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00:00In the last episode...
00:02I wrote to you, Monsieur Monnet.
00:04At least you got my name right.
00:06Alice Osher Day.
00:07Claude Monnet.
00:08A great artist, yes, I know.
00:10Hardly great.
00:11No, you're great.
00:12People just haven't seen it yet.
00:13Jean, please!
00:15I say we start a fire.
00:16We paint what we want, we sell what we can.
00:19An exhibition of our own.
00:22Oh, dear.
00:23This is no ordinary exhibition.
00:25You're right. It's a disaster.
00:27Go, get out!
00:28Please, Monsieur Degas, I...
00:30Now!
00:31You think I should paint like Monnet?
00:32Dash them off in a blink of an eye.
00:34You will not make slanderous comments in the press
00:37about my private life!
00:38Surrendered your impressionist brush.
00:40The colours, the lights...
00:42This will be my finest painting yet.
00:59Games at home.
01:01I'm also decided.
01:06Yes, aren't you?
01:09That's her.
01:15Oh, dear.
01:17I'm going.
01:25Somewhere in the parking lot!
01:49Thank you, Prince, please.
01:52Ladies and gentlemen,
01:56To say that in the past we have had our disagreements
01:59would be an understatement.
02:02But I am enough of a realist,
02:06and I hope you are too,
02:08to know that if we argue tonight, it would create a very bad impression.
02:14We are here tonight
02:16to salute a recipient of the Légion d'honneur.
02:19Ah, yes.
02:20But more important than that,
02:22our tower of strength,
02:26our friend,
02:27Edward Manning.
02:29Edward Manning.
02:37Thank you, Degas, for those kind words.
02:40Actually, I can't agree with all of them.
02:44It has always been my ambition
02:46not to repeat today what I did yesterday,
02:52but to respond constantly to every fresh vision,
02:57every new voice.
03:01as for the salon,
03:03and our wide brew in the evening.
03:05Yes, Degas,
03:07I now have the Légion d'honneur.
03:11It would have made my future once,
03:13but now,
03:16it's too late to make up for 20 years of failure.
03:18No, not failure.
03:19No, not failure.
03:20One thing you're not is a failure.
03:26What pleases me more,
03:28far more,
03:29is to see you here tonight.
03:33My friends.
03:37My dear, dear friends.
03:45Our group was about to go its separate ways.
03:49Whether we liked it or not,
03:50it wasn't going to be the same again.
03:56To the future.
03:58To the future.
03:58The future, dear.
03:59The future.
04:06The future.
04:17So, did Manet know what was wrong?
04:21His misspent youth.
04:23One brothel too many.
04:27Manet.
04:27The disease.
04:29Crept up on him over the years.
04:36Manet was there from the beginning.
04:39He never described himself as an impressionist.
04:43But he was one of us.
04:45So much a part of what we did.
04:55An impressionist masterpiece.
04:58He loved it at the salon.
05:01Edouard Manet.
05:03So,
05:04the tide was beginning to turn.
05:06Oh.
05:11The tide was still against us.
05:14As hard as I swam,
05:15the current held me back.
05:17I was living in the country with Alice Oshide,
05:20the wife of my old patron, Ernest,
05:23with their six children and my two boys.
05:33Papa!
05:34We brought you tea.
05:38Claude?
05:39I owe over two thousand francs in household expenses.
05:42If I stop to eat now,
05:43we all starve tomorrow.
05:45I made you talk to Tam.
05:48Now that's bribery.
05:55I'm gonna ride to your husband, Alice.
05:57I'm gonna give him an ultimatum.
05:58Lord, no.
05:58Either he should pay something towards your keep,
06:01or let you go.
06:03Tongues are so loose they will wag themselves out.
06:05Well, the streets of Paris will be littered with tongues.
06:11Maybe I should paint something people will want to buy.
06:19I wanted to capture the impression of a moment.
06:22I was still at the beginning of my journey.
06:25I say beginning.
06:26A single life is not long enough to know a single moment.
06:39It's not long enough to know a single moment.
06:40Cézanne was a pioneer,
06:42searching for his own truth.
06:45His one-man revolution
06:48would take impressionism somewhere very different.
06:57His work was so savage, unfinished looking.
07:01People were outraged.
07:03The critics saved the worst of their venom for him.
07:07Paul Cézanne is a genuine impressionist.
07:10Each one of his paintings more stupefying than the last.
07:13No, I will not have that.
07:15Stupefying's pretty tame.
07:16They compared one of my nudes to a court.
07:17Well, that was fair enough.
07:19How dare they call me an impressionist.
07:22Cézanne.
07:22You're worse than Degas.
07:23How can you say your style owes nothing to what we've tried...
07:26Are you blind?
07:29You are an inspiration to me and you...
07:33You're a runway, but...
07:35But I am doing something completely different.
07:38We all are.
07:39No!
07:41Not like me!
07:49They're not the best company on a good day.
07:52With Cézanne, good days were rare.
07:54I heard he didn't even like to be touched.
07:58He found the world a hard place to be in.
08:00So would you, if you were consistently rejected by a world that was so blind it couldn't even see your
08:05work.
08:06To try and to fail.
08:09So continually.
08:11And to be rejected in the end by those you loved the most.
08:15He loved Zola very much.
08:21He and Emile Zola had grown up together in Aix-en-Provence.
08:25The inseparables, they'd call them.
08:27Of course, we know how famous Zola became.
08:30One of France's most popular writers.
08:33You're not hunting for your supper anymore, Zola.
08:36No, we seldom caught anything.
08:40Quite the dirty bourgeois.
08:44I can't help being a success.
08:46You were going to be the painter.
08:48And you wrote me verses.
08:53The inseparables.
08:58What do you do in Aix?
09:01Do you still swim?
09:03Against the tide, mainly.
09:06When the people of Aix are stuck for a laugh, they ask to see my paintings.
09:10Do you let them?
09:16How are your parents?
09:19Still the most disgusting, stinking people in the world.
09:29Do they know your secret?
09:35The paternal authorities spent his life trying to get his accent accepted by the snobs of Aix.
09:43Only to have his son and heir father a child with a peasant.
09:48He'd cut off my allowance if we found out.
09:52And then we'd be completely reliant on you.
10:10...
10:18...
10:26...
10:36Paul?
10:39Morning, father.
10:41Where do you go all the time?
10:45You're away for weeks.
10:48Well, I am trying to clarify the relationship between colour and form, brother.
10:52Do you think that is a valid occupation for a man approaching 40?
10:57At 40, I've built up a successful business.
10:59Your mother and I had two children.
11:03Any sales?
11:05No.
11:06You're not earning a penny.
11:10Not yet.
11:12Well, perhaps...
11:13Perhaps you're just not good enough.
11:17Perhaps I'm too good.
11:20Perhaps I'm a genius.
11:22One may die with genius, Paul.
11:25One eats with money.
11:54Please let me write what I should do.
11:56Well, say what?
11:59That I love you.
12:02And that you love me.
12:07It won't change anything.
12:13How can he think that he has any hold over you when he doesn't pay a penny towards any of
12:16your keep?
12:18He's choosing to drink his life away, and if you let him, he will drink ours away too.
12:24Don't we have any choices?
12:25No, I married him.
12:27I made my choice.
12:28I took him as my husband.
12:29Well, he isn't behaving like a husband.
12:30I won't divorce him, Claude.
12:32You know that.
12:32I'm a Catholic.
12:36So where does that leave us?
12:39Wedged between Ossidae and the Church of Rome for the rest of our lives?
12:51If I thought things were bad, they were always worse for Cezanne, with his secret mistress and their secret child.
13:01I've got so many porn tickets in my purse, there's no room for any money.
13:05That's just as well.
13:07I'd love a lemonade.
13:11Paul?
13:13I'd help if you sold a painting.
13:16Paul?
13:16Sit still.
13:19Your father's house looks like it's going to tip over.
13:24If it was really like that, all the furniture would slide down one hand.
13:29That's the composition.
13:30You should tell your father if you think his house is going to fall down.
13:35One gust of wind and your inheritance will be a pile of rubble.
13:39What you paint, Paul, it's not what other people see.
13:43It's more than that, Hortense.
13:45My eye is thinking, too.
13:48Well, tell it to stop.
13:49I want honesty.
13:50Honesty is more important than what you see.
13:52So send honesty to the butchers.
13:54Paul!
14:21Manny?
14:25I've been very well.
14:27No. I need to get myself in better shape.
14:33Any news? I'm quite out of touch here.
14:37It's been raining again.
14:39All this wind and rain.
14:42It doesn't make the world look so attractive, does it?
14:47I've begun a few outdoor studies. I'm afraid I might not be able to finish them.
14:54Oh.
14:57Are you in pain?
14:58No, no pain.
15:00No, I'm feeling much better.
15:04Reassure my friends, won't you?
15:13The syphilis had advanced.
15:16And his leg had been removed from lower the knee.
15:21He never spoke about the operation to anyone.
15:25But I saw it in his eyes.
15:28Those unfinished paintings he so wanted to return to.
15:34And it wasn't just the leg.
15:36His work was being taken away from him.
15:40Bit by bit.
15:43So much goes unsaid.
15:51When will he be back?
15:53Depends on how much I paint.
15:54What, by next Sunday?
15:56Oh, right when I get there.
15:57It's my birthday.
15:58I know.
15:59Well, if you're not back for my birthday, I might go and spend it with my husband in Paris.
16:06Why do you want to spend your birthday with Oshide?
16:08I don't want to spend my birthday alone.
16:13Please, don't punish me for not behaving like a husband.
16:17I would very much like to behave like a husband.
16:20Others, you never cease reminding me you were married to somebody else.
16:30Sixty francs.
16:33I'd really shake your hand for this, Ola.
16:36Oh, and please thank your wife for the bag of rags she sent me.
16:39They're always useful in the studio.
16:42We are a good, solid plank.
16:46Yes, well, I'll take that in the manner it was meant.
16:49Why do you stay, Alex?
16:51No one else seems to mean anything.
16:53Come to Paris.
16:54Make me feel sick.
16:55How can you give art a new beginning if you won't move on from where you started?
16:59You just want me to paint society.
17:01I want you to paint the world.
17:02At least then you might sell.
17:03I'm painting for myself, not to amuse other people.
17:11We both used to live in our own shadows, Cezanne.
17:13Isn't it about time you stepped out of yours?
17:15Do you remember when I first spoke to you at school?
17:17Well, you were the only one that would.
17:18Speaking to you was banned because you were a hopeless dreamer.
17:21Well, if I am a hopeless dreamer now, then let me work in silence.
17:26Don't throw me to the ruffians.
17:37Cezanne invited Renoir and myself to visit him in Provence.
17:42Oh, with its vivid colors and intense light.
17:45It was another world.
17:52It's like a fairy tale, Andy, don't you think?
17:54Honestly, you won't know what to paint first.
17:56I imagine I will.
17:57So bright.
17:58So much blue.
17:59You'll need plenty of cerulean and ultramarine.
18:02Selen use ultramarine.
18:03Thank you, some of mine.
18:03It's quite good quality.
18:05It's about the impression that it makes on me, Renoir, not the impression that it makes
18:09on you.
18:10Cezanne says that he's been working hard.
18:12Sounds good.
18:13To avoid the admiration of Imercil.
18:16He sounds happy.
18:18Oh, I don't think happy is on his palate.
18:24Hmm.
18:26So, is this just Lindsay, Llewell?
18:29Yes, yes it is.
18:31You pawned his suit for this lad?
18:32An eminently sensible idea, Cezanne.
18:34Well, let's hope no one dies for the next few months.
18:38You could put Paul to bed.
18:39If I move him, he'll wake up.
18:43So, are you going to get involved in any more impressionist exhibitions?
18:46Is it impressionist any more?
18:48Well, it's hard to know what we are these days.
18:51A Degas hijacked one.
18:52Then my dealer had a go.
18:53That was a shambles.
18:54I know.
18:55Any more exhibitions like that, we'll end up with a public board of us.
18:57Are the press still against us?
18:58Even if I had the money to frame them, I wouldn't send them any of my pictures.
19:01Well, I'm sure Hortense would agree.
19:03Hortense is only interested in lemonade.
19:05Do you have any lemonade?
19:07No.
19:08No, they don't, no.
19:10I think I'm coming to the end of impressionism.
19:12Oh!
19:13Impressionism.
19:14I want something more solid and durable.
19:18My own way.
19:20Well, I'll be the only one left.
19:21I'm fed up of being out in the cold.
19:24Do you want a blanket?
19:26I think one of I was talking figuratively.
19:29Oh.
19:29Well, I'll put another log on the stove anyway.
20:11So much daylight.
20:13Unbearable.
20:16My eyes hurt terribly.
20:19Must have been in agony for years.
20:26When I last saw him, I took him some peonies.
20:30And he straight away started to paint them.
20:38To go.
20:41Just when you start to find success.
20:48You were all of us.
20:50Successful.
20:53Mani was a great success.
20:55The first day I met him.
21:01As are you.
21:31So, this was 1883?
21:391883.
21:42Um, I'm sorry.
21:48Excuse me.
22:071883 was also the first year we came here.
22:12Didn't know how much part of our lives it would become.
22:23From the train, I had seen this rambling farmhouse.
22:27And we were lucky.
22:29The rent was low enough that even we could afford it.
22:32And will you allow yourself to enjoy it?
22:35Instead of traveling away all the time?
22:37I have to find new subjects.
22:39We've got plenty of subjects here.
22:43I've told them to put your things in the main bedroom upstairs.
22:47And where will you sleep?
22:51I will sleep downstairs.
23:19Cone, the ceiling of the sphere.
23:23an orange
23:26an apple
23:30a head
23:35the world seems very complicated
23:36the trick is to make it simple
23:46why does it have to go there?
23:49because of the biscuits
23:52to make a picture
23:53is to compose
23:56I'm going to astonish Paris
23:59with an apple
24:28this arrived
24:30Yesterday.
24:32Do you know who it's for?
24:38It's addressed for Madame Cezanne, er.
24:41Must be for mother.
24:42No, no, it's not for mother.
24:45It's from a father to his daughter.
24:48So let's piece together what we know.
24:50Here is a letter from a Monsieur Fiquet.
24:56Monsieur Fiquet is not a man of letters.
24:59No.
25:00Monsieur Fiquet is a peasant.
25:03And his daughter is a peasant girl.
25:07Peasant girl.
25:09Monsieur Fiquet finishes, please remember me to the boy.
25:20Yes, Paul.
25:28He's 11.
25:34Perhaps you would be so good as to see that this gets to its intended reader.
25:41No, I shall go away and consider your intended allowance.
25:51Do you feel you had much common ground with Cezanne as an impressionist?
25:56Well, we both chased nature.
26:00He wanted to construct it and make it endure.
26:03For me, it was the moment.
26:07And just that.
26:08Chasing the moment that will never come again.
26:20Alice and I had our home.
26:22I knew she wanted me to stay there with her, but I couldn't.
26:25I was traveling, always traveling, trying to get closer to my subject.
26:40I was a hunter, not a painter, learning to know my quarry.
27:01Some days the sea was so blue, others so green, I couldn't express its intensity, its habits, its passions.
27:13Lying in wait for a passing cloud, pouncing on a perfect sky.
27:24It was a daily battle, in which I invariably came off the worst.
27:51Painting took me away for weeks at a time.
27:54Alice and I were divided by so much.
27:56But without her, nothing mattered.
28:01Not even painting.
28:08The critics call my work the cult of ugliness.
28:13Painted by a madman with the shakes.
28:15Made by loading pistols with paint and firing them at the canvas.
28:19Well, you're an artist's artist.
28:22Manet called me a bricklayer who paints with a trowel.
28:32I am rolling a rock uphill, Zola.
28:41And either I keep on rolling it forever or I let it roll back on me and crush me.
28:55Go on.
28:59But the thing that keeps me going is the hope.
29:04The belief that one day I will pick up that boulder with my hands and hurl it to the stars.
29:14Well, what if posterity isn't the impartial judge we think it is?
29:19Well, don't say that.
29:21Suppose the artist's paradise turns it out to be as non-existent as the Catholics.
29:26And that future generations persist on liking pretty, pretty daubing better than real painting.
29:32Well, they must want my paintings.
29:35If they're painted well.
29:37That's like saying they'll be happy to be butchered as long as the cuts are neat.
29:44I've started a new novel.
29:46It's the 14th in my series about the Rugar-Makar family.
29:50It's about passion and creation.
29:54I'll send you a copy.
29:59Where are you going?
30:04To paint.
30:11Cezanne kept moving, not knowing if he would ever reach his destination.
30:16Zola did what he did best, writing about what he knew and the people he knew.
30:38I'm late, I know.
30:40I'm sorry.
30:41My train, there was an error in the timetable.
30:55Could you find some employment for your fork?
31:02How is the boy?
31:08How is he?
31:13Uh, he's very well.
31:18Spends much of his time outdoors.
31:24I, I should like to meet him.
31:30Would you mind?
31:34Not at all.
32:04Let's go.
32:05I say good morning, Paul.
32:10I say good morning to your grandfather.
32:17Oh.
33:02I say good morning.
33:07Cézanne found inspiration in the shape of La Montagne Sainte-Vitoire,
33:12just outside Aix.
33:13Like him, it thirsted for sun, yet fell back to earth.
33:18He said he could occupy himself for months there
33:21without moving from the same place,
33:23just by turning slightly to the left or the right.
33:27He painted the mountain 60 times
33:30from different positions on different days.
33:43And I told him that there's no future,
33:46absolutely no future, in the Impressionist artists.
33:49But frankly, he still keeps going.
34:01I've actually drawn a likeness of Cézanne that is too mild.
34:07My dear Cézanne doesn't think enough of public opinion.
34:12He despises the most elementary things,
34:15language, dress, hygiene.
34:20And it's here. It's arrived.
34:23But none of this would matter if only he had genius.
34:27Why don't you open it?
34:30To Cézanne and his lack of genius.
34:44Here.
34:45He suffered all the torments
34:49of the man condemned to roll a rock uphill forever
34:51or to be crushed when it rolls back on him.
34:56That's me.
34:57It could be anyone.
34:59No, I said that.
35:01He has written about me.
35:04There's an artist and his mistress,
35:07who is also his model, and their son.
35:09What's wrong with that?
35:11He calls the artist a splendid failure.
35:13Oh, Paul, it's just a book.
35:19How can a man talk sensibly about the art of painting?
35:23He doesn't know anything about it.
35:29How dare you say that an artist is finished
35:31because of one bad picture?
35:47I have just received your novel,
35:50which you were kind enough to send me.
35:52I thank you for it
35:54and ask that you let me press your hand
35:56in memory of old and better times.
36:00Ever yours.
36:01Your friend from the past.
36:06Cézanne and Zola were never to meet again.
36:09What Zola did in his novel,
36:11which is called The Masterpiece,
36:13was to say that Impressionism was a failure.
36:21Did you think it was based on Cézanne?
36:24We were all in there, bits and pieces of our lives.
36:27The worst thing was, it broke Cézanne's heart.
36:29He had married Hortense by that time.
36:32He married her not for love,
36:33so that Paul wouldn't have to suffer the stigma
36:35of having unmarried parents.
36:37Six months after the wedding,
36:39his father died,
36:41leaving Cézanne and indeed Hortense,
36:45a very generous income.
36:51His worries about money,
36:53like his feelings for Hortense
36:55and his friendship with Zola,
36:57were things of the past.
37:00You'll have to hurry
37:01or the carriage will leave
37:02with all your luggage.
37:08Oh, you will come and stay.
37:12You know I don't like Paris.
37:14They've got her own bathroom.
37:17Not that that would interest you.
37:20I think that's always been the difference between us.
37:24Maybe.
37:30Paul.
37:39That'd be good.
37:43And if you're not,
37:46I've forgiven you already.
37:50Go on.
38:08Go on.
38:12Go on.
38:25Go on.
38:27Go on.
38:32I wrote to my old Impressionist friends.
38:35We had to lay Zola's masterpiece to rest.
38:38We could not allow our names and Manet's memory
38:41to be equated with failure forever.
38:44Right, there's something that I need to ask you both.
38:47He wants us to buy ten of his paintings for 100 francs.
38:49I need 20,000.
38:51Francs?
38:52And I'm not going to give you anything in return.
38:54All that fresh air's gone to his head.
38:56I'm thinking of purchasing Manet's Olympia for the state,
38:59and I need 20,000 francs.
39:00What's in it for you?
39:01Sorry, how much?
39:0320,000.
39:04Right.
39:05So Manet is thinking this is my chance to go down in history
39:08as the true leader of the Impressionist movement.
39:10I'm thinking about Madame Manet.
39:13I'll think about Madame Manet when and if she asks me to.
39:16Impressionism will get a boost also.
39:18Also, Manet will get a boost.
39:20No.
39:21Yes.
39:24Come on, start me off, what do you say?
39:27No.
39:28Renoir?
39:29No.
39:33In the end, Renoir and Degas gave their contributions,
39:37and I raised enough money to buy Olympia.
39:41In 1907, it was hung in the home of French art, the Louvre.
40:06For once, I was closer to home.
40:08I'd found some haystacks and started with two canvases, one for grey and one for sunny.
40:18Alice, the light's changing.
40:23As the light changed on the haystack, the whole subject was transformed, and the light kept changing through the day,
40:32through different days.
40:37How can anyone say that a landscape even exists when it changes so constantly?
40:42You'll have to be quick.
40:44And I only worked on each canvas in its light, seizing just the right moment at a stroke.
40:53The light's fading.
40:56Or that moment will be lost.
41:02You look like a conductor.
41:13Like a conductor holding a batter.
41:15One, two, three.
41:17One, two, three.
41:20One, two, three.
41:21One, two, three, one, two, three, one, two, three, one, two, three, one, two, three, one, two, three, one, two,
41:29three.
41:32Fifteen pictures of the same thing, and they all sold in three days.
41:39Something had changed.
41:41The world, it seemed, was beginning to see things my way.
41:45A haystack.
41:46A haystack was as much of a subject as a vase of flowers.
41:49And if the finish wasn't smooth, no comment.
42:02It was the beginning of what became known as my series paintings.
42:06I painted poplar trees along the bank of the river.
42:12I went to Rouen to paint the cathedral.
42:15I couldn't sleep for nightmares that the cathedral was coming down on top of me.
42:20It was blue or pink or yellow.
42:24I must have done 30 paintings there.
42:31I thought I'd be in Rouen forever.
42:34I think I least thought so, too.
42:37She'd stayed on in Giverny.
42:39Our situation really couldn't go on.
42:43Our being together and not really being together.
42:46And I'll tell you something else had happened.
42:49Oshida died.
42:59Alice, I've decided.
43:03I'm not going to work away anymore.
43:07I know I should wait.
43:08And I'm sorry.
43:10At last, there are no obstacles in our path.
43:14And I don't mean to call Ernest an obstacle.
43:17I don't want to distress you.
43:19Alice, are you listening to me?
43:20Yes, yes.
43:22All my life I have travelled looking for something.
43:27I thought that I would find it in seeing different things.
43:29But it's here.
43:33It's here.
43:38It's in seeing the same things every day.
43:42I shall grow sick of you.
43:45Will you?
43:46I hope not.
44:01We were married in July, 1892, here in Giverny.
44:06I'd made enough money to buy the house.
44:09Alice loved it here.
44:12Oh, I miss her.
44:19Early in 1910, she felt very weak.
44:23Leukemia.
44:25In the spring, there was a remission, and I...
44:31You cling to the hope.
44:36My dear companion.
44:41Died on the 19th of May.
44:45Cling to your palate, they told me.
44:51Hardly picked up a brush for three years.
45:14Still, Suzanne struggled on alone.
45:17The very last of us to be recognised by the world.
45:21Morning.
45:27Oh, it's a mess.
45:28It's too many loose strands.
45:31There's no centre.
45:33It's escaping.
45:36Errant hand.
45:43Good day.
45:44I have to tell you that I'm extremely busy.
45:48And will be for the rest of my life.
45:50They're not very easy to find.
45:52Perhaps I don't want to be found.
45:54Every artist wants to be found.
45:55I don't want to be found.
45:57What are you working on?
45:59It's a painting.
46:01Please, don't.
46:02Please don't shout at me.
46:04Amois vola.
46:05Ah.
46:09I'm an art dealer.
46:11I want to present an exhibition of your work.
46:16Can't you think of a better way to waste your money?
46:20People should see your work, or you'll die forgotten.
46:24I'll organize it all.
46:30I noticed your rather spectacular collection of Japanese prints.
46:34Oh, a great admirer.
46:36Did they inspire you for this garden?
46:38Oh, I was inspired.
46:40There's no point in being inspired if you don't get any help.
46:42For the local people, an artist is just a comedian who wore hacks.
46:46Someone to use.
46:47You know, they tried to chop down the poplars,
46:49and they charged me a tolder across the fields to paint.
46:52Dismantle the haystacks.
46:54And when I wanted to make my pond...
46:56What was here before?
46:59A marsh.
47:19Alice!
47:19I had been searching the world for what lay at my feet.
47:23Alice!
47:24I stopped hunting nature and invited her in.
47:31I diverted the stream and planted every known variety of water lily in the pond.
47:36And they flourished.
47:46I set up my easel in front of this body of water that contains in it all the elements of
47:51a universe,
47:52changing constantly under our very eyes.
47:55It's become an obsession.
48:18After all his reservations, Cezanne did agree to Vollard holding an exhibition of his work.
48:23How many more have you got?
48:25A hundred and fifty-two.
48:26A hundred and fifty-two?
48:29I...
48:30I don't know if I can manage them all.
48:32What?
48:33I mean, at the gallery.
48:35Well, you must!
48:36I'll think of something.
48:38Look, it'll be splendid!
48:46Ah, wonderful.
48:48Wonderful.
48:51There's there.
48:51Thank you so much.
48:55That's not quite a hundred and fifty-two.
48:57Well, the big ones are in the other room.
49:17How rarely do you come across a true painter?
49:21One who knows how to balance tones.
49:25Do you have any idea how impossible it is for me to make collectors, even friends of the Impressionists,
49:31understand how precious Cezanne's work is?
49:35So still.
49:37So alive.
49:40And I want Lestac.
49:43Ah, the wild majesty of Lestac.
49:47The still life is mine.
49:48What?
49:49I saw it first.
49:50I have my money out first.
49:52Still life from Monsieur Degas.
49:53A painting of irreproachable perfection.
50:07Must be pleased with what we sold at the exhibition.
50:15Well, I've prepared it myself, so you won't fall so long as you stay still.
50:23I'll be still as a statue.
50:25As an apple.
50:26As an apple?
50:27Please.
50:28Do not speak.
50:31Hmm.
50:40Hmm.
50:49Hmm.
50:49Hmm.
50:50Hmm.
50:51Hmm.
50:51Hmm.
50:52Hmm.
50:54Hmm.
50:55Hmm.
50:55Hmm.
50:56Hmm.
50:56Hmm.
51:15Shut that dog up!
51:17Shut that dog up!
51:22You clumsy fool! I told you to stay still!
51:26That's enough for today.
51:27No. You wait.
51:31The exhibition.
51:35Did Zola come?
51:39No.
51:41All right.
51:45The idiot.
51:53If only he had...
51:58...now that I'm bowling Paris over with my...
52:02...masterpieces.
52:08Forgive me.
52:19If only Cezanne had genius, Zola.
52:23Many critics thought that Zola's book was about Cezanne, but time will pass...
52:27...and people would understand that Zola's book was just a story.
52:38Cezanne!
52:38I so wanted Cezanne to join us at Giverny that day.
52:42I was worried he'd be too shy to come.
52:48I wanted him to know he did have admirers and true friends.
52:52No, that's my hand.
52:54That's my hand.
52:58Thank you for shaking my hand.
53:01Shall we?
53:01I think so.
53:22You're totally happy.
53:24Oh, yes...
53:25...Renois is celebrating the birth of his second son.
53:31It seems that family life is finally shooting him after all these years.
53:36They've called him Jean.
53:39Yes, love him.
53:40Many of us here have been following you for years, Cezanne.
53:44And we know why the younger artists look to you for guidance.
53:48Those who were so quick to condemn you will find themselves astonished.
53:53A new era of art is opening.
53:58Well, this is the promised land, and they certainly won't let me in.
54:02Cezanne, you have shown us the future.
54:05Bravo. Bravo.
54:13What Cezanne achieved will be appreciated.
54:17Not too late for Picasso and Matisse and the others he influenced,
54:22but too late for Cezanne.
54:37He laid the foundations for a new century,
54:40for a new generation of modern painters.
54:45He died, oh, must be 15 years ago,
54:49wishing, like all of us, that he had more time.
55:07We're not revolutionaries anymore.
55:10We're a tradition.
55:12Can you believe it?
55:14A room of our own at the Great Exhibition.
55:17If I could have 20 more years to work,
55:21I would create things that would endure.
55:25At least we're still alive, eh?
55:28To the greatest living painter.
55:32To myself.
55:34To myself?
55:36To Bazille.
55:39To Manet.
55:42To Manet.
55:45Manet.
55:48Degas struggled on into his 80s.
55:50He found new passions, sculpture and photography.
55:54His work has endured, and has become even more popular.
56:02Renoir was famous all around the world
56:04and fated as a society portraitist, much to his delight.
56:10He died last year.
56:13December 1919.
56:16Took part of my life with him.
56:48It's nearly finished.
57:00You seem to be getting closer and closer to your subject.
57:04Most likely what I'm attempting is beyond my powers.
57:10Most likely I shall die without knowing.
57:32Monet has outlived them all.
57:35Now he is a hearer.
57:37One of the most successful painters who ever lived.
57:40The father of Impressionism.
57:49We have his paintings and his garden.
57:53The fleeting moments.
57:56An impression of life.
57:59He saw it.
58:16Here he is.
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