

708
00:38:45,766 --> 00:38:47,933
Times of grief and depression 
led to his

709
00:38:48,000 --> 00:38:51,533
Blue Period, paintings 
of society's outcasts,

710
00:38:51,600 --> 00:38:53,400
that matched his mood.

711
00:38:55,800 --> 00:38:57,466
When he emerged from his blues,

712
00:38:57,533 --> 00:38:59,700
Picasso took 
on his next challenge.

713
00:38:59,766 --> 00:39:01,533
Here in Paris, 
he and his friends

714
00:39:01,600 --> 00:39:03,766
created art freed 
from convention,

715
00:39:03,833 --> 00:39:06,500
pioneering a whole new way 
to look at the world --

716
00:39:06,566 --> 00:39:07,966
Cubism.

717
00:39:08,033 --> 00:39:10,500
With Cubism, 
increasingly the subject,

718
00:39:10,566 --> 00:39:15,966
like, say, a person, dissolves 
into its visual building blocks.

719
00:39:16,033 --> 00:39:19,300
It's like Cubists shattered 
a three-dimensional reality

720
00:39:19,366 --> 00:39:24,633
and then reassembled the shards 
onto a two-dimensional canvas.

721
00:39:24,700 --> 00:39:27,366
Cubism shows 
"multiple perspectives"

722
00:39:27,433 --> 00:39:30,866
at the same time 
on a flat surface.

723
00:39:30,933 --> 00:39:34,933
We might see the front and 
side view on a single face.

724
00:39:35,000 --> 00:39:36,866
The foreground and background 
blend

725
00:39:36,933 --> 00:39:39,300
together into a flat pattern.

726
00:39:39,366 --> 00:39:43,033
Increasingly, what mattered 
was not the subject itself

727
00:39:43,100 --> 00:39:45,466
but how we see it.

728
00:39:45,533 --> 00:39:49,533
Picasso and his fellow artists 
innovated bold new styles

729
00:39:49,600 --> 00:39:54,566
that freed us to see 
the world in new ways.

730
00:39:54,633 --> 00:39:57,400
The notion of 
representational art --

731
00:39:57,466 --> 00:39:59,066
painting things 
the way they look --

732
00:39:59,133 --> 00:40:02,866
that had guided Europe 
for centuries was breaking up.

733
00:40:06,000 --> 00:40:09,566
The peace and confidence of 
that age was also breaking up.

734
00:40:09,633 --> 00:40:12,933
While technology had 
brought progress and prosperity,

735
00:40:13,000 --> 00:40:15,466
it also brought the weaponry 
to kill millions

736
00:40:15,533 --> 00:40:18,433
and derail the good old days 
of the "fin de siècle"

737
00:40:18,500 --> 00:40:20,100
or end of the century.

738
00:40:20,166 --> 00:40:23,133
There was an underlying 
sense of anxiety.

739
00:40:25,100 --> 00:40:27,866
Society's darker side 
was captured by a troubled

740
00:40:27,933 --> 00:40:31,900
Norwegian painter, Edvard Munch.

741
00:40:31,966 --> 00:40:33,400
On a lonely bridge,

742
00:40:33,466 --> 00:40:37,133
an emaciated man claps 
his hands to his face...

743
00:40:37,200 --> 00:40:39,233
and screams.

744
00:40:39,300 --> 00:40:43,566
The sound swirls up in twisting 
lines and lurid colors,

745
00:40:43,633 --> 00:40:45,666
blending into 
the blood-red sky.

746
00:40:45,733 --> 00:40:48,866
We literally "see" 
the man's torment.

747
00:40:48,933 --> 00:40:50,933
By fusing the emotional 
intensity

748
00:40:51,000 --> 00:40:52,833
of the Post-Impressionists,

749
00:40:52,900 --> 00:40:56,333
Munch had captured 
the simmering anxiety in Europe

750
00:40:56,400 --> 00:40:59,666
over what lay ahead.

751
00:40:59,733 --> 00:41:02,500
Expressionism is 
the general term for art

752
00:41:02,566 --> 00:41:05,933
that captured the angst 
of the early 20th century.

753
00:41:06,000 --> 00:41:07,966
Often exploring isolation

754
00:41:08,033 --> 00:41:09,466
and loneliness,

755
00:41:09,533 --> 00:41:12,533
its focus was on 
the emotional experience

756
00:41:12,600 --> 00:41:15,366
rather than 
the physical reality.

757
00:41:15,433 --> 00:41:17,533
When it finally ended in 1918,

758
00:41:17,600 --> 00:41:21,300
World War I left Europe 
demoralized and disillusioned.

759
00:41:21,366 --> 00:41:23,633
Artists, many of whom fought 
in the trenches,

760
00:41:23,700 --> 00:41:25,900
captured the horror.

761
00:41:25,966 --> 00:41:31,366
Expressionists expressed 
their trauma and cynicism

762
00:41:31,433 --> 00:41:37,900
with distorted scenes, 
haunted eyes, thick paint,

763
00:41:37,966 --> 00:41:41,366
simple figures 
with garish colors.

764
00:41:41,433 --> 00:41:44,200
They depicted the anguish 
of a world

765
00:41:44,266 --> 00:41:46,500
that had lost its bearings.

766
00:41:49,366 --> 00:41:50,666
In the 1920s,

767
00:41:50,733 --> 00:41:53,433
Paris was still the epicenter 
of modern culture,

768
00:41:53,500 --> 00:41:56,100
with art that captured 
the excitement of the times.

769
00:41:56,166 --> 00:41:58,466
Painters like Picasso, 
writers like Hemingway,

770
00:41:58,533 --> 00:42:01,633
and musicians like Cole Porter 
gathered and jammed.

771
00:42:01,700 --> 00:42:03,900
And art was becoming 
ever more bizarre,

772
00:42:03,966 --> 00:42:06,466
even surreal.

773
00:42:06,533 --> 00:42:11,066
Artists known as Surrealists 
explored the subconscious,

774
00:42:11,133 --> 00:42:17,200
deep urges, dark fantasies, 
weird dreams.

775
00:42:20,600 --> 00:42:22,500
Painting 
landscapes of the mind

776
00:42:22,566 --> 00:42:27,133
with collages of everyday images 
in jarring juxtapositions,

777
00:42:27,200 --> 00:42:30,333
they freed the viewer 
to connect the dots.

778
00:42:32,400 --> 00:42:35,000
René Magritte used 
his training in advertising

779
00:42:35,066 --> 00:42:38,900
to push people's buttons.

780
00:42:38,966 --> 00:42:41,600
He painted real objects 
with camera-eye clarity

781
00:42:41,666 --> 00:42:46,333
but jumbled together 
in provocative ways.

782
00:42:46,400 --> 00:42:49,033
People morph into 
bizarre objects,

783
00:42:49,100 --> 00:42:51,433
and stairs lead nowhere.

784
00:42:54,166 --> 00:42:57,400
The strange pairing 
only short-circuits your brain

785
00:42:57,466 --> 00:42:59,333
when you try 
to make sense of it.

786
00:43:02,766 --> 00:43:06,366
Salvador Dalí of Spain 
combined surreal dreamscapes

787
00:43:06,433 --> 00:43:08,933
with astonishing realism.

788
00:43:09,000 --> 00:43:11,966
He purposely chose 
images from religious

789
00:43:12,033 --> 00:43:16,733
to sexual that packed 
the biggest emotional punch.

790
00:43:16,800 --> 00:43:19,666
Ever the entertainer, 
promoter, and trickster,

791
00:43:19,733 --> 00:43:21,633
Dalí used his own mausoleum --

792
00:43:21,700 --> 00:43:23,100
he was buried right here --

793
00:43:23,166 --> 00:43:25,300
to showcase his life's work,

794
00:43:25,366 --> 00:43:28,233
both intriguing...

795
00:43:28,300 --> 00:43:32,033
and disturbing.

796
00:43:32,100 --> 00:43:34,533
Leave it to Dalí 
to show a Crucifix

797
00:43:34,600 --> 00:43:37,033
from an angle 
you never considered.

798
00:43:40,100 --> 00:43:42,433
To paint squares that, 
when you squint,

799
00:43:42,500 --> 00:43:46,766
look like Abe Lincoln, 
a head filled with a candle,

800
00:43:46,833 --> 00:43:51,166
and furniture that morphs 
into the screen siren Mae West.

801
00:43:51,233 --> 00:43:52,800
His portrait on the ceiling,

802
00:43:52,866 --> 00:43:55,666
with his drawers wide open 
and empty,

803
00:43:55,733 --> 00:43:59,066
declares he gave it 
all to his art.

804
00:44:01,400 --> 00:44:04,366
20th century artists 
like Salvador Dalí

805
00:44:04,433 --> 00:44:07,333
were pushing the world of art 
into uncharted territory,

806
00:44:07,400 --> 00:44:09,500
where truly anything goes.

807
00:44:09,566 --> 00:44:12,566
Art that represented things 
realistically had long

808
00:44:12,633 --> 00:44:14,033
since been mastered.

809
00:44:14,100 --> 00:44:17,633
Now artists freed themselves 
from the limits of realism

810
00:44:17,700 --> 00:44:20,433
to create art that was Abstract.

811
00:44:20,500 --> 00:44:23,900
♪♪

812
00:44:23,966 --> 00:44:27,533
Abstract artists 
simplify reality.

813
00:44:27,600 --> 00:44:33,366
A person becomes a face 
on a stick,

814
00:44:33,433 --> 00:44:36,033
a mountain a triangle.

815
00:44:36,100 --> 00:44:39,133
They are masters 
of leaving things out,

816
00:44:39,200 --> 00:44:40,733
letting us fill in the rest

817
00:44:40,800 --> 00:44:42,600
until the three-dimensional 
world

818
00:44:42,666 --> 00:44:45,333
becomes a two-dimensional 
pattern of colors,

819
00:44:45,400 --> 00:44:48,133
lines, and shapes --

820
00:44:48,200 --> 00:44:50,366
patterns that evoke 
the inner world

821
00:44:50,433 --> 00:44:54,400
we all feel, 
the world of emotions, ideas,

822
00:44:54,466 --> 00:44:56,266
and pure beauty.

823
00:44:58,433 --> 00:45:00,900
The Russian-born painter 
Marc Chagall

824
00:45:00,966 --> 00:45:03,633
used the abstract 
to create windows

825
00:45:03,700 --> 00:45:06,266
into the unseen 
spiritual world.

826
00:45:06,333 --> 00:45:10,300
With deceptively childlike 
simplicity -- heavy outlines

827
00:45:10,366 --> 00:45:12,600
spilling over 
with brilliant colors --

828
00:45:12,666 --> 00:45:16,933
Chagall celebrated nature 
and its creator.

829
00:45:17,000 --> 00:45:19,133
His scenes, 
while often Biblical,

830
00:45:19,200 --> 00:45:23,666
were lighter-than-air collages 
of his own life, as well --

831
00:45:23,733 --> 00:45:27,400
his childhood 
in a humble village,

832
00:45:27,466 --> 00:45:31,900
his Jewish upbringing, 
the idea that God is everywhere

833
00:45:31,966 --> 00:45:33,933
in everyday things.

834
00:45:34,000 --> 00:45:38,666
Chagall's mystical world 
featured flying animals, angels,

835
00:45:38,733 --> 00:45:42,500
and lovers twirling 
blissfully in mid-air.

836
00:45:42,566 --> 00:45:45,566
To Chagall, people loving 
each other mirrored

837
00:45:45,633 --> 00:45:47,133
God's love of creation.

838
00:45:47,200 --> 00:45:52,000
He wrote, "In art as well as 
in life, anything is possible,

839
00:45:52,066 --> 00:45:54,333
provided there is love."

840
00:45:56,833 --> 00:46:00,800
With Fauvist colors, 
Cubist shards,

841
00:46:00,866 --> 00:46:03,166
and a Surrealistic 
lack of gravity,

842
00:46:03,233 --> 00:46:06,800
Marc Chagall created 
an enchanting world.

843
00:46:06,866 --> 00:46:11,333
♪♪

844
00:46:11,900 --> 00:46:15,200
In the 20th century, Europe saw 
the rise of fascist dictators

845
00:46:15,266 --> 00:46:16,566
like Adolf Hitler.

846
00:46:16,633 --> 00:46:18,066
As war clouds gathered,

847
00:46:18,133 --> 00:46:20,366
Europeans got 
a foretaste of World War II

848
00:46:20,433 --> 00:46:22,333
with the Spanish Civil War.

849
00:46:22,400 --> 00:46:24,366
That tragedy inspired 
the creation

850
00:46:24,433 --> 00:46:28,266
of one of the most powerful 
pieces of 20th-century art.

851
00:46:30,300 --> 00:46:31,800
It was a typical market day

852
00:46:31,866 --> 00:46:34,600
in the peaceful 
Spanish town of Guernica,

853
00:46:34,666 --> 00:46:38,400
when suddenly, warplanes, 
courtesy of Hitler's air force,

854
00:46:38,466 --> 00:46:42,733
appeared overhead 
and reduced the town to rubble.

855
00:46:42,800 --> 00:46:46,333
In the wake of history's 
first saturation bombing,

856
00:46:46,400 --> 00:46:48,566
Picasso wove 
the shattered shards

857
00:46:48,633 --> 00:46:51,233
into a large 
Cubist-inspired painting

858
00:46:51,300 --> 00:46:54,566
that told the sad story.

859
00:46:54,633 --> 00:46:57,233
A woman looks to the sky,

860
00:46:57,300 --> 00:46:59,033
horses scream,

861
00:46:59,100 --> 00:47:00,766
a soldier falls,

862
00:47:00,833 --> 00:47:03,733
body shattered, sword broken.

863
00:47:03,800 --> 00:47:07,566
A wounded woman flees 
a burning house.

864
00:47:07,633 --> 00:47:10,466
A bull, symbol of Spain, 
ponders it all,

865
00:47:10,533 --> 00:47:15,300
watching over a mother and her 
dead baby, a modern "Pietà."

866
00:47:15,366 --> 00:47:19,733
Picasso put a human face 
on collateral damage.

867
00:47:19,800 --> 00:47:23,366
His painting caused a sensation, 
throwing a stark light

868
00:47:23,433 --> 00:47:26,033
on the brutality 
of rising fascism

869
00:47:26,100 --> 00:47:29,000
and the specter of World War II.

870
00:47:32,600 --> 00:47:35,500
World War II was devastating, 
with millions dead

871
00:47:35,566 --> 00:47:37,866
and entire cities 
reduced to rubble.

872
00:47:37,933 --> 00:47:40,100
But with the help of generous 
American aid,

873
00:47:40,166 --> 00:47:43,500
Europe bounced back 
stronger than ever.

874
00:47:43,566 --> 00:47:45,966
As Europe emerged 
from the rubble of war,

875
00:47:46,033 --> 00:47:47,933
so did its art.

876
00:47:48,000 --> 00:47:52,233
Pablo Picasso settled 
on the French Riviera.

877
00:47:52,300 --> 00:47:56,133
Like Europe itself, 
he had a renewed joie de vivre,

878
00:47:56,200 --> 00:47:59,033
with a new girlfriend dancing 
across the beach,

879
00:47:59,100 --> 00:48:00,466
and flute-playing creatures

880
00:48:00,533 --> 00:48:02,933
celebrating 
the newfound freedom.

881
00:48:03,000 --> 00:48:04,700
With his distinct style,

882
00:48:04,766 --> 00:48:07,433
Picasso painted 
a carefree paradise,

883
00:48:07,500 --> 00:48:10,200
where civilized people 
could let their hair down

884
00:48:10,266 --> 00:48:14,533
and indulge in simple, 
animal pleasures.

885
00:48:14,600 --> 00:48:16,500
All his life, Picasso said,

886
00:48:16,566 --> 00:48:19,866
"Paintings are like windows 
open to the world."

887
00:48:19,933 --> 00:48:23,233
These canvases, painted when 
he was in his 80s,

888
00:48:23,300 --> 00:48:26,800
show the joys of the 
sun-splashed French Riviera.

889
00:48:26,866 --> 00:48:30,800
To the end, Picasso continued 
exploring and loving life

890
00:48:30,866 --> 00:48:32,300
through his art.

891
00:48:32,366 --> 00:48:34,866
As a child, he told his friends, 
he was taught to paint

892
00:48:34,933 --> 00:48:36,233
like an adult.

893
00:48:36,300 --> 00:48:41,200
And as an old man, he had 
learned to paint like a child."

894
00:48:44,166 --> 00:48:46,233
While Western Europe 
rebounded from the War,

895
00:48:46,300 --> 00:48:49,433
the Eastern half languished 
under Communist rule.

896
00:48:49,500 --> 00:48:52,866
Taking full advantage of the 
power of art as propaganda,

897
00:48:52,933 --> 00:48:54,700
Communism allowed public art

898
00:48:54,766 --> 00:48:58,833
only if it promoted 
its ideology.

899
00:48:58,900 --> 00:49:01,833
Ruled by the Soviet Union 
for nearly 50 years,

900
00:49:01,900 --> 00:49:03,966
Eastern Europe developed 
its own culture,

901
00:49:04,033 --> 00:49:08,400
and state-sponsored art, 
called Social Realism.

902
00:49:08,466 --> 00:49:10,866
It was doggedly optimistic,

903
00:49:10,933 --> 00:49:14,200
realistic yet idealized,

904
00:49:14,266 --> 00:49:16,366
sticking with traditional 
techniques,

905
00:49:16,433 --> 00:49:20,366
and never tired of depicting 
the Communist All-Stars --

906
00:49:20,433 --> 00:49:24,300
Marx, local wannabe Stalins, 
and Lenin --

907
00:49:24,366 --> 00:49:25,966
shown here in his ever-popular

908
00:49:26,033 --> 00:49:29,300
"hailing a cab" pose.

909
00:49:29,366 --> 00:49:31,400
Censorship was extreme.

910
00:49:31,466 --> 00:49:35,166
Art was only acceptable 
if it promoted socialism

911
00:49:35,233 --> 00:49:38,033
and the symbols of its values --

912
00:49:38,100 --> 00:49:40,666
the heroic soldier...

913
00:49:40,733 --> 00:49:42,566
the obedient worker...

914
00:49:42,633 --> 00:49:44,600
the tireless mother...

915
00:49:44,666 --> 00:49:49,600
anonymous cogs in the machine, 
diligently serving the state.

916
00:49:50,466 --> 00:49:54,133
Art as propaganda.

917
00:49:54,200 --> 00:49:58,300
For nearly a half century, 
this ideology had its day,

918
00:49:58,366 --> 00:50:03,800
but, when Communism collapsed, 
its monuments fell with it,

919
00:50:03,866 --> 00:50:06,100
becoming museum pieces.

920
00:50:06,166 --> 00:50:11,800
♪♪

921
00:50:12,833 --> 00:50:15,000
With the fall of the Berlin Wall 
in 1989,

922
00:50:15,066 --> 00:50:17,733
the Cold War was over 
and Europe was reunited.

923
00:50:17,800 --> 00:50:19,966
There was an explosion of even 
more new styles

924
00:50:20,033 --> 00:50:21,633
and forms of expression.

925
00:50:21,700 --> 00:50:24,600
Increasingly, in the art world, 
there were no rules,

926
00:50:24,666 --> 00:50:25,733
and more than ever,

927
00:50:25,800 --> 00:50:29,033
interpretation was up 
to the viewer.

928
00:50:29,100 --> 00:50:31,600
Artists, with increasing 
American influence,

929
00:50:31,666 --> 00:50:34,366
were blazing new frontiers 
in expression.

930
00:50:34,433 --> 00:50:36,700
No longer limited to 
conventional canvases

931
00:50:36,766 --> 00:50:37,833
and statues,

932
00:50:37,900 --> 00:50:40,900
they worked with 
non-traditional materials.

933
00:50:40,966 --> 00:50:44,800
They traded paint brushes 
for blow torches.

934
00:50:44,866 --> 00:50:47,666
Art played with the eye.

935
00:50:47,733 --> 00:50:49,433
It was interactive.

936
00:50:51,433 --> 00:50:54,100
It engaged all the senses.

937
00:50:56,733 --> 00:50:58,366
Light became art...

938
00:51:00,400 --> 00:51:02,500
...and so did cartoons.

939
00:51:02,566 --> 00:51:05,700
Pop art became high art.

940
00:51:05,766 --> 00:51:07,900
Flowers became puppies.

941
00:51:11,600 --> 00:51:14,500
Little boys became big boys.

942
00:51:14,566 --> 00:51:18,466
It was experimental, 
it was experiential,

943
00:51:18,533 --> 00:51:20,733
and it was fun.

944
00:51:20,800 --> 00:51:27,133
♪♪

945
00:51:27,566 --> 00:51:29,100
[ Laughs ]

946
00:51:29,166 --> 00:51:31,600
♪♪

947
00:51:31,666 --> 00:51:35,666
Architects enjoyed breaking with 
worn-out traditions.

948
00:51:35,733 --> 00:51:39,400
This museum in Paris took the 
mantra "Form follows Function"

949
00:51:39,466 --> 00:51:41,900
to the extreme 
with the functional guts

950
00:51:41,966 --> 00:51:44,466
of the building -- 
pipes, heating ducts,

951
00:51:44,533 --> 00:51:47,500
and escalators -- 
draped on the outside

952
00:51:47,566 --> 00:51:50,533
to free up 
the gallery space inside.

953
00:51:52,566 --> 00:51:56,933
Europe's cityscapes were 
energized by bold new designs.

954
00:51:57,000 --> 00:52:01,333
Here in Bilbao, the latest 
technology, unusual materials,

955
00:52:01,400 --> 00:52:04,700
and daring forms that integrate 
with the urban environment

956
00:52:04,766 --> 00:52:08,166
made the city both 
more beautiful and livable.

957
00:52:08,233 --> 00:52:15,133
♪♪

958
00:52:15,200 --> 00:52:16,566
Across the continent,

959
00:52:16,633 --> 00:52:19,433
infrastructure was 
state-of-the-art.

960
00:52:19,500 --> 00:52:22,333
And venerable old buildings were 
renovated new,

961
00:52:22,400 --> 00:52:24,733
from Berlin...

962
00:52:24,800 --> 00:52:27,366
to Paris.

963
00:52:27,433 --> 00:52:30,733
Cities outdid each other 
with architectural daring,

964
00:52:30,800 --> 00:52:32,566
from London

965
00:52:32,633 --> 00:52:34,633
to Rotterdam

966
00:52:34,700 --> 00:52:36,333
and Oslo.

967
00:52:39,300 --> 00:52:42,600
Another dimension of Europe's 
increasingly vibrant urban scene

968
00:52:42,666 --> 00:52:44,933
is Street Art -- 
art that's public,

969
00:52:45,000 --> 00:52:47,700
out of the galleries, 
spilling into the streets.

970
00:52:47,766 --> 00:52:49,866
With this, Europe's art world 
was reaching

971
00:52:49,933 --> 00:52:52,333
beyond the privileged 
and wealthy.

972
00:52:52,400 --> 00:52:55,566
Street Art included everyone 
in the broader community

973
00:52:55,633 --> 00:52:58,033
and gave voice 
to the voiceless.

974
00:52:58,100 --> 00:53:01,566
It generally comes with 
a social message as it offends,

975
00:53:01,633 --> 00:53:06,900
angers, inspires, and amuses, 
often at the same time.

976
00:53:06,966 --> 00:53:11,133
Random public spaces 
have become the canvas.

977
00:53:11,200 --> 00:53:13,733
What began as tagging 
and street graffiti

978
00:53:13,800 --> 00:53:16,466
has evolved into 
a new art-form,

979
00:53:16,533 --> 00:53:20,533
a way for those on the fringe 
to make a statement.

980
00:53:20,600 --> 00:53:23,633
For example, the remains 
of the Berlin Wall

981
00:53:23,700 --> 00:53:28,433
have become the world's 
longest art gallery.

982
00:53:28,500 --> 00:53:31,700
Cities from Glasgow to Athens 
are turning streets

983
00:53:31,766 --> 00:53:33,466
into virtual galleries,

984
00:53:33,533 --> 00:53:36,766
preserving and even 
commissioning the art,

985
00:53:36,833 --> 00:53:39,000
art that's bringing 
life and color

986
00:53:39,066 --> 00:53:41,300
to otherwise 
dreary neighborhoods

987
00:53:41,366 --> 00:53:45,100
and providing a creative 
outlet for the community.

988
00:53:48,400 --> 00:53:50,100
This public park in Oslo,

989
00:53:50,166 --> 00:53:53,166
a lovely place to end our 
journey through Europe's art,

990
00:53:53,233 --> 00:53:57,400
lets us feel the pulse 
of Europe today.

991
00:53:57,466 --> 00:53:59,600
People go about 
their everyday lives

992
00:53:59,666 --> 00:54:02,766
amid the wonders of nature, 
while enjoying art

993
00:54:02,833 --> 00:54:06,133
that celebrates 
the stages of human life...

994
00:54:06,200 --> 00:54:08,766
from birth...

995
00:54:08,833 --> 00:54:12,066
to love...

996
00:54:12,133 --> 00:54:14,400
to death.

997
00:54:14,466 --> 00:54:19,600
Its centerpiece is a tangle 
of figures that rockets skyward.

998
00:54:19,666 --> 00:54:24,366
Art connects us with our past 
and points the way forward.

999
00:54:24,433 --> 00:54:28,633
Like these timeless figures, 
we're all in this together,

1000
00:54:28,700 --> 00:54:31,700
spiraling upward 
and onward toward...

1001
00:54:31,766 --> 00:54:33,866
who knows?

1002
00:54:33,933 --> 00:54:36,166
It's the forever unfolding story

1003
00:54:36,233 --> 00:54:37,400
of our lives,

1004
00:54:37,466 --> 00:54:41,600
the mystery that finds 
expression in art.

1005
00:54:41,666 --> 00:54:47,600
♪♪

1006
00:54:47,666 --> 00:54:50,500
Art is oxygen 
for the creative spirit,

1007
00:54:50,566 --> 00:54:53,433
a form of human expression as 
vital in the modern age

1008
00:54:53,500 --> 00:54:54,600
as ever.

1009
00:54:54,666 --> 00:54:55,800
Thanks for joining us.

1010
00:54:55,866 --> 00:54:57,133
I'm Rick Steves,

1011
00:54:57,200 --> 00:54:59,600
celebrating 
he Art of Europe.

1012
00:55:10,166 --> 00:55:18,766
♪♪

1013
00:55:18,833 --> 00:55:27,533
♪♪