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00:00In the last episode...
00:02I wrote to you, Monsieur Mamey.
00:04At least you got my name right.
00:06I prefer to work from nature.
00:08I was impatient to be out there, in the light.
00:11I think we've really done something.
00:13You know, we can never go back from this moment.
00:16So you're not a very successful artist, then?
00:19Not yet.
00:21I stood there in that green dress for four days
00:23and he needed a painting for the salon.
00:25Are you gonna recognize this child?
00:28Cezanne, where did you spring from?
00:29Unfortunately, the man is as incomprehensible to me as his were.
00:34They're not ready for you, Mamey.
00:36Then will they be ready?
00:37I'd say not for a while.
00:39He's trying to do something else.
00:41Something else that isn't art.
00:44Refused.
00:45If the salon self reject me, I must take the matter into my own hands.
00:49We should have our own exhibition light, Mamey.
00:52It all happened so suddenly.
00:54All my friends, everyone, dashing off in different directions.
00:58Have you even thought about this at all?
01:00I have.
01:00What if you get killed?
01:01Most likely the war will be over in a couple of weeks.
01:03How would you get benefited, huh?
01:04eficbubras
01:14One's Reds.
01:22One's Reds.
01:24One's Reds.
01:26One's Reds.
01:30Very recruits today.
01:31Two is Reds.
01:33These dogs were�idden by each
01:58After the war, Camille and I were afraid
02:01of what we might find when we returned from London.
02:05Burnt out homes, shattered churches.
02:12As the train touched the outskirts of Paris,
02:14we were greeted by buildings we once knew.
02:16Now, crumbling to rubble.
02:20Wall after wall.
02:23Pop-marked by rifle shots, blasted by cannon.
02:27If the air's on, Monsieur Monet, I fear the world has not changed.
02:30A city ravaged by war has a sad, stark beauty and a scent.
02:36I couldn't place it at first.
02:38I'll be past the cemetery.
02:40Let me get this right.
02:41The entire war, 1870, 71, you were in London?
02:47With my wife and little boy.
02:48I'd done my military service ten years before.
02:50Besides, an artist has greater battles to fight.
03:01The Salon, the most important showcase for art in France.
03:06That was our battleground.
03:10But the Marquis de Chenevier, the new Minister of Arts, was a fierce enemy.
03:19His job was to strangle art.
03:23For any great nation to recover from war, it must be strong, resolute, united.
03:32It is the patriotic duty of every artist to serve France through art.
03:41We have witnessed, on the streets of Paris, how delusions of freedom and revolution lead to violence and terror.
03:53liberty, equality, fraternity.
04:02Work, justice, public order, that is what this nation needs.
04:12Artists of France know this.
04:15Reject tradition.
04:18And so long as I draw breath, you have no future.
04:27In Paris, the government was suspicious of the smallest gathering.
04:32You could feel it on the streets.
04:36Good to be back.
04:38Have you ever tasted English cooking?
04:40I must apologise for the changes.
04:42There used to be a woman on every street corner.
04:45No, a soldier.
04:46Still looking to pick you up, mate.
04:48Not me, Mane.
04:49You, perhaps.
04:50Oh, Mane, Mane.
04:52With any luck, I'll shoot you by mistake.
05:04What replaces government?
05:06I'll tell you. Government.
05:09Evening.
05:12It's exactly the same in London.
05:14Disraeli, Gladstone.
05:15Different men, still politicians.
05:17The battle will never be over.
05:18We've seen enough bloodshed.
05:20What, you saw action?
05:21More than you.
05:22Renoir, your only enemy was dysentery.
05:28Dysentery and poverty.
05:31Renoir needed to get his work shown.
05:34But after the war, the salon jury was in no mood for Renoir.
05:44Well, well, well.
05:46Well, well.
05:48How delightfully modern.
05:50Such a bold approach to an indelicate theme.
05:53And this will look absolutely magnificent.
05:58On the walls of a public latrine.
06:01Ha, ha, ha, ha, ha, ha.
06:07Ha, ha, ha, ha, ha.
06:26Ah, Edgar Duggar.
06:29Rich, charming, witty.
06:32The ballet was his muse.
06:36To the audience at the Opera House, it had such an air of...
06:40Refinement.
06:47But backstage...
06:51One or two patrons of the arts, maybe, but the rest...
06:55A dirty business.
06:59To pluck a young girl out of poverty and into their fatherly care.
07:04An allowance given.
07:06Liberties taken.
07:08Yes.
07:09A dirty business.
07:11In those days, Duggar was a great friend to us all.
07:15That was before the rot set in.
07:18Good afternoon.
07:23He was such a strange fish.
07:37That's enough for now.
07:42What is it with you and dancers?
07:44Not you, too.
07:46Does it occur to nobody that what I love is the...
07:50Sweep of the fabric.
07:51The shapes the dancers' bodies make.
07:52I don't depict dancers.
07:53I depict movement.
07:54I know, I know.
07:56Well, then don't tease me.
07:59Yes.
08:01What do you think?
08:02Be honest.
08:05Hmm.
08:06You go backstage a lot.
08:08Rehearsals.
08:09Well, the performance is their art, their illusion, but...
08:13Backstage.
08:14Rehearsals.
08:16The reality.
08:18Yawning.
08:20A tired ache in a dancer's body.
08:24Hmm.
08:26That's all I think it is.
08:28A patron of the arts.
08:30Selecting his little girl.
08:33Well...
08:35There's always something in the shadows.
08:38It's what I do.
08:39It's what we do.
08:42We paint the reality.
08:45Imagine that.
08:47A salon of realists.
08:50A salon of realists.
08:53Yeah.
09:03The painter of women, they called Renoir.
09:06Morning.
09:07Without the female breast, he once said, I would never have become a painter.
09:12A glass of wine?
09:14The women in his paintings were always beautiful.
09:18Sorry, I wonder if you could help me.
09:20He's poor too, by mistake.
09:24Go on.
09:26Help me celebrate.
09:27To a fine day's business.
09:42Manny!
09:46Manny!
09:47Manny!
09:47We're having lunch in the park.
09:48Why don't you join us?
09:48That's a spectacular cheese.
09:51I just sold three paintings.
09:52You're a new dealer?
09:54Oh, where's this stern tone?
09:56No, it's not a new dealer, but...
09:57He buys my paintings too.
09:58You can't celebrate every time.
10:00Well, why ever not?
10:01What is life?
10:02What is life for?
10:04Auréal Benoit!
10:06We bought a bottle of vintage cognac as well.
10:14Never mind, we'll get another one.
10:17Of course, you should never rely on a single source of income, but...
10:22If a wealthy man is investing in your talent, who would say no?
10:26No.
10:27But nothing was ever certain.
10:30Manny and Degas had their family money, of course.
10:33It was different for them.
10:42Portraits.
10:43That's what people want.
10:45And I am going to paint yours, Popeye.
10:48What's the point?
10:49A sick old man.
10:52Why?
10:56A bit small.
10:57Small?
10:58Small and gloomy.
11:01You don't want to please the salon?
11:03Fine.
11:04But you must at least please your buyers.
11:07I don't have to please anyone.
11:10I'm an artist.
11:11I paint what I see.
11:12I paint the truth.
11:13Till the money runs out.
11:17All is well.
11:18Oh, yes.
11:20Yes.
11:21With the business?
11:22It's fine.
11:24Carry on.
11:26Paint the truth.
11:34Paint the truth.
11:55Oh my goodness, it's enormous.
11:58It's for the salon.
12:00But you detest the salon.
12:01This is going to be a masterpiece.
12:03Of me?
12:04Nope.
12:06I'm going to give those stuck-up swine exactly what they want.
12:18Now, this I would without hesitation call a masterpiece.
12:25If I was stuck raving mad.
12:29If I were mad, I would agree with you.
12:31That is, if you were mad too, which obviously you're not.
12:35Scaled is epic.
12:37Subject matter almost acceptable.
12:39The mess he's made with his brushes.
12:41And whose skin is that color?
12:45Not mine, thank God.
12:52Um...
12:54No.
12:58Next.
13:00Oh, come on.
13:05I went to the salon.
13:06Not a single Degas display.
13:08Not one.
13:10I know, Papa.
13:11What did they refuse?
13:12Show me.
13:13Papa, I didn't submit.
13:15The ankle, keep still!
13:19You've worked that ankle enough.
13:22Leave that ankle alone.
13:25Always too much.
13:27Papa!
13:28You never know when to stop.
13:30Your talent, your gift.
13:32You must do it justice.
13:38It's just there.
13:40Where?
13:41Eyes that way.
13:44Where?
13:48Where?
13:49His eyesight wasn't good before the war.
13:53After, it got much worse.
13:56He couldn't bear the sunlight.
14:07But the sun was my muse.
14:11Every morning it rises, and every sunrise, every second is unique.
14:19That morning I leapt out of bed to capture that moment.
14:24The light changes constantly.
14:27A sunrise must be painted as it happens.
14:30It is a race against time.
14:34Each tiny gradation of light, all the shifting tones of color.
14:38Don't tell me you can just saunter off to a studio and recreate those from memory.
14:45To capture the moment in the moment.
14:47That's the challenge.
14:48How long did I have?
14:48Thirty minutes at most.
14:49Maybe only ten.
14:51Sweeping washes of paint.
14:54Thin, fluid bands.
14:56A swift foundation.
14:58The sky.
14:59The docks, the water.
15:01Ah, so many shades of gray.
15:05Quicker, shorter brushstrokes.
15:09Boatmasts and the ghost of a harbor infused with the rising light.
15:16And there, in fear's burning reds, the heart of the sun.
15:50LATER
15:55you haven't written a word no sorry did you have any idea how important this
16:03painting was to become I was painting chasing that fleeting light it was a
16:08new way of working with no simply one painting among many that I couldn't sell
16:25do not get too set in your ways I do think about it Papa a good family a loving wife
16:37to be free of the
16:39need to be artificial it just hasn't happened I meant in your painting you work hard of course
16:50you do you think I should paint like money dash them off in a blink of an eye oh the
16:56fleeting
16:57light as if light cannot be recreated in a studio quick quick the Sun is shining where's my paint
17:05brush how are your eyes that's the fashion nowadays to to tell the time by the painting as if it
17:13were
17:13a clock don't talk to me about these halfway to clutter up the countryside with their easels if I
17:22had my way I would arm a special police force to to shoot them on sight like vermin lurking in
17:30the
17:30bushes with a stupid white canvas shields and you wonder why you have no wife
17:47the girl was always different from us part of our movement but outside of it you never quite knew where
17:56you were with him have you heard the news mark he's been replaced by a monkey no this is bad
18:06news I'm
18:07afraid your favorite dealer has overreached himself too many paintings not enough buyers but he just needs
18:13to be patient things will pick up the market's dead he stopped buying completely one dealer how much
18:20difference can it make it's not too late to submit no never as long as we let the salon make
18:28the rules
18:29our work will just be the smallest flame in constant danger of I say we start a fire
18:45come on remember basil's dream an exhibition of our own with no jury no marquee we paint what we want
18:51we sell what we can a salon of realists many I wish you luck sincerely but to attack from within
19:04that's the challenge why why live by their rules what do you want next the legion donna if such honours
19:10did not exist I would not invent them but they do the legend on air since you ask yes I
19:16would accept it
19:27a bottle of champagne I think gentlemen an exhibition of our own there was no going back but for digger
19:40the struggle was about to become much harder
20:13much harder
20:13to go
20:13to go
20:13to go
20:13to go
20:26John please he's having fun and I'm working well stop a while I can't stop
20:33the light will change so the field's not going anywhere that's not the point
20:48never mind stay there stay there
21:18so
21:48Your father.
21:53I'm sorry.
21:56The grief is hard enough.
21:59And there are the creditors.
22:03Dear Papa, he's left me rather a lot to tie up.
22:06I thought he was a wealthy man.
22:10So did I.
22:15So, you're keeping busy?
22:18The exhibition.
22:20We found a studio.
22:22Nadar, the photographer, he's lending it to us.
22:25And we have more artists lined up.
22:27Please, reconsider.
22:28How many people are going to come to this?
22:33Tory.
22:35To me, this just seems utterly mad.
22:39Most of them have nothing to lose.
22:41No talent, no reputation.
22:44But they're gone.
22:46They'll never sell another painting.
22:49No.
22:50In a photographer's studio, how apt.
22:53One passing fad pays host to another.
23:06In the weeks before the exhibition, we drove ourselves harder than ever.
23:14We painted from our hearts, not our heads.
23:20It meant everything to us to find new ways to capture our world.
23:37I'm taking a break.
23:44I wish I wasn't painting you seated.
23:47Why?
23:48I prefer paintings that make me want to stroke them.
23:52When I finish a buttock, I like to give it a little pat.
23:55Now, come on.
23:56I've got to get this done.
23:57Nini, this is serious.
24:02Stupid exhibition.
24:06Whose idea was it?
24:09What?
24:12What's the matter?
24:13Nothing.
24:24The exhibition.
24:25It was, er, Bazille's idea.
24:28Who?
24:29Frederick Bazille.
24:30He died in the war.
24:37Idiot!
24:38Stupid!
24:41He enlisted.
24:49Come on.
25:00Did you find yourself painting with more freedom than before?
25:04Painting?
25:04Painting!
25:05What about the finances?
25:07The letter writing.
25:08The publicity.
25:09The printing of the brochures.
25:11The content of the brochures.
25:12The setting up of a company.
25:14Collective membership agreement rules 17, paragraph 10A.
25:19Is that what drives an artist?
25:21To be an investor in a joint stock company?
25:24Oh, what a business.
25:26Painting?
25:27Oh, we did a bit.
25:28Ha, ha, ha.
25:33Within that small photographer's studio on the Boulevard de Capucine was the most vibrant,
25:40most modern exhibition Paris had ever seen.
25:43All the money.
25:46All the stories.
26:03Oh, my goodness.
26:04Oh, my goodness.
26:07Oh, my goodness.
26:13We'll continue.
26:33Maybe they'll all come in the evening.
26:38It's only the first day.
26:40It's the opening.
26:41There should be a crowd, a queue around the corner.
26:45This is no ordinary exhibition.
26:47You're right.
26:48It's a disaster.
26:50You must be patient.
26:52Word will spread.
26:55We need reviews.
26:57I wrote to everyone.
27:00I wrote to everyone.
27:02All the papers.
27:04I wrote to every newspaper, every journal, every single one.
27:23On looking at the first rough works, and rough is the right word, yet one simply shrugs one's shoulders.
27:29On seeing the next lot, you burst out laughing.
27:33Oh, but at the last part, then you will finally get angry.
27:38And you are sorry that you did not give the franc you paid to get in to some poor beggar.
27:45Oh, dear.
27:46No, that's it.
27:48No, give your franc to a beggar.
27:49Then he can go and buy two of their paintings with it.
27:54It's just wonderful.
27:55Wonderful, wonderful.
27:57Every day worse than the last.
28:01Opening day, 175 visitors.
28:04Month later, final day, 54.
28:09Art critic.
28:11Is that a profession?
28:15It's not even finished.
28:17It's all blood.
28:17You must have been drunk.
28:19Claude.
28:23There's something about the work that you don't understand.
28:25Oh.
28:26The artist himself.
28:29Actually, I do have a question, yes.
28:31How's your eyesight?
28:35I think you should leave now.
28:36No.
28:37We've paid our money.
28:39We're having our entertainment.
28:40This is an art exhibition, not a circus.
28:43Oh.
28:44Oh, so this wasn't painted by a clown.
28:49Maybe I should make myself clearer.
28:51Well, I'd agree with that.
28:52You're upsetting my wife.
29:05They said we were declaring war on beauty.
29:10And the wallpaper in its embryonic state was more finished.
29:16Our young heads were filled with beauty.
29:22And my impression, sunrise?
29:26What was it?
29:28My impression, somebody wrote, unimpressed.
29:33From an insult, came a name.
29:38Impressionism.
29:39A name.
29:41The only return on all that work.
30:06Superb!
30:07Brilliant!
30:09Manny!
30:09My God!
30:11What on earth are you doing here?
30:12Congratulations.
30:13What an exhibition.
30:17What?
30:18What you would rather have been exhibiting with us than at the salon.
30:21You're joking.
30:22Half a million people saw my way.
30:24But what you're doing, it's glorious.
30:27Well, the public, it seems, would disagree.
30:29They don't understand it now.
30:30Of course they don't.
30:31It's the future.
30:32Your husband is the Raphael of water.
30:35The what?
30:36Raphael.
30:37He's a dead painter.
30:39What was it Corbe said when he was complimented on that seascape?
30:42It's not a seascape, it's a time of day.
30:44That's what they don't understand.
30:45You don't pay the subject, you're painting your faith on that subject of a time of day.
30:49Yes, that's all very well.
30:50But have you got that 20 francs you said you'd lend me?
30:54I've heard about Degas.
30:55It's his father's business.
30:58He owes a fortune.
30:59Poor Degas.
31:00Oh, poor Degas.
31:03So now he has to live like the rest of us.
31:04Don't give me poor Degas.
31:05We all need money.
31:46Alice Osher Day.
31:48How do you do?
31:52Claude Monet.
31:53Claude Monet, the great artist, yes, I know.
31:56Hardly great.
31:57Oh, you're great.
31:58People just haven't seen it yet.
32:01Madame, you're very kind.
32:03Oh, so my husband tells me.
32:05I prefer more refined work myself, but each to his own.
32:09Now, you'll be painting for us out in the garden.
32:12Madame, while I was waiting, was that you playing the piano?
32:15It's just a little serenade, yes.
32:17Ah.
32:19Well, I prefer a more refined work myself, but each to their own.
32:22Good day.
32:22Oh, Monsieur Monet, come back.
32:25If I was too direct, forgive me.
32:28Madame, if my work is beyond your comprehension, what good would it do me to paint here?
32:33I would curse you, and you would curse me.
32:36I would not curse you.
32:37Well, then, I would curse enough for the both of us.
32:39Please give my regards to Monsieur Oshide.
32:41Monsieur Monet.
32:43May I be honest?
32:44Have you not been so already?
32:46If I had a choice between a Monet and a Raphael, I would choose a Raphael.
32:50So would the Marquis.
32:51But when I was a child, did I appreciate Raphael?
32:57His mastery of composition, his chiaroscuro.
33:03Please give me time.
33:05Whatever you paint here, I shall learn to cherish.
33:57Come here.
33:58Come here.
34:00I've just seen light like never before.
34:03You know the smoke from the train?
34:05It stains the air.
34:06And then the sunlight illuminates the smoke.
34:10The colour that I saw in those white clouds.
34:14I have to capture it.
34:15Lord, the butcher won't give us any more credit.
34:18After that last exhibition, I didn't think that I could go on.
34:21We run out of bread.
34:22Oh, butchers, bakers, what do they matter?
34:24The girl, we need to eat.
34:28We survive, don't we?
34:30You said no to Mr. Oshety.
34:32No.
34:33No, I'll do that work.
34:42What's the matter?
34:46What is it?
34:49Sit down.
34:52Sit down.
34:54Sit down.
35:13Sit down.
35:14What?
35:16What are you looking at?
35:20Nothing.
35:24The light on my face.
35:31Why do you like painting in the dark?
35:33Remove your clothes, please.
35:43Remove your corset, please.
35:47Models weren't people to Duggar.
35:50They were objects, moving shapes, animals who lived in the shadows.
35:57Usually when I do that, the gentleman stares at my body.
36:02But Duggar took everything in, always writing notes to himself.
36:08I thought you were a painter, not a writer.
36:12Ideas, observations.
36:14That's why he never stopped experimenting, finding new ways of working.
36:21You don't just paint what you see.
36:25Of course not.
36:28Trickery and vice.
36:29Yes. That's painting.
36:33It's like committing a crime.
36:40Each of us in his own manner was trying to find his way back from that dreadful exhibition.
36:48You were bolder than most.
36:51Duggar, Saint-Lazare.
36:53Had to do it.
36:55Renoir said you were mad.
36:58To me, that was a good sign.
37:20There she is.
37:22That was a good sign.
37:30Ha, ha, ha!
37:30Ha, ha, ha!
37:30Ha, ha!
37:30to paint inside? I don't think so. The steam gets everywhere. You won't see a thing. I will
37:38see the steam. Yeah? I will paint the steam. Right. I would like to paint wherever I choose.
37:48Is there a problem? Well, there is a bit, yes. This being a train station, we do tend to get
37:54rather a lot of trains and passengers. Monsieur, for some time now I have been considering
38:02whether to paint the Gare Saint-Lazare or the Gare du Nord. I have to tell you, your station
38:09from the way that it is run to the architecture is infinitely superior. We'll do our best.
38:15If I am to immortalise the railway station, would you rather I went to the Gare du Nord?
38:28The trains were halted, platforms cleared. He even ordered the engines to be crammed with
38:34coal so as to give out more steam.
38:44For several hours, I, Station Master Mone, had the freedom of the Gare Salazar.
39:06I, Station Master Mone, had the first time in my life.
39:13Come on.
39:31Bend your back more, please. How much longer? Please your back.
39:39do you like women what an extraordinary question will you always make us look so ugly if you want
39:46to look beautiful go and sit for monsieur renoir i show women as they really are not as some
39:51ignorant aristocrat wants them to be the marquis at the salon you wouldn't know him i know a lot
39:57of very respectable gentlemen you'd be surprised yes i'm sure i would some of them even pay to
40:04spy through the keyhole i am an artist you paint nudes i do not paint nudes i paint women without
40:14their clothes on oh they are so different the nude is always in a pose a woman without her clothes
40:20is
40:20a woman in an honest moment that's why it looks as though you're peeping through a keyhole
40:29you're back
40:34dougar never married of course and there were strange rumors but over the years he painted women
40:42as they'd never been seen before real women doing real things the greatest artist the english called
40:49him not the greatest character though
41:06money came and went but the debt still mounted but i desperately needed oshide to keep buying my work
41:23and i've got you too
41:26monsieur claude
41:27mademoiselle
41:32monsieur monnet
41:34is it really you
41:36madame
41:37mademoiselle
41:38mademoiselle
41:38mademoiselle
41:39mademoiselle
41:39mademoiselle
41:42mademoiselle
41:44mademoiselle
41:45mademoiselle
41:58mademoiselle
41:59mademoiselle
42:00mademoiselle
42:01mademoiselle
42:01mademoiselle
42:02mademoiselle
42:02mademoiselle
42:03mademoiselle
42:03mademoiselle
42:05mademoiselle
42:06mademoiselle
42:06mademoiselle
42:06mademoiselle
42:06mademoiselle
42:06This time, I regret. I need cash.
42:11Yes, of course.
42:14And how is your wife?
42:16Much the same.
42:18But we have another exhibition, and if that goes well...
42:22What is it?
42:25Don't neglect her.
42:27I'm not.
42:29I'm doing this for her.
42:32You think that I'll take the money to the nearest bar?
42:35Is your husband in the house?
42:36No, um, he had to go to Paris.
42:39Paris?
42:41Who's going to pay me?
42:43He can't. He can't pay you.
42:46We can't pay you.
42:47Oh, I'm sorry.
42:50I'm sorry.
42:53Oh, no.
42:56He won't talk to me, but he owes a lot of money to a lot of people.
43:00I'm sorry. I'm sorry. I'm rude, Uncle Matt.
43:07Tell your husband not to sell my paintings.
43:11They will soon be soaring in value, believe me.
43:13I'm worried.
43:13I'm sorry.
43:16I'm sorry.
43:18I'm sorry.
43:19The lunch was right.
43:21It's horrid.
43:24Yes, it is.
43:26It's horrid.
43:35The critics hated the painting that I did for Oshide.
43:39But by our third Impressionist exhibition in 1877,
43:44the tide had started to turn very slowly.
43:57At least the reviews were better.
44:00Here.
44:01One cannot deny the terrifying realism of these faded creatures exuding vice.
44:09And here, a joyful glow touches even the shadows.
44:14The effect is like the shimmer of a rainbow.
44:22And this one, the bustle, the colour, the movement, the clamour, a pictorial symphony.
44:29Ah, the wisdom of the art critic.
44:32Well, at least some of them were starting to see.
44:35Yeah, one or two.
44:36But what does an artist remember?
44:38A hundred words that sing his praises or ten that cut him to pieces?
44:53That's a pretty one.
44:55The critics had other words for it.
44:57Well, I think it's pretty.
45:04My friends wonder why I'm not married.
45:06I would spend my whole life in mortal dread that my wife would say,
45:09that's a pretty one, after I'd finished her work.
45:19Did you have any idea what Degas was working on?
45:22At that point?
45:24The usual.
45:25I had my own work.
45:26Not the usual.
45:27I'm referring to the recent auction of the Degas estate.
45:31His private collection.
45:34Oh, those.
45:36No one knew about those.
45:38It would have ruined him.
45:40No, don't look at those.
45:45Go, get up.
45:46Don't be angry.
45:47That is all for today.
45:48Finished.
45:49Please, Monsieur Degas.
45:50Now!
45:51Go!
46:04No, those pictures would not have gone down well with his usual collectors.
46:09Prostitutes, madams, brothels.
46:14Oh, yes.
46:15Degas.
46:16A strange fish indeed.
46:45Poor Alice.
46:47My patron, Ernest Oshaday, was in two million francs of debt.
46:53Can you believe it?
46:55Goodness me, you're all here.
46:56Hello.
46:57Hello.
46:57I'm so sorry we're late.
46:59Come here.
47:00I'm sorry the house isn't clean.
47:02Oh, no, please.
47:03This is so kind of you.
47:05Girls, this isn't your home.
47:07They're children.
47:09And it is their home.
47:16Thank you both so much.
47:18Oh, and this is Ernest, my husband.
47:21Come here.
47:23Ernest.
47:24Good morning.
47:25Off you go.
47:26Let me take that.
47:27Mm-hmm.
47:34Mm-hmm.
47:36Oh, I'm crying.
47:38Shh.
47:45Post.
47:45Um, leave it on the side.
47:47It's from Monsieur Manet.
47:56Come here.
47:57From Manet.
48:00There's a man who will go to heaven.
48:04Come on.
48:06Hey.
48:08Hey.
48:09Hey.
48:11Hey.
48:11Hey.
48:12Hey.
48:12Hey.
48:13Hey.
48:14Hey.
48:30Come on, Camille.
48:31Keep up.
48:32I can't.
48:33You've hardly left the house.
48:35Good Lord.
48:38Come on, girls.
48:38Who can find the best picnic spot in the world?
48:40Come on, girls.
48:46The days, the nights of screaming.
48:51No one should suffer like that.
48:55Camille.
49:19At first, I resisted.
49:21But slowly, the idea took form in my mind.
49:25And as it took form, it became an obsession.
49:45I find myself searching for the succession of colors that death was imposing on her face.
49:52The violent emotion of the colors.
49:56First and foremost, I reacted to those.
50:01What could be more natural, then, to preserve the last image of a person who's about to leave you forever?
50:12The painter first, then the husband.
50:26See you there.
50:28Yeah.
50:45Now that I was so approve of when I worked the63th.
50:54A little air, I think.
51:20Oh, yes.
51:22What happened to my mirror?
51:24The removal man dropped it.
51:28So lovely to look at.
51:31Monsieur, my little boy, he made you this.
51:49Au revoir.
51:58A new minister for arts.
52:00And he's a friend of yours.
52:02You may get your legend d'honneur after all.
52:05Thank you for suggesting I can only achieve it through corrupt means.
52:11I'm working on a new painting.
52:14I can see it now.
52:15The colours, the lights.
52:18This will be my finest painting yet.
52:20You always say that.
52:21And it's always true.
52:32Where does the time go?
52:34When I was young, I stored up all my plans in a cupboard,
52:38locked away safely with a key.
52:41And now...
52:43You've lost the key.
52:49Seeing you is always a tonic.
52:52Time for me to go.
52:53The lights outside shouldn't be so bad now.
53:17The lights outside shouldn't be so bad now.
53:23The lights outside have been so bad now.
53:28The lights outside the door.
53:29Dugard was always a loyal friend to Mane, but he was a lonely and unhappy man.
53:35And that was beginning to show.
53:38By 1880, he'd started scheming to control the Impressionist exhibitions, and us.
53:45Too much bickering and unpleasantness for me.
53:49I went back to our old adversary, the Salon.
53:59My Lavacourt painting was selected, but could anybody see it?
54:05What is the point of having a picture in an exhibition that no one can see?
54:09It's the Salon.
54:09My picture is almost on the ceiling. A butcher could have hung it better.
54:13I've crammed them in like soldiers in a cattle truck.
54:15Oh, well, tell our friends to bring binoculars.
54:17I'm complaining to the Minister of Finance.
54:18This is the last year that I exhibit at the Salon, and I mean it this time.
54:25Monnet is dead.
54:28But I'm Monnet.
54:30You think you'd be the first to know?
54:35Where is it?
54:37The Impressionist school has the honor of informing you of the grievous loss it has suffered in the person of
54:42Monsieur Claude Monet, one of its revered masters.
54:45Well, revered's good.
54:47The funeral for Monsieur Claude Monet will take place on May the 1st at 10 o'clock in the morning
54:51in Monsieur Cabanel's gallery.
54:52You're requested not to attend.
54:54On behalf of the head of the Impressionist school, Monsieur Dugas.
54:58Dugas?
55:01What?
55:03Dugas also twisted the knife by spreading malicious gossip about myself and Alice Oshadet.
55:10Dugas.
55:11How dare he?
55:24Ah, Monsieur Monet.
55:25We thought you deserted our happy camp.
55:28I'm an artist, Degas. What are your props?
55:32You will not make slanderous comments in the press about my private life!
55:36Surrendered your impressionist brush, just like Auguste Renoir.
55:40Come crawling back, what's the matter? Not as well hung as you thought?
55:43At least I got mine up.
55:44Perhaps you should go back to decorating pots.
55:46Degas!
55:47Hypocrite! You betrayed us all, running back to the salon like a dog doing vomit.
55:50What am I supposed to tell my family that I'm out on the streets
55:52because I've decided to do what Degas tells me?
55:54I've got eight children to support!
55:56Do you have any idea which ones are yours?
55:58I love my family. I also love my work.
56:01There is love and there is work and we have but one heart.
56:04Remember this, Degas. One day your cronies will leave you.
56:08And despite your talent, you will grow old alone and you will die alone.
56:22Degas!
56:24each other isเรา playing.
56:25You've made enemies with us all.
56:26Tell me your side?
56:28A little later.
56:30Of course.
56:31You must be tired.
56:32Life is short.
56:33I have a painting to finish.
57:01The critics call my work
57:03The Cult of Ugliness
57:07My dear Cezanne doesn't think enough of public opinion
57:10He despises the most elementary things
57:14Language, dress, hygiene
57:18I'm painting for myself, not to amuse other people
57:22Perhaps you're just not good enough
57:25Perhaps I'm too good
57:27Perhaps I'm a genius
57:28I would very much like to behave like us
57:30But as you never cease reminding me you were married to somebody else
57:34I think I'm coming to the end of Impressionism
57:37I'll be the only one left
57:40Cezanne
57:42You have shown us the future
58:05I'll be the only one left
58:06I'll be the only one left
58:06I'll be the only one left
58:06I'll be the only one left
58:06I'll be the only one left
58:07I'll be the only one left
58:09I'll be the only one left
58:10I'll be the only one left
58:10I'll be the only one left
58:11I'll be the only one left
58:11I'll be the only one left
58:13I'll be the only one left
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