-
(piano music playing)
-
Beth: I put myself in the
position of these figures
-
on this cliff and I almost feel that wind
-
whipping around me and my instability
-
on this cliff as a result.
-
Steven: I can hear the cloth
on my shirt just whipping.
-
I think we're ready for
the sound effects now.
-
(wind blowing)
-
Not a good idea. Monet doesn't need it.
-
We have this brilliant summer day,
-
we're on a cliff walk in a seaside resort
-
in northwestern France
on the English Channel,
-
we see these two women
... This is just a lovely
-
image of people walking
on a path in nature.
-
Beth: Well, I think the fact
that we immediately say,
-
"I know what this moment is like"
-
is indicative of the
fact that Monet is doing
-
something that we still do today.
-
We go on vacation at the seaside.
-
It's lovely to go for a
walk along the clifftops
-
and feel the wind and look out to the sea.
-
Steven: We're still part
of the modern world,
-
that he lived in and so there
is a real sense of immediacy
-
and that comes across
in the brush strokes.
-
So it's his hand moving across the canvas,
-
but it's also the wind
whipping through the grasses
-
at the top of this cliff.
-
Beth: And yet all of
that is also rounded by
-
these two vertical features
that we see of the rocks
-
that mimic the verticality of the figures.
-
Steven: And look how he's
used those cliff faces
-
to create a sense of the
brilliance of the day.
-
They are in deep shadow.
-
The contrast is so sharp,
it reminds us of when
-
there's sort of a glare from the sun.
-
But even though the
painting seems completely
-
spontaneous, in fact, it
was carefully crafted,
-
we know from Monet's letters that when he
-
painted these images, and he painted about
-
a hundred of them ...
-
Beth: Of these scenes
of the Normandy coast
-
in the early 1880s.
-
Steven: He would go back
and go back and go back
-
to them ... ten ... fifteen,
sometimes even twenty times.
-
Beth: And so there really
are layers of paint
-
and when you get up close,
you can see those layers.
-
There is this conflict
between that the spontaneity,
-
the momentariness of this
scene and the way that he
-
really worked to achieve that effect.
-
Steven: Let's step up. Let's
look really closely at this.
-
So sometimes you see areas where
the paint is still very fresh.
-
Remember, this is oil.
It doesn't dry quickly
-
and you can see how
he's painting wet paint
-
on top of wet paint.
-
Beth: So if you paint wet paint over wet,
-
you're going to smear the under layer.
-
Steven: And you can see
that, if you look especially
-
at the women up on the cliff.
-
Look at their dresses.
Do you see, for instance,
-
in the woman that's close
to us, the way in which
-
there's that white at the
bottom of her dress ... I mean,
-
look at the way that the
bell of the dress is pushed
-
up against the back of her
legs, really giving you
-
a sense of that wind.
-
and then the strokes are actually moving
-
in that direction, as well,
but look at that way in which
-
the white pushes down into the
red and picks some of it up.
-
So this is wet paint that
is pushing other wet paint
-
across that surface.
-
Beth: We could see that, too,
in the figure in the background
-
where the white that
he's added on top of the
-
red color of the parasol is
smearing that red under layer.
-
Steven: That's right and that
is really different from,
-
for instance, the horizon line.
-
You'll notice that there's a
cool almost jade-like green,
-
but you'll also notice
that there are areas where
-
the paint seems to skip
over an under layer
-
and that under layer of even paler green
-
was dry and actually
had still ridges in it
-
and so when he drew his brush across it,
-
it picked up those ridges.
-
So this is wet paint over dried.
-
Beth: It's just this incredible
knowledge of his materials
-
and what he needs to
do with those materials
-
for him to achieve the effect
that he wants to achieve.
-
Steven: Well, that's right.
I think he's there for a
-
[freed] to really pay
attention to what he's seeing.
-
Beth: This is a painting that's
about the pleasure of seeing.
-
It's a tourist moment.
-
These figures are enjoying
their walk along the cliff.
-
They're looking out at
this lovely picturesque
-
landscape of cliffs and sea
and sky and the clouds moving.
-
We have this visual pleasure
and they're experiencing
-
visual pleasure.
-
This is about looking in the modern world,
-
a kind of experience of
being a middle-class person
-
at their leisure on holiday,
something that we can all relate to.
-
Steven: But painted in
a way that brings us in,
-
in a wonderfully intimate and direct way,
-
so that we feel the wind, too.
-
(wind blowing)
-
(piano music playing)