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These are the user uploaded subtitles that are being translated: 1 00:00:03,686 --> 00:00:12,028 ♪ Somber music ♪ 2 00:00:14,113 --> 00:00:15,738 This is Christopher Rothko. 3 00:00:15,781 --> 00:00:17,614 I'm Mark Rothko's son. 4 00:00:17,658 --> 00:00:20,242 And I have been told by many people 5 00:00:20,286 --> 00:00:21,368 who've known both of us 6 00:00:21,412 --> 00:00:23,871 that we had similar voices. 7 00:00:23,914 --> 00:00:24,540 ♪ 8 00:00:30,171 --> 00:00:32,963 Born Dvinsk, Latvia 1903. 9 00:00:33,007 --> 00:00:36,967 Migrated to Portland, Oregon 1913. 10 00:00:37,011 --> 00:00:45,353 ♪ Somber music ♪ 11 00:00:47,146 --> 00:00:47,895 "You don't know what it is 12 00:00:47,939 --> 00:00:50,564 to be a Jewish kid dressed in a suit 13 00:00:50,608 --> 00:00:51,690 from Dvinsk, 14 00:00:51,734 --> 00:00:53,692 not an American suit, 15 00:00:53,736 --> 00:00:56,028 traveling across America and not able 16 00:00:56,072 --> 00:00:58,072 "to speak English." 17 00:00:58,115 --> 00:01:02,242 ♪ 18 00:01:02,286 --> 00:01:06,246 "I was never able to forgive this transplantation 19 00:01:06,290 --> 00:01:08,874 to a land where I never felt 20 00:01:08,918 --> 00:01:10,709 entirely at home." 21 00:01:10,753 --> 00:01:19,095 ♪ somber music ♪ 22 00:02:07,977 --> 00:02:15,151 (clackety-clack of train) 23 00:02:33,711 --> 00:02:37,173 Like, she... she, like, realizes... 24 00:02:43,763 --> 00:02:46,349 (vehicles passing) 25 00:02:49,310 --> 00:02:51,352 Do you know this building? 26 00:02:51,395 --> 00:02:53,187 I know it's a landmark. 27 00:02:53,230 --> 00:02:54,646 (chuckles) 28 00:02:54,690 --> 00:02:56,440 Do you know that Mark Rothko 29 00:02:56,484 --> 00:02:57,649 was living here? 30 00:02:57,693 --> 00:02:58,567 No, I didn't. 31 00:02:58,611 --> 00:03:00,277 Do you know his name? 32 00:03:00,321 --> 00:03:01,737 No. 33 00:03:01,781 --> 00:03:02,905 I just know the people 34 00:03:02,949 --> 00:03:04,575 who live in there. 35 00:03:05,952 --> 00:03:08,118 They are kind of your friends or... 36 00:03:08,162 --> 00:03:09,995 Yeah, they look out for me. 37 00:03:10,039 --> 00:03:13,209 You know, they always look out for me. 38 00:03:33,271 --> 00:03:34,605 (horn honks) 39 00:03:43,197 --> 00:03:45,614 "When I was a younger man, 40 00:03:45,658 --> 00:03:47,366 art was a lonely thing. 41 00:03:47,410 --> 00:03:50,244 No galleries, no collectors, 42 00:03:50,288 --> 00:03:51,704 no critics... 43 00:03:51,747 --> 00:03:53,288 no money. 44 00:03:53,332 --> 00:03:55,124 Yet, it was a golden time, 45 00:03:55,167 --> 00:03:57,501 for then, we had nothing to lose, 46 00:03:57,545 --> 00:04:00,337 and a vision to gain. 47 00:04:00,381 --> 00:04:03,549 Today, it is not quite the same. 48 00:04:03,592 --> 00:04:06,427 It is a time of tons of verbiage, 49 00:04:06,470 --> 00:04:09,513 activity and consumption. 50 00:04:09,557 --> 00:04:10,764 Which condition is better for 51 00:04:10,808 --> 00:04:12,224 the world at large? 52 00:04:12,268 --> 00:04:15,269 I will not venture to discuss. 53 00:04:15,313 --> 00:04:16,020 But I do know 54 00:04:16,063 --> 00:04:18,147 that many who are driven to this life 55 00:04:18,190 --> 00:04:22,192 are desperately searching for those pockets of silence 56 00:04:22,236 --> 00:04:24,778 "where they can root and grow." 57 00:04:24,822 --> 00:04:29,700 ♪ 58 00:04:29,744 --> 00:04:33,370 Everything about Rothko is about... 59 00:04:33,414 --> 00:04:35,914 changes, about voyages, 60 00:04:35,958 --> 00:04:36,957 about travels. 61 00:04:37,001 --> 00:04:38,250 You know, first of all, 62 00:04:38,294 --> 00:04:41,086 the geographical travels. 63 00:04:41,130 --> 00:04:44,548 He was born in Russia in 1907 64 00:04:44,592 --> 00:04:45,966 in the Russian Empire, 65 00:04:46,010 --> 00:04:47,426 in a city called Dvinsk, 66 00:04:47,470 --> 00:04:50,846 now Daugavpils now in Latvia. 67 00:04:50,890 --> 00:04:52,473 And at the age of 10, 68 00:04:52,516 --> 00:04:55,601 his family moved to the United States. 69 00:04:55,645 --> 00:04:58,729 Then he moved all over the United States, 70 00:04:58,773 --> 00:05:02,149 and he came back many times to Europe. 71 00:05:02,193 --> 00:05:06,028 So, basically, all those geographical 72 00:05:06,072 --> 00:05:08,739 travels... 73 00:05:08,783 --> 00:05:11,575 I mean, made him what he was. 74 00:05:11,619 --> 00:05:16,791 ♪ Somber music ♪ 75 00:05:37,228 --> 00:05:39,186 "I became a painter because I wanted 76 00:05:39,230 --> 00:05:40,729 to raise painting to the level 77 00:05:40,773 --> 00:05:43,818 of poignancy of music and poetry." 78 00:05:53,077 --> 00:05:55,828 "The struggle is beyond painting, 79 00:05:55,871 --> 00:05:57,871 not with painting." 80 00:05:57,915 --> 00:06:04,130 ♪ piano music ♪ 81 00:06:14,098 --> 00:06:16,390 (inaudible chatter) 82 00:06:16,434 --> 00:06:21,856 (train screeching) 83 00:06:30,531 --> 00:06:33,618 This is 77th Street. 84 00:06:35,745 --> 00:06:41,250 ♪ Drone music ♪ 85 00:06:56,724 --> 00:07:00,726 "Myths are the symbols of man's primitive fears 86 00:07:00,770 --> 00:07:02,519 and motivations, 87 00:07:02,563 --> 00:07:06,023 no matter in which land or what time, 88 00:07:06,067 --> 00:07:07,983 changing only in detail 89 00:07:08,027 --> 00:07:10,235 "never in substance." 90 00:07:10,279 --> 00:07:15,785 ♪ drone music ♪ 91 00:07:55,283 --> 00:07:57,366 "I sense a deep affinity. 92 00:07:57,410 --> 00:07:58,492 The same feeling, 93 00:07:58,536 --> 00:08:01,745 the same broad expanses of somber color." 94 00:08:01,789 --> 00:08:02,415 ♪ 95 00:08:12,550 --> 00:08:15,467 So, there is, in himself, 96 00:08:15,511 --> 00:08:16,197 you know, a tension, 97 00:08:16,241 --> 00:08:20,013 a tension between, uh, the new world 98 00:08:20,057 --> 00:08:22,224 in which he lives, 99 00:08:22,268 --> 00:08:23,600 the abstraction, 100 00:08:23,644 --> 00:08:25,686 the abstract art that he's going 101 00:08:25,730 --> 00:08:27,187 to be part of... 102 00:08:27,231 --> 00:08:32,192 but also these original myths 103 00:08:32,236 --> 00:08:35,904 from Europe that he originates from. 104 00:08:35,948 --> 00:08:39,700 And when he goes back to the Greeks 105 00:08:39,744 --> 00:08:40,534 and the Greek myths, 106 00:08:40,578 --> 00:08:44,747 and he starts painting again 107 00:08:44,790 --> 00:08:47,082 mythological. 108 00:08:47,126 --> 00:08:51,253 So, that's a way of grounding 109 00:08:51,297 --> 00:08:52,921 his own art in the... 110 00:08:52,965 --> 00:08:56,675 in the b... in the basics 111 00:08:56,719 --> 00:08:59,303 of European culture 112 00:08:59,347 --> 00:09:01,680 and European history. 113 00:09:01,724 --> 00:09:04,975 Uh, from then on, he's going to be able 114 00:09:05,019 --> 00:09:08,979 to evolve and find his own language. 115 00:09:09,023 --> 00:09:15,154 ♪ Drone music ♪ 116 00:09:53,109 --> 00:09:56,568 He's such an articulate 117 00:09:56,612 --> 00:09:57,486 intellectual, 118 00:09:57,530 --> 00:10:02,074 such an articulate scholar that, uh, 119 00:10:02,118 --> 00:10:04,785 it's not this, you know, 120 00:10:04,829 --> 00:10:08,455 there's no wonder that today 121 00:10:08,499 --> 00:10:09,581 Rothko is talking to us 122 00:10:09,625 --> 00:10:12,503 much better than anybody else. 123 00:10:25,683 --> 00:10:28,269 (hammering) 124 00:10:40,823 --> 00:10:43,576 (inaudible chatter) 125 00:10:46,950 --> 00:10:48,644 I don't know if it's this one. 126 00:10:48,775 --> 00:10:54,378 I have to check the room number: 43264. 127 00:10:57,985 --> 00:11:00,592 43264. 128 00:11:22,239 --> 00:11:24,575 (drilling) 129 00:11:32,090 --> 00:11:35,914 I've arranged the exhibition in two ways. 130 00:11:36,044 --> 00:11:41,909 The reason is that during the preparations I often came across people saying: 131 00:11:42,039 --> 00:11:44,777 "Rothko? That's emotion." 132 00:11:44,907 --> 00:11:48,990 That is not my usual approach. 133 00:11:49,122 --> 00:11:55,204 My initial approach is always that I want to understand something. 134 00:11:55,769 --> 00:12:01,112 And that does not exclude emotion. On the contrary. 135 00:12:01,242 --> 00:12:06,673 I think that art is where those two connect. 136 00:12:06,804 --> 00:12:13,234 Most people think the two are incompatible and cannot be brought together. 137 00:12:13,365 --> 00:12:20,838 But precisely in art they come together. I've tried to show that in the exhibition. 138 00:12:20,923 --> 00:12:27,528 By saying bluntly: If you walk straight on, you will understand something. 139 00:12:27,658 --> 00:12:32,003 If you prefer an emotional experience, turn left. 140 00:12:32,852 --> 00:12:38,816 ♪ somber music ♪ 141 00:12:49,869 --> 00:12:51,952 "Art is an adventure 142 00:12:51,996 --> 00:12:53,662 into an unknown world, 143 00:12:53,706 --> 00:12:56,957 which can be explored only by those willing 144 00:12:57,001 --> 00:12:58,753 to take the risks." 145 00:13:09,889 --> 00:13:11,847 "I'm not an abstractionist, 146 00:13:11,891 --> 00:13:13,932 I'm not interested in the relationship 147 00:13:13,976 --> 00:13:17,686 of color or form or anything else. 148 00:13:17,730 --> 00:13:20,606 I'm interested only in expressing 149 00:13:20,650 --> 00:13:22,608 basic human emotions; 150 00:13:22,652 --> 00:13:25,152 tragedy, ecstasy, 151 00:13:25,196 --> 00:13:27,112 doom, and so on. 152 00:13:27,156 --> 00:13:28,614 And the fact that lots of people 153 00:13:28,658 --> 00:13:30,783 break down and cry when confronted 154 00:13:30,826 --> 00:13:33,452 with my pictures shows that I can 155 00:13:33,496 --> 00:13:37,039 communicate those basic human emotions. 156 00:13:37,083 --> 00:13:39,583 The people who weep before my pictures 157 00:13:39,627 --> 00:13:43,420 are having the same religious experience I had 158 00:13:43,464 --> 00:13:45,089 when I painted them. 159 00:13:45,132 --> 00:13:48,425 And if you are moved only by their color, 160 00:13:48,469 --> 00:13:50,302 "then you miss the point." 161 00:13:50,346 --> 00:13:58,688 ♪ somber music ♪ 162 00:14:13,077 --> 00:14:13,703 ♪ 163 00:14:56,412 --> 00:14:59,329 "I quarrel with surrealist and abstract art 164 00:14:59,373 --> 00:15:02,666 only as one quarrels with his father and mother, 165 00:15:02,710 --> 00:15:05,210 recognizing the inevitability 166 00:15:05,254 --> 00:15:06,879 and functions of my roots, 167 00:15:06,922 --> 00:15:10,591 but insistent upon my dissensions. 168 00:15:10,635 --> 00:15:13,302 I am both them and a new integral 169 00:15:13,346 --> 00:15:16,013 "completely independent of them." 170 00:15:16,057 --> 00:15:16,682 ♪ 171 00:15:24,570 --> 00:15:25,743 These three paintings here... 172 00:15:29,046 --> 00:15:35,085 ...off the top of my head 1946, 1948, 1949... 173 00:15:36,823 --> 00:15:43,079 ...you see an enormously chaotic colour mixture... 174 00:15:43,208 --> 00:15:46,598 ...you can't recognize: 175 00:15:46,728 --> 00:15:50,465 It's not abstract, it's not expressionist or geometric... 176 00:15:50,552 --> 00:15:53,810 What is it? Clouds? Indeterminate. 177 00:15:53,940 --> 00:15:57,634 But it crystallizes in this direction. 178 00:15:57,764 --> 00:16:00,934 Until there you arrive at something... 179 00:16:02,369 --> 00:16:06,106 ...that is a reduction of the imagery to make it more clear. 180 00:16:06,192 --> 00:16:08,233 He wants direct communication. 181 00:16:08,320 --> 00:16:12,362 That's too complex for communication. This is clear. 182 00:16:12,571 --> 00:16:13,572 ♪ drone music ♪ 183 00:16:34,302 --> 00:16:36,260 "I'm not a mystic. 184 00:16:36,304 --> 00:16:37,511 A prophet, perhaps. 185 00:16:37,555 --> 00:16:40,472 But I don't prophesy woes to come. 186 00:16:40,516 --> 00:16:43,561 I just paint the woes already here." 187 00:17:20,598 --> 00:17:22,181 The height is wonderful, isn't it? 188 00:17:22,224 --> 00:17:24,892 He must've loved that. 189 00:17:24,936 --> 00:17:26,604 Hmm. 190 00:17:29,523 --> 00:17:34,737 We are wondering if this is Mark Rothko's paint? 191 00:17:39,033 --> 00:17:41,033 I don't know, it's hard to say, isn't it? 192 00:17:41,077 --> 00:17:42,451 I mean, you can't say definitively. 193 00:17:42,495 --> 00:17:45,120 I'm sure there have been other painters in here. 194 00:17:45,164 --> 00:17:46,914 This certainly has a feel of it, 195 00:17:46,958 --> 00:17:49,750 but it seems like a lot of it right there. 196 00:17:49,794 --> 00:17:52,046 It doesn't seem... 197 00:18:00,346 --> 00:18:01,804 I think there's no reason to think 198 00:18:01,847 --> 00:18:03,597 there isn't some of Rothko's paint, 199 00:18:03,641 --> 00:18:05,516 but one can't say with any... 200 00:18:05,559 --> 00:18:06,288 Any surety. 201 00:18:06,332 --> 00:18:08,477 I don't even know what it tells us that much, really. 202 00:18:08,521 --> 00:18:10,854 I mean, we know he had the paintings on pulleys, 203 00:18:10,898 --> 00:18:12,940 we know they were on the... stretched, 204 00:18:12,984 --> 00:18:15,484 we know that they were on the wall. 205 00:18:15,528 --> 00:18:17,488 Um... 206 00:18:21,784 --> 00:18:22,866 There's a lot of white. 207 00:18:22,910 --> 00:18:23,992 I don't think that... 208 00:18:24,036 --> 00:18:25,786 (laughs) 209 00:18:25,830 --> 00:18:27,871 -Too much white. -Yeah. 210 00:18:27,915 --> 00:18:30,207 I don't know, a floor is a history. 211 00:18:30,251 --> 00:18:31,458 I mean, it's... 212 00:18:31,502 --> 00:18:33,168 it tells so much about what's happened 213 00:18:33,212 --> 00:18:34,503 in this space as opposed 214 00:18:34,547 --> 00:18:36,338 to who necessarily was in the space. 215 00:18:36,382 --> 00:18:38,882 It was more about the space, I think, 216 00:18:38,926 --> 00:18:41,301 than the painter. 217 00:18:41,345 --> 00:18:43,973 In that regard, it's kind of wonderful. 218 00:18:48,060 --> 00:18:50,352 Yeah, hm. 219 00:18:50,396 --> 00:18:56,152 ♪ Drone music ♪ 220 00:20:11,018 --> 00:20:15,314 (cars passing) 221 00:20:16,232 --> 00:20:18,273 What is the sadness of life, sir? 222 00:20:18,317 --> 00:20:19,024 Excuse me? 223 00:20:19,068 --> 00:20:21,570 What is the sadness of life? 224 00:20:23,614 --> 00:20:25,574 Not having a mother. 225 00:20:26,826 --> 00:20:27,783 You know? 226 00:20:27,827 --> 00:20:29,118 Mom left me when I was two, 227 00:20:29,161 --> 00:20:33,789 my father left me when I was 12, you know? 228 00:20:33,833 --> 00:20:37,000 That's what hurts, you know? 229 00:20:37,044 --> 00:20:39,253 When I see family, you know, 230 00:20:39,297 --> 00:20:41,630 sometimes I cry because... 231 00:20:41,674 --> 00:20:45,761 I wish that was me, you know? 232 00:20:48,764 --> 00:20:51,348 It hurts real bad. 233 00:20:51,392 --> 00:20:53,058 You know? 234 00:20:53,102 --> 00:20:56,937 But that's life, you know? 235 00:20:56,981 --> 00:21:01,191 In America you have accidental babies, 236 00:21:01,235 --> 00:21:05,070 you have trick babies, sex offender babies, 237 00:21:05,114 --> 00:21:06,822 abused babies, adopted babies, 238 00:21:06,866 --> 00:21:09,575 mommy's babies, and daddy's maybes. 239 00:21:09,619 --> 00:21:10,576 You know? 240 00:21:10,620 --> 00:21:13,662 I don't know what ground I'm on. 241 00:21:13,706 --> 00:21:15,247 You know? 242 00:21:15,291 --> 00:21:20,630 ♪ Drone music ♪ 243 00:21:47,637 --> 00:21:51,459 What does this one cost? - I don't know by heart. 244 00:21:52,327 --> 00:21:57,412 This is from a period... 245 00:21:58,499 --> 00:22:03,450 ...a transitional period to his classical period. The last step. 246 00:22:03,712 --> 00:22:05,536 1949. 247 00:22:05,666 --> 00:22:10,619 And they are usually in the order of... 248 00:22:10,749 --> 00:22:13,097 ...eight or nine million. 249 00:22:13,182 --> 00:22:17,319 But there is one with yet another zero. 250 00:22:17,415 --> 00:22:19,835 (laughs) 251 00:22:19,878 --> 00:22:23,529 Which one? - It's not yet unpacked. 252 00:22:40,471 --> 00:22:42,515 If you look at the back... 253 00:22:42,644 --> 00:22:44,817 ...how... 254 00:22:45,556 --> 00:22:48,206 ...the canvas was stapled on... 255 00:22:48,336 --> 00:22:51,942 ...it's all very fragile. 256 00:22:52,637 --> 00:22:56,461 It shows that he was not a professional painter. 257 00:22:56,591 --> 00:22:58,937 He was a philosopher... 258 00:22:59,068 --> 00:23:04,020 ...who used canvas and colour to express philosophical thought. 259 00:23:14,664 --> 00:23:16,142 What are you looking at? 260 00:23:16,489 --> 00:23:20,878 A first impression. Is there anything odd? 261 00:23:21,008 --> 00:23:28,089 I don't know the painting but I can see there's no big scratch on it. 262 00:23:28,220 --> 00:23:32,260 But the courier is coming to take a more specific look. 263 00:23:33,694 --> 00:23:36,952 And then we both sign for approval. 264 00:23:43,814 --> 00:23:45,587 ♪ somber music ♪ 265 00:23:55,326 --> 00:23:57,409 "The recipe for a work of art, 266 00:23:57,453 --> 00:24:01,163 its ingredients, how to make it, 267 00:24:01,207 --> 00:24:03,248 the formula. 268 00:24:03,292 --> 00:24:03,999 Number one: 269 00:24:04,043 --> 00:24:04,875 there must be a clear 270 00:24:04,919 --> 00:24:08,253 preoccupation with death. 271 00:24:08,297 --> 00:24:09,463 Number two: 272 00:24:09,507 --> 00:24:10,839 sensuality. 273 00:24:10,883 --> 00:24:12,591 It is a lustful relationship 274 00:24:12,635 --> 00:24:15,552 to things that exist. 275 00:24:15,596 --> 00:24:17,179 Number three: 276 00:24:17,223 --> 00:24:18,138 tension, 277 00:24:18,182 --> 00:24:22,559 either conflict or curbed desire. 278 00:24:22,603 --> 00:24:24,311 Number four: 279 00:24:24,355 --> 00:24:25,521 irony. 280 00:24:25,564 --> 00:24:29,233 This is a modern ingredient. 281 00:24:29,277 --> 00:24:30,359 Number five: 282 00:24:30,403 --> 00:24:32,236 wit and play 283 00:24:32,280 --> 00:24:34,863 for the human element. 284 00:24:34,907 --> 00:24:36,198 Number six: 285 00:24:36,242 --> 00:24:39,076 the ephemeral and chance, 286 00:24:39,120 --> 00:24:41,912 also for the human element. 287 00:24:41,956 --> 00:24:43,831 And number seven: 288 00:24:43,874 --> 00:24:45,082 hope. 289 00:24:45,126 --> 00:24:46,041 Ten percent. 290 00:24:46,085 --> 00:24:49,336 Just enough to make the tragic concept 291 00:24:49,380 --> 00:24:51,632 "more endurable." 292 00:24:53,134 --> 00:24:55,843 I think this is, uh, an example of my father's 293 00:24:55,886 --> 00:24:56,969 great love of irony. 294 00:24:57,013 --> 00:24:59,221 I think if we take him too seriously, 295 00:24:59,265 --> 00:25:00,889 we are in trouble. 296 00:25:00,933 --> 00:25:03,519 (cityscape sounds) 297 00:25:18,743 --> 00:25:20,784 Painting, for him, was a way 298 00:25:20,828 --> 00:25:22,536 to address the people. 299 00:25:22,580 --> 00:25:23,912 It was a social statement. 300 00:25:23,956 --> 00:25:25,956 It was a way of finding 301 00:25:26,000 --> 00:25:27,249 his identity 302 00:25:27,293 --> 00:25:30,169 in the American society. 303 00:25:30,212 --> 00:25:35,090 It was a way of stating that the artist 304 00:25:35,134 --> 00:25:37,468 has a role in society. 305 00:25:37,511 --> 00:25:39,553 It was not the case in the United States. 306 00:25:39,597 --> 00:25:40,763 The United States was a country 307 00:25:40,806 --> 00:25:45,809 where the artist was very much marginalized. 308 00:25:45,853 --> 00:25:48,937 So, Rothko decided to step in 309 00:25:48,981 --> 00:25:50,481 and to... 310 00:25:50,524 --> 00:25:55,152 to assert what he had to say is true: 311 00:25:55,196 --> 00:25:56,989 his art. 312 00:26:01,619 --> 00:26:08,042 ♪ Drone music ♪ 313 00:27:07,518 --> 00:27:10,269 "After I had been at work for some time, 314 00:27:10,313 --> 00:27:14,064 I realized that I was much influenced subconsciously 315 00:27:14,108 --> 00:27:16,567 by Michelangelo's walls in the staircase 316 00:27:16,611 --> 00:27:19,361 of the Medici Library in Florence. 317 00:27:19,405 --> 00:27:22,906 He achieved just the kind of feeling I'm after. 318 00:27:22,950 --> 00:27:24,158 He makes the viewers feel 319 00:27:24,201 --> 00:27:25,826 that they are trapped in a room 320 00:27:25,870 --> 00:27:29,163 where all the doors and windows are bricked up, 321 00:27:29,206 --> 00:27:30,330 so that all they can do 322 00:27:30,374 --> 00:27:33,625 "is butt their heads forever to the wall." 323 00:27:33,669 --> 00:27:40,176 ♪ drone music ♪ 324 00:27:48,851 --> 00:27:50,978 (pebbles clanking) 325 00:28:12,875 --> 00:28:15,044 (pebbles rolling) 326 00:28:39,593 --> 00:28:46,241 You could say that Rothko is after a one-to-one confrontation. 327 00:28:47,023 --> 00:28:50,672 He more or less excluded the space around it. 328 00:28:50,803 --> 00:28:55,712 It was all about the physical dialogue with the canvas. 329 00:28:55,842 --> 00:29:00,968 But well, a body is always in space and you can't entirely ignore it. 330 00:29:01,099 --> 00:29:08,746 When he was commissioned to do a series of paintings for a Manhattan restaurant... 331 00:29:08,876 --> 00:29:11,483 ...a luxury restaurant... 332 00:29:12,742 --> 00:29:18,043 ...he was confronted with a novel situation. 333 00:29:18,174 --> 00:29:22,736 On the one hand he found it very fascinating... 334 00:29:22,822 --> 00:29:29,035 ...to be allowed to use the whole room, to involve the whole space... 335 00:29:29,165 --> 00:29:34,075 ...but he doubted whether a luxury restaurant was the right space. 336 00:29:46,501 --> 00:29:52,670 It kept nagging at him and he didn't solve the dilemma. 337 00:29:52,800 --> 00:29:59,534 He needed a break and went with his wife and daughter to Italy... 338 00:29:59,664 --> 00:30:04,705 ...where he visited many places that featured 'art on location'. 339 00:30:04,835 --> 00:30:07,355 Also purpose-built locations. 340 00:30:07,745 --> 00:30:12,612 Especially the monastery cells in the St Mark in Florence. 341 00:30:13,263 --> 00:30:16,435 He went there... 342 00:30:16,652 --> 00:30:19,171 ...and the situation there is as follows. 343 00:30:19,780 --> 00:30:22,778 In a small cell for a monk... 344 00:30:22,908 --> 00:30:27,600 ...there's a fresco by Fra Angelico on the short wall, made for the monk. 345 00:30:27,731 --> 00:30:30,955 He can develop a relationship with it. 346 00:30:31,013 --> 00:30:32,014 ♪ drone music ♪ 347 00:30:53,409 --> 00:30:59,924 It's the perfect participation that Rothko envisaged for his paintings. 348 00:31:00,055 --> 00:31:03,139 And when he came back... 349 00:31:03,269 --> 00:31:07,398 ...he was pained by the difference with the luxury restaurant. 350 00:31:07,528 --> 00:31:11,264 I think that's why he returned the commission. 351 00:31:11,568 --> 00:31:15,826 It's the famous failed Seagram commission. 352 00:31:15,956 --> 00:31:22,038 But it was the first step in a whole development... 353 00:31:22,170 --> 00:31:27,209 ...of making works for specific locations. 354 00:31:29,238 --> 00:31:35,870 ♪ drone music ♪ 355 00:32:06,442 --> 00:32:08,484 "Since my pictures are large, 356 00:32:08,527 --> 00:32:10,402 colorful and unframed, 357 00:32:10,446 --> 00:32:13,447 and since museum walls are usually immense 358 00:32:13,491 --> 00:32:14,740 and formidable, 359 00:32:14,784 --> 00:32:16,533 there is the danger that the pictures 360 00:32:16,577 --> 00:32:19,328 relate themselves as decorative areas 361 00:32:19,372 --> 00:32:20,871 to the wall. 362 00:32:20,915 --> 00:32:23,290 This would be a distortion of their meaning. 363 00:32:23,334 --> 00:32:26,043 Since the pictures are intimate and intense, 364 00:32:26,087 --> 00:32:29,129 and have been painted in a scale of normal living 365 00:32:29,173 --> 00:32:32,466 "rather than an institutional scale." 366 00:32:32,510 --> 00:32:33,135 ♪ 367 00:32:47,454 --> 00:32:52,016 The Association of Friends of Harvard University got a new building. 368 00:32:52,449 --> 00:32:55,406 He made five paintings for it. 369 00:32:55,491 --> 00:32:58,924 He wanted to show that it was possible: 370 00:32:59,054 --> 00:33:03,269 To create a space with paintings, to create a sanctified location... 371 00:33:03,399 --> 00:33:08,656 ...without the paintings being degraded to decorations. 372 00:33:08,787 --> 00:33:16,650 So he worked on those, and created paintings for this specific space. 373 00:33:16,780 --> 00:33:19,822 There was also a reception room. 374 00:33:20,951 --> 00:33:25,296 But in that case the problem was... 375 00:33:26,252 --> 00:33:29,336 ...that the canvases were enormous... 376 00:33:29,467 --> 00:33:34,767 ...wall-covering and therefore called 'murals'. 377 00:33:34,897 --> 00:33:39,459 The other walls had gigantic windows. 378 00:33:39,589 --> 00:33:44,021 The pigment he had used was highly light-sensitive... 379 00:33:44,151 --> 00:33:46,541 ...and the sun was shining all day. 380 00:33:46,670 --> 00:33:51,884 And some years after his death the paintings had to be removed, 381 00:33:52,015 --> 00:33:56,968 In that sense it also failed. The installation doesn't exist anymore. 382 00:33:59,055 --> 00:34:04,977 ♪ violin music ♪ 383 00:34:42,348 --> 00:34:45,140 "When I went to Europe and saw the old masters, 384 00:34:45,184 --> 00:34:49,770 I was involved with the credibility of the drama. 385 00:34:49,814 --> 00:34:53,023 Would Christ on the cross, if he opened his eyes, 386 00:34:53,067 --> 00:34:55,025 believe the spectators?" 387 00:34:55,069 --> 00:34:58,445 ♪ 388 00:34:58,489 --> 00:35:00,280 "I think that small pictures, 389 00:35:00,324 --> 00:35:01,657 since the Renaissance, 390 00:35:01,701 --> 00:35:03,075 are like novels. 391 00:35:03,119 --> 00:35:04,576 Large pictures are like dramas 392 00:35:04,620 --> 00:35:06,245 in which one participates 393 00:35:06,289 --> 00:35:08,122 "in a direct way." 394 00:35:08,165 --> 00:35:08,791 ♪ 395 00:35:13,337 --> 00:35:16,171 Painting is, in fact, the subject. 396 00:35:16,215 --> 00:35:18,799 Here, he... he's almost a sculpture. 397 00:35:18,843 --> 00:35:19,842 Mm-hmm, yeah. 398 00:35:19,885 --> 00:35:21,343 And what Rembrandt did, and especially 399 00:35:21,387 --> 00:35:24,346 this whole part, but... but this... 400 00:35:24,390 --> 00:35:25,264 This is blurred. 401 00:35:25,308 --> 00:35:26,974 This is abstract painting. 402 00:35:27,018 --> 00:35:27,808 And also this. 403 00:35:27,852 --> 00:35:30,310 I mean, this... this color red, 404 00:35:30,354 --> 00:35:31,770 it's (inaudible word). 405 00:35:31,814 --> 00:35:32,896 It's... it's, I mean, of course, 406 00:35:32,940 --> 00:35:35,107 paint... yeah, the face is very nice, 407 00:35:35,151 --> 00:35:36,984 but he did many paintings. 408 00:35:37,028 --> 00:35:39,486 But this... this has never been done. 409 00:35:39,530 --> 00:35:41,613 So, basically, it's not so much 410 00:35:41,657 --> 00:35:43,449 the faces, which he's interested in, 411 00:35:43,492 --> 00:35:46,660 but the figures and the experimentation of light. 412 00:35:46,704 --> 00:35:49,038 Here we look at invention in art. 413 00:35:49,081 --> 00:35:51,373 And then Rothko comes close. 414 00:35:51,417 --> 00:35:55,794 Rothko wrote in 1940 that Rembrandt 415 00:35:55,838 --> 00:35:58,797 was interested in the plasticity of light. 416 00:35:58,841 --> 00:35:59,631 -Here. -Yeah. 417 00:35:59,675 --> 00:36:02,509 And Rothko reinvented himself in 1940 418 00:36:02,553 --> 00:36:05,596 when he wrote a book called The Artist's Reality 419 00:36:05,640 --> 00:36:07,264 where he's looking at all the figures. 420 00:36:07,308 --> 00:36:09,641 He stops painting for one whole year 421 00:36:09,685 --> 00:36:11,143 and he write a book. 422 00:36:11,187 --> 00:36:12,394 And in this book he goes through 423 00:36:12,438 --> 00:36:14,563 all the big figures of the past; 424 00:36:14,607 --> 00:36:17,107 philosophers, writers, 425 00:36:17,151 --> 00:36:18,984 musicians, and artists. 426 00:36:19,028 --> 00:36:22,321 And he talks about Rembrandt a lot, 427 00:36:22,365 --> 00:36:24,365 especially about this painting 428 00:36:24,408 --> 00:36:27,117 and the plasticity of light. 429 00:36:27,161 --> 00:36:29,747 (echoed chatter) 430 00:36:32,708 --> 00:36:34,917 "Rembrandt discovered that his patrons 431 00:36:34,961 --> 00:36:37,044 were not interested in his plastic 432 00:36:37,088 --> 00:36:38,712 preoccupations with light, 433 00:36:38,756 --> 00:36:42,091 and that they preferred the obvious illustrative gifts 434 00:36:42,134 --> 00:36:45,805 "of his contemporaries and followers." 435 00:36:52,144 --> 00:36:55,354 "Rembrandt and Rothko." 436 00:36:55,398 --> 00:36:56,689 Rothko would say to a friend, 437 00:36:56,732 --> 00:36:59,900 then pause, smile, and say, 438 00:36:59,944 --> 00:37:04,238 "Rothko and Rembrandt." 439 00:37:04,282 --> 00:37:05,009 I'm gonna add... 440 00:37:05,053 --> 00:37:06,699 I'm gonna add one from the family. 441 00:37:06,742 --> 00:37:07,741 This is not written anywhere, 442 00:37:07,785 --> 00:37:11,120 but this... this is what he said in the house. 443 00:37:11,163 --> 00:37:15,040 "Mozart, Matisse, and Mark." 444 00:37:15,084 --> 00:37:18,836 That's the follow-up to "Rothko and Rembrandt." 445 00:37:18,879 --> 00:37:22,506 No, he didn't turn it around as far as I know. 446 00:37:22,550 --> 00:37:25,509 I don't think anyone could go before Mozart. 447 00:37:25,553 --> 00:37:30,474 (pebbles clanking) 448 00:37:54,248 --> 00:37:57,124 "When you looked at Matisse's Red Studio, 449 00:37:57,168 --> 00:37:58,751 you became that color. 450 00:37:58,794 --> 00:38:01,879 You became totally saturated with it." 451 00:38:01,922 --> 00:38:07,303 ♪ drone music ♪ 452 00:38:22,944 --> 00:38:31,243 (cityscape sounds) 453 00:39:04,527 --> 00:39:07,277 "Art necessarily reflects the artist's 454 00:39:07,321 --> 00:39:10,032 understanding of his times. 455 00:39:14,996 --> 00:39:18,080 We have wiped the slate clean. 456 00:39:18,124 --> 00:39:19,206 We started new. 457 00:39:19,250 --> 00:39:20,457 A new land. 458 00:39:20,501 --> 00:39:21,792 We have got to forget 459 00:39:21,836 --> 00:39:24,005 "what the old master's did." 460 00:39:29,593 --> 00:39:32,555 (emergency sirens in distance) 461 00:39:45,103 --> 00:39:51,967 His third installation was a commission by a married couple of collectors in Houston. 462 00:39:52,097 --> 00:39:55,702 The De Menil couple. 463 00:39:56,442 --> 00:40:04,002 People had long agreed that Rothko's work would look best in a chapel. 464 00:40:05,652 --> 00:40:13,473 They asked him to paint for a chapel specifically built for this purpose. 465 00:40:13,603 --> 00:40:17,427 He was totally in control there. 466 00:40:17,557 --> 00:40:22,249 That is the famous Rothko chapel in Houston. 467 00:40:23,553 --> 00:40:26,811 He had rented a studio that was large enough... 468 00:40:26,941 --> 00:40:34,154 ...to make a mock-up of the chapel and paint in the circumstances the work was meant for. 469 00:40:34,221 --> 00:40:39,267 ♪ somber music ♪ 470 00:40:58,224 --> 00:41:00,557 "I've wanted to paint my own size. 471 00:41:00,601 --> 00:41:04,269 I wanted to recognize myself in my work. 472 00:41:04,313 --> 00:41:06,983 Then I realized it's completed." 473 00:41:15,157 --> 00:41:18,617 His project was not painting paintings, 474 00:41:18,661 --> 00:41:23,247 his project was to create environments. 475 00:41:23,291 --> 00:41:26,875 His project was to reinvent 476 00:41:26,919 --> 00:41:30,629 a relationship between the public 477 00:41:30,673 --> 00:41:32,256 and his art. 478 00:41:32,300 --> 00:41:33,632 And how would it be? 479 00:41:33,676 --> 00:41:37,177 It would be like theater. 480 00:41:37,221 --> 00:41:41,473 He wanted the viewer to step into the painting. 481 00:41:41,517 --> 00:41:43,100 He wanted the paintings to be... 482 00:41:43,144 --> 00:41:46,520 Not positioned low, but... high, but low. 483 00:41:46,564 --> 00:41:49,273 He wanted them not to be on a white wall, 484 00:41:49,317 --> 00:41:51,900 but on an off-white wall. 485 00:41:51,944 --> 00:41:54,486 He wanted them not to be lighted, 486 00:41:54,530 --> 00:41:57,906 but very in the shadow. 487 00:41:57,950 --> 00:42:00,117 And he didn't want one painting, 488 00:42:00,161 --> 00:42:01,577 but a whole room. 489 00:42:01,621 --> 00:42:05,581 He wanted the audience to be surrounded by the art. 490 00:42:05,625 --> 00:42:06,331 Why? 491 00:42:06,375 --> 00:42:08,542 Because what he aimed at 492 00:42:08,586 --> 00:42:11,545 was not consumption of art, 493 00:42:11,589 --> 00:42:15,340 he wanted a dialogue, an interaction, 494 00:42:15,384 --> 00:42:16,717 a spiritual dimension, 495 00:42:16,761 --> 00:42:19,511 something much more complex 496 00:42:19,555 --> 00:42:23,682 than, you know, than watching a painting. 497 00:42:23,726 --> 00:42:25,517 He wanted, uh, 498 00:42:25,561 --> 00:42:30,230 basically, he thought that art could 499 00:42:30,274 --> 00:42:34,860 transform, um, the public. 500 00:42:34,904 --> 00:42:41,452 ♪ Drone music ♪ 501 00:42:45,498 --> 00:42:46,499 ♪ piano music ♪ 502 00:42:59,887 --> 00:43:02,846 "If I must place my trust somewhere, 503 00:43:02,890 --> 00:43:04,848 I would invest it in the psyche 504 00:43:04,892 --> 00:43:06,558 of sensitive observers 505 00:43:06,602 --> 00:43:08,519 who are free of the conventions 506 00:43:08,562 --> 00:43:10,896 of understanding. 507 00:43:10,940 --> 00:43:12,690 I would have no apprehensions 508 00:43:12,733 --> 00:43:14,983 about the use they would make of these pictures 509 00:43:15,027 --> 00:43:17,986 for the needs of their own spirits, 510 00:43:18,030 --> 00:43:21,031 for if there is both need and spirit, 511 00:43:21,075 --> 00:43:24,370 "there is bound to be a real transaction." 512 00:43:49,228 --> 00:43:53,272 How is it to restore a Rothko? 513 00:43:53,316 --> 00:43:55,107 Well... 514 00:43:55,151 --> 00:43:56,025 it's complicated. 515 00:43:56,068 --> 00:43:58,777 I think to restore any work of art 516 00:43:58,821 --> 00:43:59,549 is complicated. 517 00:43:59,593 --> 00:44:05,034 Um, for a non, uh, representational work of art, 518 00:44:05,077 --> 00:44:06,326 an abstract work of art, 519 00:44:06,370 --> 00:44:08,704 it's even more difficult because we don't have 520 00:44:08,748 --> 00:44:12,708 any representational clues to go by. 521 00:44:12,752 --> 00:44:17,337 So, we are very much in need of understanding 522 00:44:17,381 --> 00:44:19,548 the artist's manipulation of material 523 00:44:19,592 --> 00:44:21,091 for visual effect. 524 00:44:21,135 --> 00:44:21,842 And that takes time, 525 00:44:21,886 --> 00:44:24,511 that's not something that you immediately see 526 00:44:24,555 --> 00:44:26,472 when you look at a work of art. 527 00:44:26,515 --> 00:44:28,474 So, in the case of Rothko, 528 00:44:28,517 --> 00:44:30,100 because it's so sophisticated, 529 00:44:30,144 --> 00:44:30,893 it's so many layers, 530 00:44:30,937 --> 00:44:34,980 it's so much building up of paint over time, 531 00:44:35,024 --> 00:44:37,691 um, it takes that amount of time as well 532 00:44:37,735 --> 00:44:39,234 to understand what the artist 533 00:44:39,278 --> 00:44:41,403 is trying to achieve. 534 00:44:41,447 --> 00:44:48,245 ♪ Somber music ♪ 535 00:46:11,495 --> 00:46:13,912 Do you think that the paintings 536 00:46:13,956 --> 00:46:14,642 we see in Houston, 537 00:46:14,686 --> 00:46:17,833 that we see them now with the light 538 00:46:17,877 --> 00:46:21,045 Rothko wishes? 539 00:46:21,088 --> 00:46:25,174 Um, I think that's a hard question to answer. 540 00:46:25,217 --> 00:46:28,677 I would say that the question of the light 541 00:46:28,721 --> 00:46:31,555 is the overriding question that haunts 542 00:46:31,599 --> 00:46:36,018 those of us concerned with the Rothko Chapel. 543 00:46:36,062 --> 00:46:38,771 It never seemed to be right. 544 00:46:38,814 --> 00:46:41,815 And so, um, it's something 545 00:46:41,859 --> 00:46:44,860 that will always be on our minds 546 00:46:44,904 --> 00:46:49,114 of how to improve it, resolve it, make... 547 00:46:49,158 --> 00:46:51,658 Make peace with it in someway. 548 00:46:51,702 --> 00:46:54,036 Um, I don't... so I can't say 549 00:46:54,080 --> 00:46:55,204 that you're seeing the paintings 550 00:46:55,247 --> 00:46:57,831 exactly the way Rothko would've intended, 551 00:46:57,875 --> 00:47:01,919 but what I can say is that you will have 552 00:47:01,963 --> 00:47:06,006 a very, um, personal and meditative, 553 00:47:06,050 --> 00:47:09,551 I think, experience in the chapel 554 00:47:09,595 --> 00:47:10,636 from the light. 555 00:47:10,680 --> 00:47:13,639 Um, the light changes in Houston. 556 00:47:13,683 --> 00:47:14,932 Well, everywhere it changes, 557 00:47:14,976 --> 00:47:17,518 but because it's all natural light, 558 00:47:17,561 --> 00:47:20,562 if you sit there you'll see clouds go by, 559 00:47:20,606 --> 00:47:22,606 you'll feel the change of light, 560 00:47:22,650 --> 00:47:26,362 and the paintings respond in that way. 561 00:47:28,656 --> 00:47:34,578 ♪ Somber music ♪ 562 00:48:14,160 --> 00:48:15,993 "I would like to say to those 563 00:48:16,037 --> 00:48:18,328 who think of my pictures as serene 564 00:48:18,372 --> 00:48:22,041 that I have imprisoned the most utter violence 565 00:48:22,084 --> 00:48:24,752 in every inch of their surface." 566 00:48:24,795 --> 00:48:30,176 ♪ somber music ♪ 567 00:49:23,187 --> 00:49:26,772 Bryan Robertson describes a moment 568 00:49:26,816 --> 00:49:29,108 in the Whitechapel Gallery with Rothko, 569 00:49:29,151 --> 00:49:31,985 together with Rothko when he left the place. 570 00:49:32,029 --> 00:49:34,988 He said, "My strongest personal memory" 571 00:49:35,032 --> 00:49:37,616 is of leaving the Whitechapel Gallery 572 00:49:37,660 --> 00:49:42,830 with Rothko late one winter afternoon 573 00:49:42,873 --> 00:49:46,834 when the daylight had practically gone. 574 00:49:46,877 --> 00:49:51,130 He asked me to switch all the lights off 575 00:49:51,173 --> 00:49:53,090 everywhere. 576 00:49:53,134 --> 00:49:55,676 And suddenly Rothko's color 577 00:49:55,720 --> 00:49:58,554 made its own light. 578 00:49:58,597 --> 00:50:04,101 The effect once the retina had adjusted itself 579 00:50:04,145 --> 00:50:06,353 was unforgettable. 580 00:50:06,397 --> 00:50:08,731 Smoldering, and blazing, 581 00:50:08,774 --> 00:50:13,902 and glowing softly from the walls. 582 00:50:13,946 --> 00:50:18,073 Color in the darkness. 583 00:50:18,117 --> 00:50:20,200 We stood there a long time 584 00:50:20,244 --> 00:50:24,038 and I wished everyone could have seen the world 585 00:50:24,081 --> 00:50:29,668 Rothko had made in those perfect conditions, 586 00:50:29,712 --> 00:50:33,088 radiating its own energy 587 00:50:33,132 --> 00:50:36,216 and uncorrected by artifice 588 00:50:36,260 --> 00:50:38,469 "or the marketplace." 589 00:50:38,512 --> 00:50:40,848 I think it's wonderful. 590 00:50:48,189 --> 00:50:54,278 ♪ Drone music ♪ 591 00:51:35,319 --> 00:51:38,737 It was a custom to equate the blackness 592 00:51:38,781 --> 00:51:42,574 and the sharpness of the Rothko Chapel paintings 593 00:51:42,618 --> 00:51:45,953 with the artist's despair. 594 00:51:45,997 --> 00:51:47,621 I never felt that. 595 00:51:47,665 --> 00:51:50,207 I never did, and I still don't. 596 00:51:50,251 --> 00:51:54,044 I truly believe that the paintings... 597 00:51:54,088 --> 00:51:55,087 Well, there are two things. 598 00:51:55,131 --> 00:51:56,338 But I truly believe that the paintings 599 00:51:56,382 --> 00:52:02,177 were a... a major step forward for him, technically. 600 00:52:02,221 --> 00:52:05,013 In eliminating color, the one feature 601 00:52:05,057 --> 00:52:07,224 for which he was best known, 602 00:52:07,268 --> 00:52:09,560 and he had... his classic paintings 603 00:52:09,604 --> 00:52:11,228 he was a master of, 604 00:52:11,272 --> 00:52:12,813 he kind of upped the bar 605 00:52:12,857 --> 00:52:15,941 and went into creating paintings 606 00:52:15,985 --> 00:52:17,651 without a lot of color. 607 00:52:17,695 --> 00:52:20,112 He also was so well-known, as you know, 608 00:52:20,156 --> 00:52:22,197 in his classic work for these wonderful 609 00:52:22,241 --> 00:52:26,118 diaphanous edges around his forms. 610 00:52:26,162 --> 00:52:29,455 In the Chapel paintings he does these very tight, 611 00:52:29,498 --> 00:52:31,874 straight, taped even, 612 00:52:31,917 --> 00:52:34,126 forms, edges. 613 00:52:34,170 --> 00:52:36,795 He's just going into something very different, 614 00:52:36,839 --> 00:52:38,589 and I think that's a very hard, 615 00:52:38,633 --> 00:52:39,319 hard thing to do. 616 00:52:39,362 --> 00:52:40,966 I think it was a natural progression 617 00:52:41,010 --> 00:52:42,801 of where he was going, 618 00:52:42,845 --> 00:52:44,011 but I do not think... 619 00:52:44,055 --> 00:52:46,972 And I wish it would be dispelled forever... 620 00:52:47,016 --> 00:52:48,474 This association with that 621 00:52:48,517 --> 00:52:49,641 with his final death. 622 00:52:49,685 --> 00:52:52,603 I do not think that that... 623 00:52:52,647 --> 00:52:54,521 That makes sense at all. 624 00:52:54,565 --> 00:53:00,696 ♪ Drone music ♪ 625 00:53:17,505 --> 00:53:20,506 "There is more power in telling little 626 00:53:20,549 --> 00:53:22,966 than in telling all. 627 00:53:23,010 --> 00:53:25,803 Silence is so accurate." 628 00:53:25,846 --> 00:53:26,472 ♪ 629 00:53:57,128 --> 00:53:58,210 The color of my voice? 630 00:53:58,254 --> 00:53:59,253 What color? 631 00:53:59,297 --> 00:54:00,629 Um, I don't know, 632 00:54:00,673 --> 00:54:04,133 I think dark brown. 633 00:54:04,176 --> 00:54:06,385 His voice was a little softer, I think. 634 00:54:06,429 --> 00:54:07,761 A little, a little rounder 635 00:54:07,805 --> 00:54:08,637 around the edges. 636 00:54:08,681 --> 00:54:11,390 He has a little bit more red in it. 637 00:54:11,434 --> 00:54:12,059 ♪ 44773

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