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02:46Almost a million.
02:52Journalists. They all want to know me now.
02:56So many interviews and articles.
02:59It wasn't always like that.
03:03We saw the world afresh,
03:05but for a long time, the world didn't seem to understand us.
03:09I'm on my own here!
03:18The Impressionists, they called us.
03:21We were painters of water, of light, of color.
03:26We were of our own time, yet beyond it.
03:58You begin at eight in the morning with drawing from life.
04:02Each week, our model adopts a classic pose, and with constant attention, you will start to understand the skills of
04:08the old master.
04:09I will help you when I come in twice a week to correct your attempts.
04:15When do we paint, Mr. Greer?
04:18A beginner first learns drawing, and then how to arrange colors on the palette.
04:25You came here to paint.
04:27I've been here for weeks. I haven't even seen a paintbrush.
04:30You'll get used to it.
04:32Tell me, Monsieur Monnet,
04:35whose classic pose is our model taking this week?
04:39Titian.
04:41Titian!
04:42Renoir.
04:43Titian, Monsieur Greer.
04:44It's a bit dusty in here, sir.
05:03Your studio.
05:05My studio.
05:09My studio's out there.
05:17You always paint outside.
05:19I invented it.
05:21They thought we were mad.
05:23Who do you mean by we?
05:26That crowd.
05:33I met Renoir and Bazille at Glaer's Academy.
05:36Friends I would never lose sight of.
05:53My father doesn't believe that being an artist is a proper job.
05:56So the agreement is that I attend Glaer's Academy.
06:00Or he cussed me off.
06:01Well, doesn't your family realize you're going to be world famous?
06:04We all love it, Leon.
06:05They want me to take over the family grocery.
06:08By the sea.
06:09You mean you've sacrificed being a grocer?
06:11Won't you miss it?
06:12I'll miss the sea.
06:13You'll miss the vegetables.
06:16I'd have spent my life in La Havre as a caricaturist if it hadn't been for the sea.
06:20It makes my head spin.
06:22This is what makes my head spin.
06:25I don't know if I would have become an artist if God hadn't created the female breast.
06:30It's a hobby for me.
06:32I've yet to sit my medical exams.
06:34I'm still painting flowers on porcelain vases.
06:37I should have been a tailor like my father.
06:39Is that me?
06:40My nose isn't half that big.
06:42What?
06:43It's a beautiful nose.
06:44Oh, thank you.
06:45So you're a laundress?
06:47Since I was ten.
06:48Such beautiful hands.
07:01I used to go to the beach instead of school.
07:04I could never stick to the rules even then.
07:13There was something so vivid.
07:16Something, once I found it, that set the course of the rest of my life.
07:23So your inspiration came from nature, not from other artists?
07:28Inspiration's no good on its own.
07:31It's like sugar.
07:32To make the best of it, you have to put it with something else.
07:34I like mine with my chocolate in the morning.
07:37Or plums.
07:38Even tomatoes.
07:39Sometimes you needed a bit of a jolt.
07:41Who gave you a jolt?
07:42Different people.
07:44Different times.
07:45All dead now.
07:47Who kept you going then, when you first arrived in Paris?
07:52Renoir and Bazille.
07:54And someone else, who I didn't get to know for a while.
07:58I knew his work.
08:00Everything we thought of as new started with him.
08:08When I looked at Manet's work, one world ended and another began.
08:17The women in his paintings were unconventional.
08:21His great muse was Victorine Muron.
08:27Look at me, Victorine. Straight at me.
08:35Turn your face towards me and look at me.
08:39You're not going to paint me looking straight out the canvas, are you?
08:45I'm a god.
08:46There are cherubs circling my head.
08:49This is Paris in 1862.
08:51Only one of those is true.
08:54This is Paris and it's 1862.
08:57This is how we live now.
09:01Is this what growing up in a house of Puritans has done to you?
09:05Most probably.
09:10What did you think about my picture?
09:12I retouched it.
09:14I asked your opinion.
09:16My opinion was that I needed retouching.
09:18Would you retouch a digger?
09:20No, because it would be an insult.
09:21You're just starting out.
09:23And you're an old master, are you?
09:24I'm a master of your time while you're in my studio.
09:27Can I rest a moment?
09:28No.
09:29My back is stiff.
09:30Look at me, Victorine. Look at my face.
09:32You can remember what I look like for a few minutes.
09:34I can't. I can only paint what I see.
09:37The peaches aren't going to last.
09:39But that's peaches for you.
09:42Suzanne was his anchor.
09:44They married around this time.
09:46It's three o'clock. Has he given you any lunch?
09:48No.
09:49Well, then he shouldn't blame you if you eat his props.
09:51He does the same to me when I sit for him.
09:55You must be cold.
10:04Manet used to say his battlefield was a salon.
10:08The state-run art exhibition.
10:12Unfortunately for him, the salon wanted artists
10:15that would help build the French Empire.
10:18Myths, angels and glory.
10:21History paintings with a fine finish.
10:24Art hand in hand with politics.
10:26Doing its bit for Emperor Louis Napoleon.
10:31Sadly, the salon's yearly exhibition was our only real hope
10:35of getting work seen.
10:36And sold.
10:39It was presided over by the Marquis de Chenevier.
10:43His dead hand passed over all the canvases
10:47of all the artists who submitted.
10:49Gentlemen.
10:52A Venus by Cabernet.
10:54Louis Napoleon is considering purchasing this for his collection.
10:58Look how it swells.
11:00Real ambrosian purple.
11:04Beautifully finished.
11:05Very subtle shade on the nipples.
11:08By one of our meddled artists.
11:09So, um...
11:11No vote to be taken.
11:14Good God.
11:16Who produced this monstrosity?
11:19Hm?
11:22Why has he done this?
11:24This painter is a degenerate.
11:26It looks like he's painted it with a scrubbing brush.
11:28It has no anatomical structure.
11:30The world looks to France as a pinnacle of civilisation.
11:34This painting makes us savages.
11:36One would think our great history of art never happened.
11:41Refused.
11:46So many paintings were refused that year.
11:50So many artists complained that the emperor announced an exhibition of all the rejected works.
11:57When Paris heard there was a painting of a naked concubine sitting in the woods with a couple of young
12:02dandies,
12:03Well, we all came to see him.
12:08She's not nude, she's naked.
12:10The flesh is so white.
12:11There's no perspective.
12:12And their suits are so dark.
12:14It doesn't look finished.
12:15So simple.
12:16You can see the brush strokes on the canvas.
12:18Such broad areas of light.
12:20Such a tangent to nature.
12:22She's staring at us.
12:23You can see what they had for lunch.
12:26It's our world.
12:28He's painted our world.
12:38When I looked at Dejeuner, I saw the very thing I had been moving towards.
12:44Not ancient Rome or ancient Greece or Mount Olympia, but Paris.
13:03He painted a naked concubine with her clothes in a heap on the floor next to her.
13:08That's what I want to paint, the gal.
13:10The men in the salon find it hard to admit that women undress in life, let alone in art.
13:15So do you think the salon officials all have mistresses?
13:17They all have mistresses, and they probably all visit courtesans.
13:20But they don't want to see it in an art gallery.
13:23It's certainly giving me a good kicking for it.
13:27Socrates said when he was insulted, why should I resent it when an ass kicks me?
13:31Paris is full of asses who won't let me paint what I see.
13:34Because they don't want what you see, they want Venus.
13:37I see Victorine.
13:39They're not ready for you.
13:41When will they be ready?
13:42I'd say not for a while.
13:45You can lead an ass to water, Manet, but you cannot make it think.
13:51With friends like Edgar Duggar, Manet didn't need enemies.
14:03Art.
14:05Art is the capacity to take pains.
14:11Manet.
14:12I was just examining the texture of his skin.
14:21It's not bad.
14:22But it's too much like the model.
14:25You have stocky man.
14:26You draw him stocky.
14:28He has enormous feet.
14:30You reproduce them.
14:31It's very ugly.
14:33In drawing, one must always think of the antique.
14:35I prefer to work from nature.
14:37Nature is a means to an end.
14:39A masterpiece borrows from a hundred imperfect models.
14:44For me, nature is an end in itself.
14:46Nobody's interested in nature.
14:49The man has got big feet.
14:52Art's been around a damn sight longer than you and it isn't going to change overnight.
14:56It certainly isn't going to here.
14:57Because you think we should all draw a man with big feet.
14:59And if we do, we will all draw him differently.
15:02And his feet will be different just as we are all different and the world is different in every moment
15:07of every day.
15:08Style is what matters.
15:10Style, style, style.
15:12I want reality.
15:13Reality has no place in my studio.
15:18I've just seen the future.
15:20And you know something?
15:22You are not in it.
15:34No doubt you paint to have fun, Renoir.
15:38If it wasn't fun, Monsieur Gleyer, I wouldn't do it.
15:51Nothing that makes me feel, nothing that art is for me even exists for Gleyer.
15:56I'm very happy with him.
15:57I can't stay with him.
15:58Well, I think most of the other students are happy.
16:01Well, the other students are just a lot of grossest assistants.
16:03Come on, eh?
16:03I can't stay there.
16:05It's like rising from the dead day after day.
16:08I say we don't go back.
16:09Hold on, let's think about it.
16:11If we can't paint what we were born to paint, we might as well be doctors and tailors.
16:17At least then we'd be doing something real.
16:19I think we should go back.
16:22Never.
16:24We will never, ever go back there.
16:31Of course I did go back, only to complete what I was working on.
16:35But I was impatient to be out there, in the light.
16:38I wanted to be my own master.
16:45I found myself penniless, but was ready to hurl myself recklessly into the open air.
16:52Are we nearly there yet?
16:53Just a bit further.
16:55It's getting very dense.
16:57You've been expecting to trip over Manet's déjeuner.
16:59Rubbish.
17:00It was a studio creation.
17:01No one has ever started and completed a painting outdoors before.
17:05But that's because it would take most painters two years to complete one.
17:08And they die of cold.
17:13Look.
17:14There.
17:18See how the light falls through the leaves onto the forest floor?
17:22And the leaves against the sky.
17:24No one can tell me that there is no colour in shadow.
17:27When I have stood here, and seen it, and painted it for myself.
17:46New colours.
17:48New studio.
17:50Look better with a couple of figures, innit?
17:53People are far too distracting.
17:55Yeah, it's veryì.
18:02OK.
18:03wound
18:23WKA
18:33Of course, there were hidden dangers in the forest.
18:43We've captured the leaves very well.
18:47Can we go home now?
19:00He was the all-England discus champion.
19:03Would you believe that?
19:04In the middle of the Fontainebleau forest.
19:27Does that roast beef have to come with us?
19:32Oh!
19:38Oh!
19:42Oh!
19:43Oh!
19:44Oh!
19:45It's the only thing an artist can do in a time of crisis.
19:49Make sure that I look really ill.
19:51Use crevote blue and cadmium orange for the bruise.
19:54Oh!
19:55Oh!
19:59Mm.
20:01Mm.
20:03Mm.
20:05Mm.
20:20Painting is a dangerous occupation.
20:24Especially when you don't sell.
20:28I'd nearly lost my leg.
20:30I was starving and homeless.
20:33Life's more fun when you have to worry about money, Monet.
20:36That is not the same thing to say, Lenora.
20:38It stirs you up.
20:40Well, then you'll be delighted to know that no one wants us to do their portraits.
20:43Oh.
20:44What about that doctor friend of yours?
20:46He can't even force his friends to have their portraits done.
20:48He wouldn't have to.
20:49I could hold them down.
20:50You could paint them.
20:52Basil will look after us.
20:54He'll give you his bed.
20:55Might give it to you.
20:56He'll give it to you.
20:57He might keep it for himself.
21:07Do you think he's still got that bag of beans?
21:09With any luck, he'll have finished them by now.
21:11Please, God, let there be meat.
21:12heh-heh-heh-heh-heh.sem
21:55Make yourselves at home, gentlemen.
21:58Renoir?
21:58You can sleep here.
22:00You can have the bedroom.
22:03What about you?
22:04I'll take the chaise longue.
22:06Are you sure?
22:07What are friends for?
22:08Oh, well, it's only for a short while.
22:10I'm delighted to have you here.
22:12It's like an infirmary in here.
22:13Beans, gentlemen.
22:15Oh, I had beans last night.
22:16Oh, and you'll have beans tonight until that sack runs out.
22:19And then we'll have lentils.
22:21I've plenty of paint.
22:22And beans.
22:23And logs for the fire.
22:24And beans.
22:25If the first one up in the morning can start the fire,
22:27I'll make breakfast.
22:32Monet?
22:34Hang on.
22:36What happened to your limp?
22:43Oh, now there's a hunger no amount of beans can satisfy.
22:48Who is she?
22:50No idea.
22:57As far as Paris is concerned, this will be seen as more of a crime than a creation.
23:01I don't paint nimminy, pimminy, daubs, Degas.
23:03This painting is alive.
23:05Olympia is alive.
23:07It was your veil of mythology.
23:09He didn't give her one.
23:10That, my dear, is quite apparent.
23:11Here is a modern Olympia.
23:13Our Olympia.
23:15You won't find her in mythology or antiquity.
23:17I know exactly where you'll find her.
23:19I could tell you what door to knock on.
23:20What's that?
23:21Black cat.
23:23Beelzebub himself.
23:24I needed a touch of black.
23:26Well, Titian's Venus has a lapdog.
23:28Mine has her cat.
23:29A lapdog doesn't signify anything sordid.
23:32The salon will have a field day.
23:35Where on earth did he pick up this Yerno Bennett otolisk?
23:38And he has the gall to call her Olympia.
23:42Thank God I didn't bring my wife.
23:43When art stoops this low, senses do good for it.
23:48A puny model laid out on a sheet.
23:52Who couldn't move her arms and legs if she wanted to.
23:57The least woman has bones and muscles and a skin.
24:02Some sort of colour.
24:04He's trying to do something else.
24:06Something else that isn't art.
24:09It is art about real people and real things.
24:15You may be the art critic at your guarantee,
24:17but as far as I am concerned,
24:19reality and art are two very different things.
24:23You have to do something by shilfee.
24:25It's disgusting.
24:27You have to be moved.
24:31You have to do something by shilfee.
24:31You have to do something by shilfee.
24:34You have to do something by shilfee.
24:37You have to do something by shilfee.
24:43You have to do something by shilfee.
24:45You have to do something by shilfee.
24:47You have to do something by shilfee.
24:47You have to do something by shilfee.
24:48You have to do something by shilfee.
24:48You have to do something by shilfee.
24:50You have to do something by shilfee.
24:50You have to do something by shilfee.
25:00Don't take it off.
25:01You'll suffocate.
25:05What are you doing under there?
25:07Protecting my head from the insults that are beating down on me like hail.
25:12You knew this would happen.
25:13I didn't.
25:14You said you didn't care what people thought.
25:17I didn't know it would be this bad.
25:18They were attacking the painting with umbrellas.
25:20I know.
25:23I should roll up my canvases and put them in the attic.
25:26You can't do that.
25:29I won't let you.
25:31You can't stop me.
25:33Yes, I can.
25:35It was a shock.
25:40The vitriol they unleashed on him.
25:43For a painting.
25:45The people had never seen anything like it.
25:48A prostitute.
25:51Staring at them so brazenly from the canvas.
25:54Do you think that gave them the right to drive him out of the country?
25:56You're an art critic.
25:58It was shocking.
25:59He left the country.
26:00Fled to Spain.
26:01Really?
26:02Thought he'd taken a trip to look at Velasquez and Goya.
26:05I thought you'd come to ask me about my life and my friends.
26:08If you think you'd know about my life better than I do, why don't you write it and let me
26:11get on with living it?
26:27You've got to face facts you're not going to get it finished.
26:29It's as big as the side of a house.
26:31What am I going to do?
26:34What do you think?
26:35It's not your colour.
26:37I'm going to do a family group on a terrace.
26:39I've hired this for one of the women.
26:41Why are you on the floor?
26:42Who is this man?
26:43Dishevelled and motionless.
26:45Lying on the floor for hours without moving.
26:47He is an artist.
26:49I'm finished.
26:51Metaphorically rather than literally.
26:53The salon deadline's in four days.
26:54You'll have nothing to enter.
27:13I wondered if you'd come.
27:15Well, why wouldn't I?
27:18I thought maybe I dreamed our meeting in the street.
27:22Well, perhaps you did.
27:24Perhaps you're dreaming this too.
27:27I hope not.
27:30You're far too lovely to be just a figment of the artist's mind.
27:37Is this your studio?
27:40It's a friend's.
27:41He lets me borrow it.
27:43And his paint.
27:45So you're not a very successful artist then?
27:48Not yet.
27:54I haven't done this before.
27:57Do you want me to sit somewhere?
28:00Just as you are.
28:02I've got my pack to you.
28:04Put your handbag where it was.
28:19I'm afraid I'm going to keep you standing there for quite some time.
28:39I thought we might like a little plum brandy.
28:49Homemade.
28:59I accept all this will become just a story.
29:03A story with his own momentum.
29:04I'm sorry.
29:05I didn't mean...
29:08You'll reach a point in your life where all those around you start to die.
29:12It happens.
29:14And as they die, they leave you the odd canvas.
29:19A keepsake.
29:22They leave their children.
29:25And their stories.
29:29It'll happen to you.
29:34Morning!
29:35Morning!
29:36It's being accepted.
29:37Woman in a green dress by the sun.
29:40Oh.
29:41Sorry.
29:42Sorry.
29:44Yes!
29:46Yes!
29:55The colour.
29:57Captivating.
29:58Mano.
29:59Congratulations.
30:01It's a masterpiece.
30:04Bravo.
30:05I don't have anything in this here.
30:08Oh.
30:09Oh.
30:11Yes.
30:12The colour.
30:13Oh.
30:13Yes.
30:14Yes.
30:25Mano.
30:27Mano.
30:30Mano.
30:32Mano.
30:33Mano.
30:34Mano.
30:35Mano.
30:35Mano.
30:35Mano.
30:36Mano.
30:37Mano.
30:37For the first time in my life, I've been congratulated for a painting at the salon.
30:40But I didn't think you had one in this year.
30:42I haven't.
30:43It's some sort of hoax.
30:45Some idiot whose name sounds like mine.
30:49Who is this Mano who's taking advantage of my notoriety?
30:54Mano.
30:56Mano.
30:57Mano.
30:58Mano.
30:59I very much wanted to meet Mano.
31:01I was sure we would understand each other.
31:04I saw a kindred spirit.
31:07He saw someone with a maliciously similar name.
31:11He thought I'd somehow taken something from him.
31:14And I had.
31:15But not in the way he thought.
31:17I'd taken strength from him.
31:20Inspiration.
31:21Because of my name.
31:23That one letter's difference.
31:25The very last person who would ever want to upset him had made him desperately unhappy.
31:36Why have you done nothing to halt the flow of mud that comes at me continually?
31:41I write about your work.
31:44This latest piece about the De Plus Vendôme exhibition.
31:48This is what you write about my paintings.
31:51Monsieur Mano showed a philosopher trampling oyster shells and a watercolor of his Christ with angels.
31:57Well, that's not bad.
31:59It's not anything!
32:01My work has been called ugly, then vulgar, inconsistent, naive.
32:07And in the face of this, I've continued to paint and tried to make my voice heard.
32:11You know I need all the help I can get.
32:14Oh, I may not survive this.
32:16You know that, Durante.
32:19I have supported you in the face of outrage.
32:22I've supported you to the public and to the marquee.
32:25I have never written anything negative about your work.
32:29There's no need to take offence.
32:42Will you apologise?
32:48Of course he wouldn't.
32:50He was frustrated.
32:53And because he wasn't as brave as he thought he was,
32:56took it out not on his enemies, but on one of his friends.
33:05Agh!
33:11Agh!
33:14Agh!
33:19Agh!
33:20Agh!
33:21Agh!
33:42It wasn't the best or most polite of duels, but blood was drawn, honour was satisfied.
33:50And the story of Manet's duelling with Durante became something of a legend.
34:00I confess the painting that held my attention longest is Woman in a Green Dress.
34:05It speaks volumes to me about energy and truth. Mille Zola.
34:10Right, more champagne. I'm buying.
34:12You haven't sold the painting yet?
34:13No, but I've just sold another one for 800 francs.
34:16Well, you would have spent that by the end of the evening.
34:18Could all be downhill from here.
34:20All uphill.
34:21To hills. Up or down.
34:23Hills.
34:24Hills.
34:26Manet.
34:28Introduce me, please.
34:30He hates you.
34:31He hates Manet.
34:31They don't make things any worse.
34:33They can't get any worse.
34:33He nearly killed Durante.
34:35It could get a lot worse.
34:38Monsieur Manet! May I introduce you to a very dear friend of mine?
34:41Claude Manet. Very much wanted to meet you, sir.
34:45The future of art owes so much to you.
34:49And the present.
34:52The present and the future.
34:57You painted Woman in a Green Dress.
35:00Yes, I did.
35:03A fine painting.
35:05So far, it was mistaken for one of mine.
35:12May I join you?
35:14Of course.
35:14Please, please.
35:15Have my chance.
35:16Finally, I had met him.
35:19And I was not disappointed.
35:21But just as everything was fitting into place,
35:24I received news which would change my life.
35:31Camille.
35:34I will help out with whatever money I can.
35:36Will we be together?
35:38It's not possible.
35:40If I stay with you, my father will cut me off.
35:42I'll get nothing.
35:43Because that's what I'm worth.
35:45No.
35:46Because I'm not good enough for you.
35:47Of course you're good enough.
35:48You're more than good enough.
35:49But we need money.
35:50I stood there in that Green Dress for four days
35:52and he needed a painting for the salon.
35:55I was there when you needed me.
35:59Are you going to recognize this child?
36:04Because if you don't, Claude,
36:06you're nothing left to say to each other.
36:11Claude?
36:39I returned to La Haube.
36:42To spend some time with my father.
37:10I'm sorry.
37:11What was I saying?
37:13About your family.
37:16You were saying you returned to the coast.
37:19So you could spend some time with your family.
37:23I'm sorry.
37:24I'm making you tired.
37:25No, no, no.
37:26You're making me remember.
37:30I'm sorry.
37:40My family have been very good to me.
37:43They're in raptures in my every brushstroke.
37:45What if she dies?
37:48What about the...
37:49What about the baby?
37:52It's due on the eighth.
37:55My father has asked me to abandon her.
37:58He says that I should know what she's worth
38:01and what she deserves.
38:03What does she deserve?
38:07It's impossible without my father's support.
38:11What if I were to buy one of your paintings?
38:14Women in the Garden.
38:16I'll pay you in installments.
38:18Fifty francs a month.
38:21That's very kind of you.
38:24Things don't always work out the way we want them to.
38:27Do they?
38:29More often than not, the odds are stacked against us.
38:31That doesn't seem to stop us going after them.
38:34They're impossible dreams.
38:42They're impossible dreams.
38:47By buying my painting, Basile enabled me to do the right thing.
38:59Come here.
39:02Come here.
39:09Come here.
39:10I've got work to do.
39:14I've got work to do.
39:14I went to your rooms.
39:16I have to do the washing.
39:34I'm sorry.
39:43I've got work to do.
39:45I've got work to do.
39:47I'm sorry.
40:00It was the best and the worst thing I could have done.
40:04My family cut my allowance just as they said they would.
40:08The money from the paintings I'd sold had gone.
40:20Camille gave birth to a big and beautiful boy, Jean.
40:26We couldn't afford to stay in Paris anymore.
40:28We drifted from place to place,
40:31sometimes not knowing where we'd stay that night,
40:34completely reliant on those few francs from Basile.
40:41I spent my days painting out of doors,
40:44watching my baby become a boy.
40:48It must have looked idyllic.
40:49My dear little family, the river, the light.
41:02But not everything was as it seemed.
41:06You don't know what money is until you don't have it.
41:09You don't know what a family is until you do.
41:20Paris seemed a very long way away.
41:24Everyone was still there,
41:25struggling as ever to sell their paintings.
41:35Good morning.
41:36Oh, good morning.
41:37Ha-ha!
41:39Oh, no.
41:39Ha-ha.
41:41How's my godson?
41:43He's got a breeze on his head the size of a billiard ball.
41:46Ah, upholding the Monet tradition of trying to run before he can walk.
41:49More coffee? Yes.
41:52I'm not saying come and see flawless works. I'm saying come and see sincere works.
41:56Have you hired a gallery? I've erected a store.
41:58He's erected a pavilion?
42:00Attempting something new in art will always be a struggle. I accept that.
42:03But my work should at least be shown.
42:04If the salon so often reject me, I must take the matter into my own hands.
42:08How do people like it?
42:09People don't like it at all.
42:11Even if you sold every single painting, you'd still make a lot.
42:13Your mother won't like it when she realizes she's not going to see her 18,000 francs again.
42:1818,000?
42:18You'd do the same if you could afford it.
42:20I'm happy merely to work.
42:22In the morning, I bathe, I put on my 9 franc 50 dressing gowns,
42:25and I say to myself, this is the life of the worker.
42:28Workers don't wear floral dressing gowns.
42:30Well, it depends what sort of workers they are.
42:33Work is the sole refuge.
42:35Cézanne! Do you know everybody? Manet?
42:37May I introduce Monsieur Paul Cézanne, Edouard Manet?
42:40I would shake your hand, but I'm washed for a week.
42:43Only a week.
42:48People say that a sugar basin has no face, has no soul.
42:54Even those glasses are talking amongst themselves.
43:00Unfortunately, the man is as incomprehensible to me as his work.
43:03Oh, he finds company rather hard.
43:05Not as hard as he finds painting.
43:13We knew what we wanted to do.
43:15Paint real life in the open air.
43:18And if we didn't know how to achieve what our instincts told us,
43:21we were sustained by each other's enthusiasm.
43:36I heard that men and women are allowed to swim together at Le Clonier.
43:40I thought you were more interested in nature.
43:43I didn't say I was going to paint them.
43:48Do they wear clothes?
43:51You're about to find out.
43:54Well, as long as I can wear clothes.
43:56Oh, you have to leave them at the station.
43:58Didn't you know?
43:59They give you a locker to put them in.
44:03Whoa.
44:06Whoa.
44:12Whoa.
44:14Whoa.
44:15Oh, HerbalPod.
44:25Whoa!
44:33What do you think?
44:35I'm not dressing like that.
44:39Come on.
44:48What do you see?
44:50I see life, people and their stories.
44:57What about you?
44:58I see a square of blue, an oblong of pink.
45:03And a dozen models eager to be studied.
45:07And the light dancing on the ripples of the water.
45:11Life as it's being lived, right in front of our eyes, exactly as we see it.
45:19That's what we paint.
45:30If you look at this, I see a lot of you.
45:34I see a lot of you, but it is all in my grand slam.
45:41I see a lot of you, but I think it's the best way to do it.
45:45That's a lot of you.
45:45I agree.
45:46Who's on the other side?
45:47They're out.
45:51Hey, look.
45:51They're out.
46:10The colours are very loud.
46:12Do you like it?
46:13No, I do.
46:15We've really done something.
46:20You know, we can never go back from this moment.
46:24Are you stopping?
46:27I'm stopping.
46:30They'll say it isn't finished.
46:33It's complete.
46:36That's a manly piece of painting.
46:41Close your eyes.
46:44Open them.
46:45What do you see?
46:47A bunch of flowers, I think.
46:48Close your eyes.
46:49Open.
46:52Purple flowers.
46:53Yellow flowers.
46:54No, close them.
46:56Keep them closed.
46:58What's really there?
47:02Balls of colour.
47:05Yellow.
47:06Purple.
47:07Green.
47:08That was La Grande Ville.
47:09I looked nature in the eyes and I saw her clearly as she was on that day in that place
47:13for the very first time.
47:14Is this what you called impressionism?
47:16By nature, yes, but not yet by name.
47:28That's what I saw.
47:29We captured the world.
47:31And with it, somewhere on the canvas, amidst the colours and the layers, what Renoir would have called our destiny.
47:56Yes, there's no need to actually play it.
48:06I'm doing a painting of the executioner of Emperor Maximilian of Mexico, with the executioners in French army uniforms.
48:14The executioners were Mexican.
48:15As far as I'm concerned, our great emperor Napoleon III was responsible.
48:19He put him on the Mexican throne and when things dragged on, he abandoned him.
48:22Edouard, you're shouting.
48:23Sorry.
48:24You must be careful.
48:25These are dangerous times.
48:27All my working life, I've been told what I should and shouldn't paint, where and what I can exhibit.
48:33How can there be art when there's no truth?
48:38They censored him completely.
48:41Not only did they refuse to exhibit the painting, they even banned any prints being made of it.
48:47He was like a signpost for us, showing us the way.
48:56It's just ridiculous for an intelligent person to expose himself to the administrative caprice of the salon, year after year.
49:04I mean, especially when awards and medals are held absolutely no interest at all.
49:06But what choice have we got?
49:08We send our work to the salon because we have to, not because we want to.
49:11When there isn't anywhere else to send it.
49:13I've had one piece accepted.
49:15That's all.
49:16Ever.
49:17You're right.
49:18We make no money.
49:18We have no success.
49:19We end up alone with no outlet for our work, just like Manet says.
49:22We should have our own exhibition like Manet.
49:24Manet's was a disaster.
49:25It doesn't matter.
49:26You, Renoir, myself, Degas, Cézanne, Manet.
49:30Let's rent a studio where we can exhibit all the works we want.
49:34Hang them just as we like.
49:35And who's going to pay for it?
49:36Manet's mother?
49:37I'll speak to my family.
49:39Really?
49:40We're a very attractive proposition.
49:42Are we?
49:43We'll be a huge success.
49:48Hmm.
49:52Everything was changing.
49:55Just when it seemed we had found our way.
49:58We had no idea.
50:01There we go, go, go.
50:04The little marionette.
50:06There we go, go, go.
50:08Turn around.
50:09Camille and I were married.
50:10It was 1870.
50:12June 1870.
50:14We went on our honeymoon to Truville.
50:18Then war broke out.
50:20Nothing would be the same of the enemy.
50:24Louis Napoleon declared war on Prussia.
50:28What happened so suddenly?
50:31All my friends, everyone, dashing off in different directions.
50:36You're an idiot.
50:37Have you even thought about this at all?
50:39I have.
50:39What, have you get killed?
50:40Have you thought about that?
50:42Of course I have.
50:42But most likely the war will be over in a couple of weeks.
50:44You don't know that!
50:45Unless we want the Kaiser to take over our land, someone's got to go and fight.
50:49Not you!
50:49It's in my interest to defend France.
50:52I shouldn't expect other people to do it for me.
50:54Why do you always have to do the honourable thing?
50:56Why can't you just let somebody else do it for once?
50:58Don't be angry with me.
51:28Why can't you just let somebody else do it for you?
51:29With Paris under siege, Dugard and Manet enlisted as gunners in the National Guard.
51:36It's talk that the Prussians are closing in on Paris.
51:41They'll probably starve us out.
51:43Be that or the smallpox.
51:46But then if I can bear it, Dugard.
51:50They're sending boys into battle.
51:55Boys.
51:56So deathly sad.
52:00I got this at the butchers.
52:02What is it, horse?
52:05All the horses have been eaten.
52:06It's rat.
52:09When all this is over, we can serve it up to the cowards who left.
52:18It wasn't that I wanted to leave my friends to it.
52:21And it wasn't just me.
52:23Plenty of people left.
52:26I wanted to look after my family.
52:28That's who I wanted to protect.
52:34Camille and Jean joined me in England,
52:36where I'd found a summer to live.
52:38Look, Jean, this is England.
52:39Thanks.
52:42In London, I was fascinated by the ever-changing shades of grey.
52:48Too many to mix on one palette.
52:53No country could be more extraordinary for an artist.
53:01I often thought of my friends back in France.
53:06Poor Renoir was conscripted and fell very ill with dysentery.
53:14Bazille was posted to Burgundy.
53:30Oh, my God.
53:50Oh, my God.
54:42His father went to Burgundy to collect the body.
54:47Doted on Basile, found his son's corpse in a ditch, twenty-nine.
54:59Very first day I met Basile, he was a true friend, gave what he had, would have made a name
55:09for himself.
55:23And then we find our subject again.
55:27We return.
55:29As we travel, we return.
55:33And what do you return to?
55:38Light on water, clouds and sky.
55:43For years we had struggled for something, and just when we thought our time was coming,
55:48it seemed we had even further to go.
55:51Let's go.
55:58Let's go.
56:26Let's go.
56:35Let's go.
56:37Let's go.
56:40Let's go.
56:44Let's go.
57:08Let's go.
57:09Let's go.
57:10Let's go.
57:13Let's go.
57:17Let's go.
57:18Let's go.
57:19Let's go.
57:27Let's go.
57:34To, let's go.
57:35Let's go.
57:43Let's go.
57:43I'm here.
57:58Let's go.
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