1 00:00:00,210 --> 00:00:05,220 We're going to be talking about modernism and mass culture. 2 00:00:05,220 --> 00:00:09,750 This is a kind of vast topic. 3 00:00:09,750 --> 00:00:14,280 So we're just going to dig into it briefly today. 4 00:00:14,280 --> 00:00:20,970 I suppose I could start by saying that it's very often that arts engagement in the modern period with a 5 00:00:20,970 --> 00:00:28,290 broader visual culture or mass culture is often seen as one of the key characteristics of modernism, 6 00:00:28,290 --> 00:00:29,930 modernism in the visual arts. 7 00:00:29,930 --> 00:00:39,390 And it's often that's often seen as something that distinguishes modernism from earlier periods when, according to a somewhat oversimplified view, 8 00:00:39,390 --> 00:00:46,890 the arts were much more interested in, the concept of art was seen as a much more exclusive category. 9 00:00:46,890 --> 00:00:52,650 That art was not like the cheap stuff that you could buy in markets, market stalls and so forth. 10 00:00:52,650 --> 00:00:54,150 As I say, that's an oversimplification. 11 00:00:54,150 --> 00:01:02,100 And you could probably give a similar kind of lecture, although you wouldn't use the term mass culture might be popular culture for an early period, 12 00:01:02,100 --> 00:01:10,960 but you could give a similar lecture about earlier periods and how oil painting was always inflected by cheap prints and vice versa. 13 00:01:10,960 --> 00:01:18,570 Know, this is I say one of the it is one of the claims. It's often made for modernism. 14 00:01:18,570 --> 00:01:25,710 And that's certainly been the case since the 1950s, when just to pick the most obvious example, Warhol, 15 00:01:25,710 --> 00:01:35,160 Andy Warhol famously crossed from advertising to off Madison Avenue to to Soho and took with him a set 16 00:01:35,160 --> 00:01:44,040 of technical procedures and formal conventions that would reconfigure the artworks relation to commerce, 17 00:01:44,040 --> 00:01:48,690 to fashion and more specifically to serial reproduction. 18 00:01:48,690 --> 00:01:53,160 So this is a this is Warhol working for an ad agency. 19 00:01:53,160 --> 00:01:59,910 This is a magazine ad where he develops this slightly coquettish style to advertise 20 00:01:59,910 --> 00:02:05,550 shoes and he takes some of what he's learnt over into making art objects. 21 00:02:05,550 --> 00:02:15,210 This this particular version of the computer model is sold for 40 million, was a series of Christi's in the last week or so. 22 00:02:15,210 --> 00:02:26,670 So we've gone from there. Well, we've absolutely directly inexplicitly from mass reproduced stuff in a high end magazine, 23 00:02:26,670 --> 00:02:33,900 but still no original cheap paper mass produce something that's going to end up absolutely firmly in the museum world, 24 00:02:33,900 --> 00:02:38,820 the fine art world and so forth. 25 00:02:38,820 --> 00:02:50,480 Another example from the same period is this is James Rosenquist on the left president elect 1960 to 64, who also pulls his images as well. 26 00:02:50,480 --> 00:02:59,630 This is a Coke bottle from the mass media. So this is a painted version of a photograph of JFK. 27 00:02:59,630 --> 00:03:04,530 So photographing the mass media and then a car and an ad for a particular kind 28 00:03:04,530 --> 00:03:09,930 of cake mix from an American magazine so full of images from mass culture, 29 00:03:09,930 --> 00:03:15,210 translate some into here a large scale painting. 30 00:03:15,210 --> 00:03:20,370 Also, like Warhol, he comes from a different world of enigmatical. 31 00:03:20,370 --> 00:03:34,840 This is Rosenquist on a scaffold standing and really is on a scaffold view of a New York street is if he starts life as a painter of billboards. 32 00:03:34,840 --> 00:03:37,150 And in 50s, the vast, 33 00:03:37,150 --> 00:03:46,440 large scale billboards in places like New York were hand painted because the printing printing penology was not up to printing such long, 34 00:03:46,440 --> 00:03:54,210 large images. The guys would go up on the scaffold to paint according to a predetermined, predetermined design. 35 00:03:54,210 --> 00:04:00,750 Paint the billboard by hand. And again, as with Warhol, he takes something of what he learns. 36 00:04:00,750 --> 00:04:07,230 Technically, doing that in around it is very big in mass culture and translates into what he 37 00:04:07,230 --> 00:04:15,850 then does in images destined destined for the gallery and for the for the museum. 38 00:04:15,850 --> 00:04:22,890 Since the 50s or 60s, by the time we get to Rosenquist, 39 00:04:22,890 --> 00:04:32,470 that the breakdown in the boundary between quote unquote art with a capital A. and other registers of visual culture and the 40 00:04:32,470 --> 00:04:39,250 crossing and recrossing of the line between those different registers has only accelerated to the point that it's not clear, 41 00:04:39,250 --> 00:04:45,580 I think, anymore that the boundary exists in any meaningful way. 42 00:04:45,580 --> 00:04:51,450 So just as an example, to underscore that this is a painting by Murakami Kashima, 43 00:04:51,450 --> 00:04:56,560 our economy is very, very successful, uber successful kind of art industry. 44 00:04:56,560 --> 00:05:06,100 One man art production industry with vast teams of workers working in his factory, producing images and so forth. 45 00:05:06,100 --> 00:05:09,790 What we're looking at here is what he calls Superflat painting, 46 00:05:09,790 --> 00:05:15,340 which is a combination of fine arts materials because it's oil on canvas with traditional, 47 00:05:15,340 --> 00:05:22,150 very traditional material, certainly in the West, a combination fine art materials and popular culture. 48 00:05:22,150 --> 00:05:32,050 And the culture that he looks at specifically is the Otaku world, which is the Japanese term for obsessive fandom. 49 00:05:32,050 --> 00:05:42,820 And this is a district in Japan, in Tokyo, where there's obsessive fans gathered looking for go in their stores, collecting snow obsessively. 50 00:05:42,820 --> 00:05:51,160 So he's interested in that culture and he's interested in one of the things that gets collected in that culture is anime, 51 00:05:51,160 --> 00:05:57,850 anime and manga, which is a animated films of which we have a few clips here. 52 00:05:57,850 --> 00:06:12,280 And manga is comics. So he pulls something with the look of this kind of material and puts it into a fine art context in that he's very like Warhol, 53 00:06:12,280 --> 00:06:16,420 very like Rosenquist, an updating of what they did. 54 00:06:16,420 --> 00:06:22,870 He pushes it, though, even further. So here he is on the left holding a canvas. 55 00:06:22,870 --> 00:06:26,560 So this is a painting. But you can see it has the same design. 56 00:06:26,560 --> 00:06:33,660 Here it is in the gallery, has a similar design to the bags that he designs, that Banksy designs the Louis Rete home. 57 00:06:33,660 --> 00:06:40,720 And it's the designs, the combination to Louis we call monogram and the camouflage happen. 58 00:06:40,720 --> 00:06:48,160 This is from a show with from outside the show that took place in Brooklyn at the Brooklyn Museum, 59 00:06:48,160 --> 00:06:56,230 which one of the great old American museums of Art Brooklyn Museum stop opening on the 1st of January 2008. 60 00:06:56,230 --> 00:07:01,090 And the items were said to have been released on January 1st, 2008. 61 00:07:01,090 --> 00:07:10,000 So the language is the language of of a commercial. The latest Louis Vuitton handbag has been released to the market. 62 00:07:10,000 --> 00:07:17,290 That's in Brooklyn. January the 1st. Then June the 15th of the same year they were released that Louis, we told stores worldwide. 63 00:07:17,290 --> 00:07:22,000 So here we have an artist who is utterly impregnated both in the art world. 64 00:07:22,000 --> 00:07:32,910 He's got big show, One-Man Show in Brooklyn. But also in the world of utterly commercial, absolutely, explicitly commercial world. 65 00:07:32,910 --> 00:07:39,850 What we're looking at on the right. These are a series of 10 booths outside the Brooklyn Museum. 66 00:07:39,850 --> 00:07:47,330 When the show had been designed to look like street vendors sold the kind you see all prosper 67 00:07:47,330 --> 00:07:55,330 with Manhattan cities worldwide where you'd only get knockoffs of proven time handbags. 68 00:07:55,330 --> 00:08:02,470 So there's a whole game being played here with, you know, these are real Murakami reform bags. 69 00:08:02,470 --> 00:08:05,860 But looking at being sold in the places you think to get knockoffs. 70 00:08:05,860 --> 00:08:14,050 So there's a whole game going on here with the I think Murakami is playing with questions of authenticity. 71 00:08:14,050 --> 00:08:25,030 What is the real thing? Where does the real reside with us? How does one find authentic value in the contemporary moment? 72 00:08:25,030 --> 00:08:30,660 They're very divided opinions about Murakami. Some people think some people have more in. 73 00:08:30,660 --> 00:08:32,690 You think he's a total Sell-Out, you know that. 74 00:08:32,690 --> 00:08:42,830 But the indication here of museum we re is a bad thing that he's basically cashing in as fast as he can on that. 75 00:08:42,830 --> 00:08:44,780 On bringing those things together. 76 00:08:44,780 --> 00:08:54,500 There are others who who want to see in him a slightly more critical meditation on what it means when those worlds come together. 77 00:08:54,500 --> 00:08:58,760 So maybe he's offering a critique here of the museum and the fact that the museum, 78 00:08:58,760 --> 00:09:04,000 increasingly, as the years pass, is willing to hold hands with the corporation, 79 00:09:04,000 --> 00:09:09,920 or perhaps it is a critique of religion home, trying to maintain value by associating itself with museum, 80 00:09:09,920 --> 00:09:20,240 even as it's threatened from from another side, by countless knockoffs and fakes and so forth. 81 00:09:20,240 --> 00:09:31,060 We could debate Murakami. He stands here for us is the latest point, the most fully involved stage, if you like, 82 00:09:31,060 --> 00:09:38,540 in a trajectory that starts sometime in the late 19th century, and it's that that we can look at for the most part today. 83 00:09:38,540 --> 00:09:46,750 And there will be, I think, two core questions that we should think about as we look at this material. 84 00:09:46,750 --> 00:09:56,010 First is what it does to what happened to the concept of what happens to the way that it looks and so forth as it reaches out into. 85 00:09:56,010 --> 00:09:58,200 And of course, we should think about the verbs here. 86 00:09:58,200 --> 00:10:07,290 What does it mean to reach out, reach out the right word, but is it reaches out into something like a broader visual culture? 87 00:10:07,290 --> 00:10:15,150 As one question. Second question. Equally important is what we might think happens to the audience. 88 00:10:15,150 --> 00:10:24,870 So what is implied about who the audience might be as modern art engages with a broader visual culture? 89 00:10:24,870 --> 00:10:32,400 And that is blunt is the question is, is this about an expansion of audience? Is it speaking to a broader audience or is it taking something? 90 00:10:32,400 --> 00:10:35,010 Is it taking forms that are designed for a broader audience, 91 00:10:35,010 --> 00:10:44,970 but bringing them back into a kind of elite, hermetic world of still fine art with a capital A. 92 00:10:44,970 --> 00:10:50,220 As I say, the late 19th century is going to be the moment that we look at most closely here. 93 00:10:50,220 --> 00:11:01,070 And we can look at three artists, each of whose work I think raises those both of those questions in slightly different ways. 94 00:11:01,070 --> 00:11:07,370 So this is the first our first example of the chap on the bottom here. 95 00:11:07,370 --> 00:11:11,570 This is Poovey de Shiban on the top, the sacred grove. 96 00:11:11,570 --> 00:11:19,510 Eighteen eighty three to four. And on the bottom to lose the tracks parody of that same painting painted around 1885. 97 00:11:19,510 --> 00:11:29,910 This is HOOVEY was in a in the mid 80s, probably the most successful painter in terms of official recognition. 98 00:11:29,910 --> 00:11:34,260 What are critics like in the academy, like in the government to local government? 99 00:11:34,260 --> 00:11:40,950 Love him. He's getting endless commissions for museums and powerful the big new identities in public buildings. 100 00:11:40,950 --> 00:11:45,080 And this is the big smash of the official salon in 1884. 101 00:11:45,080 --> 00:11:52,180 What Poovey, which is the Treasury and his towel's with who he knocked out of this apparently thought about to be. 102 00:11:52,180 --> 00:11:56,510 Is pretty clear they don't think much of this kind of official art. 103 00:11:56,510 --> 00:12:02,960 This is a it's a pretty big paintings, about 10 feet, maybe even 12 feet across, 104 00:12:02,960 --> 00:12:10,580 which gives some indication of how seriously they took the job of making fun of the movie. 105 00:12:10,580 --> 00:12:16,670 And you can see essentially this painting is a series of negations or refusals of the values of this thing. 106 00:12:16,670 --> 00:12:24,350 This is the sacred grove with the muses of music. And poetry is, of course, floating around and debating and so forth. 107 00:12:24,350 --> 00:12:30,890 And at every step, Poovey, as I say, negates the values that were hui's airborne. 108 00:12:30,890 --> 00:12:38,420 Muses floated, strumming a liar his come and holding just about make this out and gleaming metal cylinder. 109 00:12:38,420 --> 00:12:46,730 That's a sliver of oil paint. So the claim here is one of the criticisms of paint is not made out of ideal, lofty ideas. 110 00:12:46,730 --> 00:12:55,970 It's made out of sticky oil based pigment that comes in a mass manufactured metal to cover the surface of that. 111 00:12:55,970 --> 00:12:57,350 There are various other negations here. 112 00:12:57,350 --> 00:13:07,310 A little boy who's making a lot of wreath removal kind of activity is replaced by a less elegant voice stuffing his mouth full of roughly bread. 113 00:13:07,310 --> 00:13:12,250 So, again, it's it's kind of materiality material needs of the body. 114 00:13:12,250 --> 00:13:14,170 Does it look at it? 115 00:13:14,170 --> 00:13:25,660 And then, of course, most obviously to the pollutes the sacred grove by having these nondescript, contemporary's wander in and trampled sacred turf. 116 00:13:25,660 --> 00:13:27,740 And most notably is this little bit here, 117 00:13:27,740 --> 00:13:35,080 which is the trap facing into the fitting into the picture and looking for all the world and quite deliberately so. 118 00:13:35,080 --> 00:13:40,160 He's pissing onto the sacred. That's the ultimate and most brutal debasement of everything. 119 00:13:40,160 --> 00:13:47,420 That official art, that high culture, one might say, stood for. 120 00:13:47,420 --> 00:13:55,730 In conjunction with that, in conjunction with the rejection for the noble ideals of high culture to attract, 121 00:13:55,730 --> 00:14:02,480 is very interested in what we might call low culture, popular forms of mass culture and so forth. 122 00:14:02,480 --> 00:14:14,210 So these are here. This is Jane Avro, two photos on the right of someone who was one of the great stars of the day. 123 00:14:14,210 --> 00:14:21,410 Dancer, singer in the nightclubs seem more lock on the north side of Paris. 124 00:14:21,410 --> 00:14:31,650 So big media star of the day. And this is truly track painting her painting, her image in 1893. 125 00:14:31,650 --> 00:14:38,810 And the image, I think, begins to tell us something about what interests the about this kind of culture. 126 00:14:38,810 --> 00:14:43,370 It's he emphasises here the ungainly ness of her dance. 127 00:14:43,370 --> 00:14:47,780 I think that this is not you know, this is the opposite of ballet. It's kind of common. 128 00:14:47,780 --> 00:14:56,240 It's ungainly. It looks a little awkward. And he also, I think, perhaps rather cruelly changes her face in the photograph. 129 00:14:56,240 --> 00:15:04,140 She looks sort of conventionally pretty good. What would say that in the painting he makes it look her face look much Bonior much harder. 130 00:15:04,140 --> 00:15:11,180 And I think what he's wanting to emphasise here or what he wanted to convey visually is her working classes that he's made. 131 00:15:11,180 --> 00:15:16,340 He's emphasised what is the important thing for him about it, about her, 132 00:15:16,340 --> 00:15:28,950 which is that she's a working class girl who's risen to be a star of the sea, singing bawdy songs, dancing in the sun infection and so forth. 133 00:15:28,950 --> 00:15:35,660 To lose the track is that is fascinated by this kind of figure in a time he if he addresses it, 134 00:15:35,660 --> 00:15:43,720 he addresses them in ways that still leave what he's making pretty firmly in the realm of fine art. 135 00:15:43,720 --> 00:15:49,960 This is these are a couple of photos of Loewy Fuller, who's another of the great stories of the day. 136 00:15:49,960 --> 00:15:54,130 Two things, sort of an actual the butterfly, which is what she's doing here. 137 00:15:54,130 --> 00:15:59,960 And actually got the blur of a photograph, the slow show, a few photograph conveys perfect. 138 00:15:59,960 --> 00:16:02,470 I think. What was the effect on people in the theatre? 139 00:16:02,470 --> 00:16:12,400 She visits these this drapery around and under the lighting, the theatre looks like this aethereal floating butterfly. 140 00:16:12,400 --> 00:16:21,670 So it's a kind of map. It was a magical spectacle. This is sort of stuff that blew people's minds in the late 19th century, were pretty easily amused. 141 00:16:21,670 --> 00:16:26,710 In those days, the track was also pretty impressive by it. 142 00:16:26,710 --> 00:16:32,150 And he made this sort of image. This is a lithograph of Louis Fuller. 143 00:16:32,150 --> 00:16:36,580 And you can see that he's proud to be trying to capture in this medium. 144 00:16:36,580 --> 00:16:45,100 Something of the effect of the show is something of that of the magic of that spectacle. 145 00:16:45,100 --> 00:16:45,460 As I say, 146 00:16:45,460 --> 00:16:59,880 we're still firmly here in terms of what in terms of the thing that Lautrec himself makes in the realm of high are what he's not doing here is. 147 00:16:59,880 --> 00:17:02,060 What's someone like SRES Judiciary? 148 00:17:02,060 --> 00:17:13,240 Well, a great post to of the period is there is a large, colourless, old folk poster made to be stuck around Paris on billboards to advertise. 149 00:17:13,240 --> 00:17:17,860 The show is a much smaller object, and it's real. 150 00:17:17,860 --> 00:17:22,460 It's very much high end art lithography. 151 00:17:22,460 --> 00:17:26,380 The technique is incredible. People sees it in flashes. 152 00:17:26,380 --> 00:17:36,130 It's mostly not done with it with a wax crayon, but with a little air, a gun spattering out, foiling liquid onto the surface. 153 00:17:36,130 --> 00:17:44,110 You have a wonderful spatter of and then it's printed up in a very limited edition, very expensive kind of print. 154 00:17:44,110 --> 00:17:58,340 So this is what we see here is the magic of mass cultural phenomenon transferred, as I say, into the realm of or co-opted by perhaps fine art. 155 00:17:58,340 --> 00:18:06,220 At other times, however, the track moves directly into the register that Shray is operating in. 156 00:18:06,220 --> 00:18:11,560 This is the truth. A mountain or another big hit of the day. 157 00:18:11,560 --> 00:18:14,060 And this is to lose the tracks poster advertising. 158 00:18:14,060 --> 00:18:21,870 And this is this is a poster that's designed to be just like the SURYA'S put up on billboards around parents. 159 00:18:21,870 --> 00:18:28,300 And if you can see the style that he has that the track uses is not unlike fishery and simplified lines. 160 00:18:28,300 --> 00:18:36,700 Simplified blocks are designed to be instanced and eye catching from the eye, from the street. 161 00:18:36,700 --> 00:18:44,570 You see photographs of Paris at this period. It is every single wall is absolutely plastered with posters. 162 00:18:44,570 --> 00:18:50,440 So the kind of short, sharp shock of a powerful, simplified, 163 00:18:50,440 --> 00:19:00,000 intensely coloured image was what you had to do to make your points to stand out against against others. 164 00:19:00,000 --> 00:19:10,370 So a question we might ask would be, what does it mean to align oneself as a fine artist here with the style of mass circulation 165 00:19:10,370 --> 00:19:17,980 images and also with the technology is my circulation images is not a small run top end print. 166 00:19:17,980 --> 00:19:28,020 Is a poster designed to be mass reproduced and pasted up around and around the capital. 167 00:19:28,020 --> 00:19:36,300 At times, Lautrec very directly addresses that mass audience and seems quite deliberately to be doing that. 168 00:19:36,300 --> 00:19:43,140 This is in the circus, Fernando, the ringmaster. It's a painting from 1888. 169 00:19:43,140 --> 00:19:47,110 Subject matter is we see as popular entertainment the circus. 170 00:19:47,110 --> 00:19:53,550 And in terms of address the audience, it's important to know that there were two versions of this painting. 171 00:19:53,550 --> 00:20:00,000 One of them, and that's this one, which is one that we that survived, was exhibited at the Moulin Rouge, Moulin Rouge. 172 00:20:00,000 --> 00:20:12,510 One of the great emerging nights, nightclub entertainment locations on Lombok, again emerging into becoming popular in the late 19th century. 173 00:20:12,510 --> 00:20:18,060 So it's one of the Moulin Rouge. He painted a larger version, which is now lost. 174 00:20:18,060 --> 00:20:22,560 That was shown at the Circus Fernando itself. 175 00:20:22,560 --> 00:20:25,830 So it's a this is a fine art, 176 00:20:25,830 --> 00:20:36,690 something out of a fine art after making large scale images for exhibition in non art locations and for at least implicitly, a mass audience. 177 00:20:36,690 --> 00:20:40,410 It's not it's not a gallery. It's not where the concert is going to look at it. 178 00:20:40,410 --> 00:20:43,890 It's just in front of the great show, in front of the great public. 179 00:20:43,890 --> 00:20:56,850 And serving, of course, as an advertisement for the for the circus to is the track also exhibited in other non art locations. 180 00:20:56,850 --> 00:21:03,900 So, for example, there was a large and inexpensive restaurant or more like a cafe called The Grown Bouillon. 181 00:21:03,900 --> 00:21:09,450 And he showed some of his works in there, as did this chap. 182 00:21:09,450 --> 00:21:13,430 This is Van Goff's portrait of Pat Tongji. 183 00:21:13,430 --> 00:21:20,730 And thinking about someone like Van Gogh thing about someone like Lautrec exhibiting their works in that sort 184 00:21:20,730 --> 00:21:30,360 of location might make us rethink what we might have expected about how modern art was seen by a broader, 185 00:21:30,360 --> 00:21:37,780 broader public. It's worth noting that Lautrec was a something of a lefty. 186 00:21:37,780 --> 00:21:49,350 He's a he's a fallen Risden. He comes out of an aristocratic family, but his personal politics seemed to incline mostly towards anarchism. 187 00:21:49,350 --> 00:21:56,760 So the so the idea that, well, there's the sense that he might have wanted, at least at times, to have engaged with a broader audience, 188 00:21:56,760 --> 00:22:04,770 not just to have the elite, the money lead, look at his work authorities images, but a broader audience makes some sort of sense. 189 00:22:04,770 --> 00:22:11,130 My Tyson in some way with his what we understand of his politics. 190 00:22:11,130 --> 00:22:19,410 There is, however, a counter view toward what I've been doing so far is essentially the kind of Lautrec as outreach model. 191 00:22:19,410 --> 00:22:25,920 There is a counter view which says that although the track represented working class 192 00:22:25,920 --> 00:22:32,480 entertainers at times in arenas with the working class could also be the audience. 193 00:22:32,480 --> 00:22:38,310 And although one might argue that the poster makes the image more Democratic to the poster on the streets of Paris, 194 00:22:38,310 --> 00:22:45,130 it's something that anybody can see that actually there's something else going on here. 195 00:22:45,130 --> 00:22:53,850 And a question we might ask is what happens in Lautrec to the notion of class or the popular here? 196 00:22:53,850 --> 00:23:00,510 We're back with Jane Avro. It's been argued that rather than democratisation, 197 00:23:00,510 --> 00:23:12,400 what Lautrec is doing is essentially marketing an image of social marginality for essentially still a middle class audience. 198 00:23:12,400 --> 00:23:13,000 So, for example, 199 00:23:13,000 --> 00:23:26,590 that the calories a meal marks places like the Moulin Rouge that we were just talking about had originally been when they first found it, 200 00:23:26,590 --> 00:23:29,820 when they first emerged, mostly frequented by the local working class. 201 00:23:29,820 --> 00:23:34,390 My markers are working class. Neighbourhood still has little bits of working for us. 202 00:23:34,390 --> 00:23:40,300 The remnants today. But at that time, it's it's a working class area. 203 00:23:40,300 --> 00:23:46,810 What happens then is that the artists stop moving in because the rents, achieving the studios and so forth. 204 00:23:46,810 --> 00:23:49,270 So move in partly for financial reasons, 205 00:23:49,270 --> 00:23:57,710 partly because certain there was a way of thinking oneself of oneself as an artist that had to do with marginality. 206 00:23:57,710 --> 00:24:02,260 You point talk already in this class about romances and things like this. 207 00:24:02,260 --> 00:24:08,170 So, you know, the idea of the artist is outcast who isn't welcomed by polite society and so forth. 208 00:24:08,170 --> 00:24:09,580 So living in a working class neighbourhood, 209 00:24:09,580 --> 00:24:18,160 rubbing shoulders with workers was something that appealed to certain kinds of offers during the during the 19th century. 210 00:24:18,160 --> 00:24:23,110 What happens is these these nightclubs become more established is that they start 211 00:24:23,110 --> 00:24:32,050 becoming destinations for the Korean border as the only certain kinds of programmes. 212 00:24:32,050 --> 00:24:37,650 And the appeal of these places was specifically that they were kind of grotty and it was sort of edgy. 213 00:24:37,650 --> 00:24:42,520 It was a kind of 19th century version of slumming it in some way that you went to these places. 214 00:24:42,520 --> 00:24:48,250 They were kind of workers around. There was some weird artists and, you know, they might sit at the next table. 215 00:24:48,250 --> 00:24:54,730 And that made it kind of a cool experience for this to come back to choose the trek. 216 00:24:54,730 --> 00:25:04,780 Specifically, one argument about his work is that it reflects that kind of commodification of the idea of marginality and that this sort of image, 217 00:25:04,780 --> 00:25:12,910 even though it's all the working class. What would you say, Roosen, have a successful career on stage? 218 00:25:12,910 --> 00:25:21,220 It's not aimed at the working class at all. This is still an object that is made for an elite and kind of hip audience. 219 00:25:21,220 --> 00:25:24,960 You know, there's a lot of the bourgeoisie in Paris and Los Angeles, the trafficking. 220 00:25:24,960 --> 00:25:28,780 This is Portugal. It's not like classical, you know. 221 00:25:28,780 --> 00:25:36,400 There are lots of people still like to be. But there's a sub section of the bourgeoisie who see themselves or construct their 222 00:25:36,400 --> 00:25:43,870 own identity around the idea that they're sort of hip and they sort of you know, they're the sort of people who on the weekend go up to my mom. 223 00:25:43,870 --> 00:25:57,760 Even on Monday, they go back to the bank and continue that that their life is as usual. 224 00:25:57,760 --> 00:26:05,980 This is the debate that I'm outlining for you here, Flooz attract as Democratic leftie or to lose the track is catering to a particular 225 00:26:05,980 --> 00:26:11,590 subsection of the elite and commodifying or objectifying the image of the worker. 226 00:26:11,590 --> 00:26:19,000 For that to lead is an ongoing debate in the literature. So there are people who argue what many people will argue the other way. 227 00:26:19,000 --> 00:26:31,030 If you are inclined to argue for the latter view that he's really just catering for a middle class elite audience. 228 00:26:31,030 --> 00:26:33,410 You might point to this sort of photographic evidence, 229 00:26:33,410 --> 00:26:40,600 visible physical Trask himself with one of his artist buddies doing a kind of dress up masquerade. 230 00:26:40,600 --> 00:26:44,160 There are endless photographs of the track doing this sort of thing. 231 00:26:44,160 --> 00:26:49,370 He and his buddies goof around a lot, did a lot of press after recorded them in photographs. 232 00:26:49,370 --> 00:26:53,340 And this is Track Treki addressed as to the role that he's playing. 233 00:26:53,340 --> 00:26:58,720 Mascarenhas playing is worker and his friend as you see him dressed as the gym. 234 00:26:58,720 --> 00:27:06,100 So they're re-enacting in this photograph. Precisely the sort of frisson that was supposed to occur at a place like the 235 00:27:06,100 --> 00:27:10,030 Moulin Rouge where you still have workers still working class neighbourhood. 236 00:27:10,030 --> 00:27:19,030 But the chance there at the next table were even at the same table and as a kind of tension between tension between the classes. 237 00:27:19,030 --> 00:27:24,890 And of course, the trick is not a work, right, so this is, you know, he's adopting across you as a worker, 238 00:27:24,890 --> 00:27:36,190 but playing it for laughs, really, with his buddies when he shows his photograph of himself to his buddies. 239 00:27:36,190 --> 00:27:41,850 And we might continue with a map of this debate around this kind of image. 240 00:27:41,850 --> 00:27:45,230 This is Tetch attempt supper on the left and at the Moulin Rouge. 241 00:27:45,230 --> 00:27:55,390 Again, in that nightclub on the right, there are some who argue that this sort of painting is soft, daunting. 242 00:27:55,390 --> 00:28:00,930 It's critical. It's showing the people who you see within the painting in a bad light. 243 00:28:00,930 --> 00:28:08,870 So she looks likely the words who were looking at her, not looking at her best kind of sense of alienation between her and the guy, 244 00:28:08,870 --> 00:28:12,900 just cut off so that there at this table very close together. 245 00:28:12,900 --> 00:28:19,590 But they're not really enjoying any real sense of community. 246 00:28:19,590 --> 00:28:27,680 In other words, these are red as these paintings can be read as aligning themselves with to loosely attract as a critical lefty, 247 00:28:27,680 --> 00:28:30,480 if that's what we think he is. 248 00:28:30,480 --> 00:28:37,530 And there are people who write as soon as this work starts being exhibited in the period, there are critics who read him that way. 249 00:28:37,530 --> 00:28:41,580 Think he's mostly left wing critics think he's a good guy because he's making 250 00:28:41,580 --> 00:28:47,670 fun of those debauched bourgeois who come up to my mom and get that case. 251 00:28:47,670 --> 00:28:53,370 But you could equally argue what people have argued, the counter view, 252 00:28:53,370 --> 00:29:04,130 which is that that subsection of the middle class who see themselves as kind of hidden, also quite happy to see themselves in this way, 253 00:29:04,130 --> 00:29:09,900 that this is not that these are not images that contradict the appeal of slumming in that part 254 00:29:09,900 --> 00:29:15,240 of what you think is cool by yourself when you had to go off on a on a party on Saturday night. 255 00:29:15,240 --> 00:29:19,440 Is that you end up in this sort of stage, know that you don't look elegant anymore, 256 00:29:19,440 --> 00:29:24,510 that you're kind of becoming part of that part of that nightclub scene. 257 00:29:24,510 --> 00:29:35,860 I just thought that for my book, it's this image in particular which in terms of its style, is fantastically innovative. 258 00:29:35,860 --> 00:29:44,340 The unorthodox perspective, garish stage lighting, strong contos, startling colour choices, et cetera, et cetera. 259 00:29:44,340 --> 00:29:47,430 In other words, it looks very much like advanced painting. 260 00:29:47,430 --> 00:29:55,980 And again, the idea of what might say is that whatever is shown within the painting, the painting itself is not for a mass audience, 261 00:29:55,980 --> 00:30:01,140 that this is the most advanced painting that appeals again to a particular kind of elite 262 00:30:01,140 --> 00:30:10,250 who see themselves as the people who can understand this sort of this sort of painting. 263 00:30:10,250 --> 00:30:18,470 Just one more example to double example to to underscore this idea of the difficulty of pinning the track down. 264 00:30:18,470 --> 00:30:26,910 This is Lautrec dressed as Jane Averitt. So this is another of those photographs where he's goofing around, dressing up, having a snack, 265 00:30:26,910 --> 00:30:36,830 keep him visible, attract dressed in a kimono as a Japanese woman, somebody holding his baby baby doll. 266 00:30:36,830 --> 00:30:42,500 So there's a lot of fun being had around these around these circles. 267 00:30:42,500 --> 00:30:47,480 And again, the question is, does it say what does it mean when you dress up with King Avro? 268 00:30:47,480 --> 00:30:52,280 Does that mean he identifies with her and is suffering in some way on his side? 269 00:30:52,280 --> 00:30:59,200 What does it show that it's really just all a joke for him, that these are all just images that you can pick up if you can discover. 270 00:30:59,200 --> 00:31:07,240 So what my this tells us about how he represents Jane Avro herself. 271 00:31:07,240 --> 00:31:11,980 OK, so that was the first example. And I figure I've left you with more questions about it than answers. 272 00:31:11,980 --> 00:31:15,700 But that reflects I think that's not a bad reflection of the state of the literature. 273 00:31:15,700 --> 00:31:22,750 He's a much contested figure. I think an example is equally contested. 274 00:31:22,750 --> 00:31:30,490 This is Zarar, who, like Lautrec, takes up as part of his subject matter, actually, 275 00:31:30,490 --> 00:31:38,140 whose primary subject matter for a big for the big paintings, for the large and ambitious paintings that he produces. 276 00:31:38,140 --> 00:31:43,620 Essentially want to hear the case of popular entertainments is the subject. 277 00:31:43,620 --> 00:31:54,100 Here's the sideshow. This is a this is what one would have seen on the street outside a circus or a larger entertainment taking place out of view. 278 00:31:54,100 --> 00:32:00,460 They put a few of the indicators of musicians, the dwarf and so forth, to pull the crowd. 279 00:32:00,460 --> 00:32:03,910 It's a kind of it's a it's an enticement, 280 00:32:03,910 --> 00:32:12,700 but then a new line of move the stairs and pay at the ticket office and go in and see the full the full show. 281 00:32:12,700 --> 00:32:22,360 He also paints the nightclubs. This is LA Show, which was apparently a slightly more rowdy and eroticize version of the cancan. 282 00:32:22,360 --> 00:32:30,180 So we're in, again, a place like the Moulin Rouge watching modern entertainment. 283 00:32:30,180 --> 00:32:37,310 And we also like to lose the track paints the circus. 284 00:32:37,310 --> 00:32:46,580 In terms of exhibition strategy, they're very different, Cerar is always in galleries spaces. 285 00:32:46,580 --> 00:32:51,770 These are the works. These big works, which have you seen? 286 00:32:51,770 --> 00:32:57,970 Three are all shown at the Salone design, which had a rival. 287 00:32:57,970 --> 00:33:02,590 And this one designed to be a rival to the official salon, which is seen by many of its 7000 likes, 288 00:33:02,590 --> 00:33:09,470 raw as impossibly high bound type tradition and impossible to get into because it had an ugly, 289 00:33:09,470 --> 00:33:14,300 brutal jury to reject anything that didn't look rather like to down. 290 00:33:14,300 --> 00:33:21,440 So this design is an economy was founded and was a kind of innovative space. 291 00:33:21,440 --> 00:33:25,310 It had its motto was that it had neither jury nor prises. 292 00:33:25,310 --> 00:33:33,010 So the idea was that anybody could exhibit had to be a very small exhibition free, but not one that would put was designed to put anyone off. 293 00:33:33,010 --> 00:33:39,380 So anyone from the rankest challenger to the most advanced avant garde painter could put that stuff in. 294 00:33:39,380 --> 00:33:45,140 It was all home. It was hung alphabetically. So there was no not only was the new jury stopping people getting in, 295 00:33:45,140 --> 00:33:52,410 but there was no jury putting certain things in a better position to be seen or grouping pages because they thought that they belong together. 296 00:33:52,410 --> 00:33:57,830 It's kind of radically them Democratic exhibitions policy. 297 00:33:57,830 --> 00:34:03,680 Lassiter's Saraa exhibits these works. 298 00:34:03,680 --> 00:34:09,830 So it's sort of the sort of democratic in terms of who can show there. But it's still very much a fine arts location. 299 00:34:09,830 --> 00:34:15,200 The government provides the space for it to in which it takes place. 300 00:34:15,200 --> 00:34:26,340 So there's a kind of unofficial or tacit acceptance by the government that these that this is an art space that is needed. 301 00:34:26,340 --> 00:34:31,920 It's not the circuits. In other words, it's not likely track. Putting the circus, Fernando in the circus. 302 00:34:31,920 --> 00:34:37,110 Fernando. Let's take a seat. 303 00:34:37,110 --> 00:34:41,720 Saraa sorry. Thought the like. Lautrec is also thinking about mass culture. 304 00:34:41,720 --> 00:34:45,570 This is another thing about mass culture, not into it. 305 00:34:45,570 --> 00:34:50,720 Only what he represents. What he thinks is what he represents represents that subject matter. 306 00:34:50,720 --> 00:34:56,700 This is another shery post here for a different circus. 307 00:34:56,700 --> 00:35:02,820 But Cerar, when he died, had 60 or so SRES in his collection. 308 00:35:02,820 --> 00:35:05,420 So he'd been he'd been collecting these things. 309 00:35:05,420 --> 00:35:14,750 And he talked about wanting to do to distil from Shery his secrets, the secrets of how this kind of subject. 310 00:35:14,750 --> 00:35:18,470 And you can see the way that Schrade represents the dance. 311 00:35:18,470 --> 00:35:26,140 When we saw Acrobat who did she's on the force through all picks up, something of that, something of the formal vocabulary. 312 00:35:26,140 --> 00:35:31,910 These simplified, jagged lines reappearing is here in a very different kind of image. 313 00:35:31,910 --> 00:35:40,320 Oil on canvas painting. The reason Thoreau was interested in ensuring. 314 00:35:40,320 --> 00:35:49,850 I think, is that he saw how he found the possibilities for expressing this kind of subject matter. 315 00:35:49,850 --> 00:35:56,940 As I said, he said he wanted to talk. He wanted to get to what he thought thought were the secrets of Turay. 316 00:35:56,940 --> 00:36:00,570 The question was, Thoreau, I think is what he thinks of that subject matter, 317 00:36:00,570 --> 00:36:09,280 what is what his view really is of the mass cultural entertainments that he represents. 318 00:36:09,280 --> 00:36:13,390 It's often argued that he's very cynical about what he's looking at. 319 00:36:13,390 --> 00:36:21,250 That he sees it, that he doesn't dig the surface and he doesn't dig the shuhui, he thinks it's all rather problematic. 320 00:36:21,250 --> 00:36:32,620 So you take the the shadows as an example. It's very often argued that this shows here the emptiness of the pleasure that is supposedly on offer here. 321 00:36:32,620 --> 00:36:38,260 So that poses a rigid kind of cannot be repeated. 322 00:36:38,260 --> 00:36:43,030 Who's at the top of the dancers? The whole scene looks kind of lifeless. 323 00:36:43,030 --> 00:36:50,190 The smiles look extremely fixed. And the chap, he's a paying customer. 324 00:36:50,190 --> 00:36:55,990 These are paper forms. He's a paying customer who looks for outside rather paid like so wanted. 325 00:36:55,990 --> 00:37:06,280 How do these these paintings has it? The draw is, as I say, rather dubious about the idea that this is a site of real pleasure. 326 00:37:06,280 --> 00:37:13,260 The guy who pays is an exploitative pig. These are exploited workers who are forced to repeat endlessly the same movements. 327 00:37:13,260 --> 00:37:25,970 But there's no real sense of enjoyment on their part in this kind of parody of pleasure. 328 00:37:25,970 --> 00:37:29,240 Throw that might be seen as something like the opposite of to lose the track, 329 00:37:29,240 --> 00:37:34,640 the track, at least one view of the track is that he finds it mass culture, 330 00:37:34,640 --> 00:37:45,400 the possibility of authentic pleasure and of a kind of democratisation, a possibility reaching out to a broader audience throng. 331 00:37:45,400 --> 00:37:51,680 One might say seise that whole arena as inherently problematic. 332 00:37:51,680 --> 00:37:56,670 But this is a place of not a place of pleasure, not a place of authentic community. 333 00:37:56,670 --> 00:38:03,560 It's all about what some of his contemporaries claimed that he was up to. 334 00:38:03,560 --> 00:38:13,880 Which is to show that this was essentially a social phenomenon invaded by this sort of language. 335 00:38:13,880 --> 00:38:23,530 One of his pals at the U.S. Invaded by capital. And what they meant by that was that this was that this was a sort of hollowed out. 336 00:38:23,530 --> 00:38:27,700 Shell of what cook communal life could be. 337 00:38:27,700 --> 00:38:33,010 And it was hollowed out by the fact that it was all about commerce, it was all about capital. 338 00:38:33,010 --> 00:38:37,870 So once the life of the Wal-Mart stock developing, entrepreneurs come in. 339 00:38:37,870 --> 00:38:43,180 They buy them. They start paying people to advertise and. And so forth. 340 00:38:43,180 --> 00:38:50,290 And it is, as I say, some of THROVE pals were wary about that kind of phenomenon. 341 00:38:50,290 --> 00:38:54,970 They thought that once it's a painful once people are getting paid to entertain you and you pay, 342 00:38:54,970 --> 00:39:09,810 then any idea that this is really about pleasure or committee or whatever it is, is that it's become impossible. 343 00:39:09,810 --> 00:39:16,290 So that's, as you say, one count of throwing it comes out of the period. 344 00:39:16,290 --> 00:39:24,360 It's also the case. Just come back to this, the thing he said about wanting to get to the secrets of Shray. 345 00:39:24,360 --> 00:39:31,920 It can also be argued that straw is locked into that world in another way, rather different way. 346 00:39:31,920 --> 00:39:34,170 These are a couple of sheets of studies that he does. 347 00:39:34,170 --> 00:39:42,210 So this is she said this is the letter that he wrote to the capital, Boufal, in which he is drawing, 348 00:39:42,210 --> 00:39:50,610 laying out or repeating something that you see in the image below, which is a page from combat, 349 00:39:50,610 --> 00:40:00,080 the Super Bowl's exploration of the idea that certain lines and certain configurations of lines have intrinsic 350 00:40:00,080 --> 00:40:06,480 will have in them the intrinsic part to produce kind of automatic emotional responses on the part of importance. 351 00:40:06,480 --> 00:40:16,670 I hear it's really so simple. The lines that head up invoke feelings of happiness and keep in mind that hate them or about sadness. 352 00:40:16,670 --> 00:40:23,280 Horizontal lines are about calm and he generalise this from those it on human 353 00:40:23,280 --> 00:40:27,750 face here to the idea that lines in and of themselves will produce this effect. 354 00:40:27,750 --> 00:40:31,920 And as I say, you can see through all the repeating things, Keith, 355 00:40:31,920 --> 00:40:43,740 or here laying out a working design and ordering Tebogo that this therefore produces a kind of automatic effect in the in the viewer, 356 00:40:43,740 --> 00:40:51,850 that these are lines that have a kind of intrinsic or configurations of lines that have an intrinsic power. 357 00:40:51,850 --> 00:40:52,980 If we come back to Marsha, 358 00:40:52,980 --> 00:41:06,870 who one might suggest that what Straw is doing here is if you can see very clearly structuring the image around a series of Reykjanes diagonals, 359 00:41:06,870 --> 00:41:13,410 which is to say that how it was cynical he might be about the world of mass culture. 360 00:41:13,410 --> 00:41:16,820 He built into his own work something of the world. 361 00:41:16,820 --> 00:41:23,250 Cooperating with them were something of the desire for producing automatic effects that someone likes Turay. 362 00:41:23,250 --> 00:41:29,200 I think Rob Leave had master that there's something in the rate that will generate this. 363 00:41:29,200 --> 00:41:36,940 What I'll find so fascinating will generate an automated response. 364 00:41:36,940 --> 00:41:41,570 That still leaves us with a slight question about how to read this email. 365 00:41:41,570 --> 00:41:46,840 This is not entirely clear whether these are ascending lines or descending lines that they're sending that in theory. 366 00:41:46,840 --> 00:41:52,540 This is a joyous picture and it is not as simple as we might have thought. 367 00:41:52,540 --> 00:41:56,230 But I suppose if we take it from the central line, at least some of us are down. 368 00:41:56,230 --> 00:42:06,460 So perhaps this is better. Perhaps this is a picture that is designed in its very composition and structure to produce feelings of sadness, 369 00:42:06,460 --> 00:42:18,620 which might be appropriate to what Cerar perhaps thought about this kind of this kind of scene. 370 00:42:18,620 --> 00:42:23,010 OK, so the third example, just a matter, again, 371 00:42:23,010 --> 00:42:28,920 to open up a slightly different way of thinking about these questions is the least famous of the three is, 372 00:42:28,920 --> 00:42:36,660 chuckled Maximilian Lupe's, who was a close colleague of thralls. 373 00:42:36,660 --> 00:42:42,720 So it becomes a pointless following in Ferrars enthrals way to produce a very different 374 00:42:42,720 --> 00:42:47,760 kind of word is just to give you a sense of the sort of stuff that he paints. 375 00:42:47,760 --> 00:42:55,920 This is the rooftop on the left and the forge on the right. 376 00:42:55,920 --> 00:43:01,920 In his depictions of Paris room with ties in front of the streets, 377 00:43:01,920 --> 00:43:08,580 a lot of student hostels on it now for some of you may have stayed on or walk up and down a rooftop. 378 00:43:08,580 --> 00:43:13,950 This was in the subjects that he chooses. 379 00:43:13,950 --> 00:43:19,980 Luce was resolute, attached to working class locations. 380 00:43:19,980 --> 00:43:25,920 This is not this a very, very different kind of street from the sort of street that the impressionists had been had normally painted, 381 00:43:25,920 --> 00:43:31,050 which would be the Grand Boulevard on the on the right bank. 382 00:43:31,050 --> 00:43:34,710 This was very much at that time a working class neighbourhood. 383 00:43:34,710 --> 00:43:42,270 And you can see the posters on the wall and Watchmen, which will one day mostly cap space posters. 384 00:43:42,270 --> 00:43:51,180 In other words, these are not the glossy Shari's that one might have seen in other parts of parts of town in terms of how what the style looks like. 385 00:43:51,180 --> 00:43:58,290 The figures are shown in very blocky and solid type of form, which is meant, 386 00:43:58,290 --> 00:44:03,990 I think Lucy tends to rhyme with what he thinks is a very down to earth subject matter. 387 00:44:03,990 --> 00:44:14,320 So there's an unflashy technique here that Rines would be the non flashy nature of the people and of the end of the neighbourhood. 388 00:44:14,320 --> 00:44:24,200 Alongside this sort of scene, he paints images of the industrial worker here illuminated by his by the forge. 389 00:44:24,200 --> 00:44:28,860 And we might contrast this with to lose the track who when he thinks of the working class. 390 00:44:28,860 --> 00:44:33,850 It's all about entertainers here. It's just a mundane worker. 391 00:44:33,850 --> 00:44:37,850 It's worth noting that Luce never does any sort of sexualised imagery. 392 00:44:37,850 --> 00:44:47,830 So going to night is very different from. To lose track. He's also working as a printmaker. 393 00:44:47,830 --> 00:44:51,850 This is a these are two political posters. 394 00:44:51,850 --> 00:45:00,850 One is an ad on the left that would've been put up in a new newsagent's window or perhaps on one of the little advertising columns in Paris, 395 00:45:00,850 --> 00:45:01,870 Philly, Tom Nouveaux, 396 00:45:01,870 --> 00:45:12,820 which was an anarchist journal in the late 19th, 19th century, and then on the left for Beti Sandy syndicalist, which is the kind of unionist battle. 397 00:45:12,820 --> 00:45:15,970 And as they say, that the politics of race does it. 398 00:45:15,970 --> 00:45:25,060 This guy calling the crowd to action and proud to be carrying the red flag of socialism and the black flag of anarchism here. 399 00:45:25,060 --> 00:45:30,880 This chap is waving towards his papers, says your enemy is your master. 400 00:45:30,880 --> 00:45:36,850 A good part of class warfare evocation here pulled from life on 10. 401 00:45:36,850 --> 00:45:46,840 These are, as I say, is a kind of simple, smallish posters aimed at mass circulation. 402 00:45:46,840 --> 00:45:56,080 And Lewis was always very willing to work for this sort of to produce the sort of image alongside his career as an oil on canvas painter. 403 00:45:56,080 --> 00:46:06,280 He wants to be able to one feels it a real, genuine desire to be able to speak to a broader mass audience. 404 00:46:06,280 --> 00:46:10,870 So he makes endless friends. I just have a couple more to show you. This is on the left. 405 00:46:10,870 --> 00:46:15,650 On the right. Sorry. A cover foolish. The Qambar Socialist. 406 00:46:15,650 --> 00:46:27,760 And on the right. On the left, a print, as you see, attacking capital and the stage and these images, they're supposed to be simple in two ways. 407 00:46:27,760 --> 00:46:35,560 One is this would be easy to read. It's not it's not about kind of esoteric or complicated high art meanings. 408 00:46:35,560 --> 00:46:39,220 That's got to be utterly legible to any sort of audience. 409 00:46:39,220 --> 00:46:48,750 Very simple messages. So he have the worker chained I by capital, by commerce and by the state. 410 00:46:48,750 --> 00:46:56,510 Here you have the divorce stock exchange with a big fat pig in front of it with a dollar sign underneath it. 411 00:46:56,510 --> 00:47:00,050 So it's pretty clear what the politics of here and how you do it. 412 00:47:00,050 --> 00:47:06,410 It's fairly free for the full right to enjoy some milk from the cow. 413 00:47:06,410 --> 00:47:14,380 The front man says, oh, how they are these bouchra hydrates. 414 00:47:14,380 --> 00:47:22,000 Love it. But of course, the meaning of the images that they're not hearing any of the words this know, this is the guy is actually in the country. 415 00:47:22,000 --> 00:47:30,600 These guys are just daytrippers who imagine they love the French countryside but don't understand that it's based on based on labour. 416 00:47:30,600 --> 00:47:36,340 So it's very simple image that they are very simple images in terms of their message. 417 00:47:36,340 --> 00:47:41,540 They're also very simple in terms of their form. 418 00:47:41,540 --> 00:47:50,920 So that does a kind of declared simplicity here in terms of the representation of the figures, in terms of how the image looks stylistically. 419 00:47:50,920 --> 00:47:54,550 And again, that's designed, I think, to make the prints clearly legible. 420 00:47:54,550 --> 00:47:59,890 You don't want the reader to be both of you to be confused that you know, that these are propaganda pieces. 421 00:47:59,890 --> 00:48:07,080 Confusion is not good for propaganda, but it also aligns the artist with the viewer. 422 00:48:07,080 --> 00:48:14,770 So the look of these images effectively say something like, look, I to the artist, unlike you, I'm not a sophisticated guy. 423 00:48:14,770 --> 00:48:20,500 I'm just a regular guy. And of course, that makes the message conveyed by the print more believable, 424 00:48:20,500 --> 00:48:27,680 makes it able to speak more convincingly, I think, to the intended, intended audience. 425 00:48:27,680 --> 00:48:35,530 This again, I was thinking about this alongside our first example to lose the track complicates something 426 00:48:35,530 --> 00:48:42,340 is the idea that he's aiming at the democratisation of the image when he's producing posters, 427 00:48:42,340 --> 00:48:49,880 or at least if he is, he's doing it in a slightly different, slightly different way. 428 00:48:49,880 --> 00:48:53,900 Penny, I want to end with that briefly as this. 429 00:48:53,900 --> 00:49:00,250 This is another loose call to Paris Street in 1871. He painted in 1985. 430 00:49:00,250 --> 00:49:02,120 1871 is the year of the Paris conference. 431 00:49:02,120 --> 00:49:10,100 These are workers who have set up the COMMUN in Paris and there's a French army is sent in and which is them, which is the Middle East. 432 00:49:10,100 --> 00:49:14,120 If you leave the left wing accounts, 30000 works is supposed to be killed. 433 00:49:14,120 --> 00:49:18,350 Seven days elusive. Both Luce is a lefty. 434 00:49:18,350 --> 00:49:22,190 That's become pretty right for what we've seen. So he's on the side of the communal. 435 00:49:22,190 --> 00:49:27,380 These are innocent victims of the brutality of the state and the military and so forth. 436 00:49:27,380 --> 00:49:36,440 What's interesting about this painting is that it's it shows the difficulty, I think, of trying to carry through what Luce did. 437 00:49:36,440 --> 00:49:46,640 Imprint's into a form that has or put a register within the. 438 00:49:46,640 --> 00:49:53,460 Two different registers of visual culture, which has all sorts of associations that make it harder to do this sort of work in it. 439 00:49:53,460 --> 00:49:54,290 And that Richard, of course, 440 00:49:54,290 --> 00:50:05,010 is fairly big or long canvas painting that gets shown in the slot is an account of this where it first exhibits, exhibits this work. 441 00:50:05,010 --> 00:50:11,610 The difficulty is that the kind of simplicity of this image, I think is deliberately made it simple. 442 00:50:11,610 --> 00:50:19,200 So the shutters of these boarded up shops behind were all very simple blocks of blocks of colour. 443 00:50:19,200 --> 00:50:24,210 This even, I think, had a deliberate simplicity to the way the figure is drawn. 444 00:50:24,210 --> 00:50:29,460 So it's possible in some way unsophisticated. 445 00:50:29,460 --> 00:50:32,790 It's not a flashy not to be flashy painting. It's not. 446 00:50:32,790 --> 00:50:38,070 He doesn't want the viewer to feel that he's flexing his artistic muscles, showing us what a great artist to do. 447 00:50:38,070 --> 00:50:46,530 Is it suppose we kind of found Earth undemonstrative painting in the way that the prints are? 448 00:50:46,530 --> 00:50:51,120 The problem is that by 1985, nobody seems to think you should do that. 449 00:50:51,120 --> 00:50:57,550 Nobody thinks that painting. But has this had direct simplicity is worth much. 450 00:50:57,550 --> 00:51:04,540 So when he exhibited in nineteen of five various critics, a sort of sympathetic to the idea that you might want to remember the commu 451 00:51:04,540 --> 00:51:10,050 that with the memory of that event might carry some sort of political weight, 452 00:51:10,050 --> 00:51:15,150 but none of them find this painting particularly moving or convincing or successful. 453 00:51:15,150 --> 00:51:18,750 And part of the reason is that I didn't bring this in. 454 00:51:18,750 --> 00:51:24,820 But afterwards, you know, the painting is just around the corner from Loop's because it's hung alphabetically. 455 00:51:24,820 --> 00:51:35,190 So l you take a very close is cheeses, looks how we both paint, just painting it, you know, get into the critics to test McKees. 456 00:51:35,190 --> 00:51:37,380 But they also know that that's kind of where it's at. 457 00:51:37,380 --> 00:51:46,080 But the questions of a cohesive painting asks, which are really questions about formal innovation, et cetera, et cetera. 458 00:51:46,080 --> 00:51:51,700 But that's kind of what's going on in painting life with kids that they know that that's that's what painting is headed. 459 00:51:51,700 --> 00:51:56,790 And this thing just looks like it's kind of caught out of time a little bit. 460 00:51:56,790 --> 00:52:02,280 The real problem, the underlying problem, I think, is, of course, that there are different audiences here, 461 00:52:02,280 --> 00:52:08,130 the critics, the published critics, review journal writing in newspapers and so forth. 462 00:52:08,130 --> 00:52:14,760 Of course, are old, were always all educated, middle class, almost all male. 463 00:52:14,760 --> 00:52:21,840 And they have different kinds of they want different things from pinkly than other kinds of audience money. 464 00:52:21,840 --> 00:52:28,710 And watch looses. The people to whose painting is really speaking for the workers is very interesting. 465 00:52:28,710 --> 00:52:33,660 Post history to this forehands of this painting season. Who's loses studio? 466 00:52:33,660 --> 00:52:44,180 Don't revise it. And then the CJK, which is a key U.S. Confederation of unions in France, agreed to take it. 467 00:52:44,180 --> 00:52:49,230 So they feel there's there's an audience out there that's not the usual audience who feel that this 468 00:52:49,230 --> 00:52:54,540 is a worthwhile painting and that it speaks to something that they know that they might believe in. 469 00:52:54,540 --> 00:52:59,750 So they agree to take it, although it's actually not clear that they ever go round the studio and pick it up. 470 00:52:59,750 --> 00:53:05,700 Then there's a very interesting exchange in the records of the Music d'Orsay, 471 00:53:05,700 --> 00:53:12,090 which is at that time well from before the news agency existence, the Music Luxenberg, which is the modern art museum. 472 00:53:12,090 --> 00:53:16,290 Parents were in the minutes with some of their meetings. 473 00:53:16,290 --> 00:53:24,270 There's a debate about whether to accept this painting to the national collection because it's done on the afternoon films and dies. 474 00:53:24,270 --> 00:53:30,240 And you can tell from the debate that this unease essentially about the politics and the painting. 475 00:53:30,240 --> 00:53:35,600 Do we really want this painting in the national collection? Is this speaking correctly to our values? 476 00:53:35,600 --> 00:53:41,370 And I think the values a double for both political. Do we want to remember the communal but also aesthetic? 477 00:53:41,370 --> 00:53:44,640 Is this the right sort of painting? Do we think that this is. 478 00:53:44,640 --> 00:53:49,830 Do we think that this painting fits into the glorious story of 20th century French modernism? 479 00:53:49,830 --> 00:53:54,980 And eventually they do see it sometimes in the residual say they haven't sometimes. 480 00:53:54,980 --> 00:54:01,740 And we just to reinforce what I've been told, that one of the things we've been thinking about, which is audiences for all. 481 00:54:01,740 --> 00:54:13,036 And how different audiences might respond to be expected to respond to different different kinds of changes.