Well organized, expertly presented, incisive and thought provoking, full of genuine feeling. Agree or disagree, it's refreshing to find opinions so positively and professionally put forth.
Morgan's eloquence on Turner's later works brings so much joy to a lover of impressionism like myself. Turner's watercolor is beyond this world - in a few strokes you see vista of distant landscape cloaked in misty light. Turner is my favorite watercolor artist, he is indeed a genius in this difficult medium.
This is the best of the half dozen or so talks that I have heard. The common practice of what is often facile biographical matter is replaced by informative historical exhibition facts, and helpful interpretive and observational comments. The speaker examines no narrative (there isn't one); he looks closely at the canvas, the application of paint and subtle colouring; he tries to account for the vision of the artist; he notes the effects of this picture on a willing viewer. Thank you for the help!
Brilliant! Can't go to London because of Covid. These videos are a way to connect with the city and one of my favorite museums. Thank you so much. Can't wait to see all of these paintings now I know much more about them.
I have listened to many lectures from the National Gallery but this just ranks RIGHT UP THERE. Thank you, Mr. Morgan! There is always so much to say about any famous painting but you contextualize this canvas and help us to understand its history--a painting without content! An amazing blazing explique of the work, for which thousands (like myself) will be grateful!
Love this presentation on jmw turner. Learned new information about turner who I respect deeply. It is great to hear him talk about his life and inheritance and the possible charity. Reminds me of monet’s donation to the people of France displayed at the orangery in Paris. I would love to hear a talk by this presenter on Cezannd who painted the lovely sainte victoire almost 200 times. If you have been there you might understand.
Love Turner. I just finishe a project After Turner on historic spots of Turner's Rhine voyages visualized with a camera obscura! Very familiar moods. Awarded with German Photo Award 2020.
I already agree with you...Turner is a great master.... and talk about being ahead of his time!!! 20 to 40 years ahead of the Impressionists...[ who I also love ].....etherial... spiritual....& light light light.....
Incredible lecture here !, Thank you! Light , effect , is not real in life , but it’s undoubtedly , one of the more difficult technics a Master painter can teach us.
might’ve included the poem, the art critic found, that gave the art world a handle on the work. Guy says we don’t need it, which is fair truth, work can stand solus merit - however, sense of missing poem might add to general appreciation
Just as a poem or work of music can stand on its own without the observer needing to be aware of the background which inspired the composer, why not a painting? I'm curious if there's any evidence Turner had that in mind.
He'd made his money.. his decision to non-conform was now long overdue. He edited..painted over distinction..no mistakes .He influenced the impressionists..no doubt. Unfinished works?.. WHO can decide that but the artist! Academies, Agents & Monetisers become OBSELETE. Beautiful. The PEAK of his career ..were his Last years..He became HONEST! He became an 'Individual'. This is a coming of Age. and THIS is why we should ALWAYS Respect our Elders x
I can definitely hear 'the public' "Lookee there, that's a boat isn't it? How come it's not clear - is there just fog in that patch? " I'm sure Turner heard a lot of his malarkey, some of it probably annoyed him, some of it he probably courted. One thing every artist I know has done with their 'near misses' is to swap them for goods or services. (I was once paid with two small bronze heads of a three bronze head set. I even met the model who'd posed for the third head. I'd immediately recognized her from a full length sculpture but not my heads... Then I realized she was the missing head. So incompleteness can have its own special provenance.) I've given some thought about this issue of finished/unfinished. There's a Dega in the Norton Simon Museum where the artist has quickly sketched a doubled figure over the top of another but over a little bit. Likely he had the thought that if this central figure were over just a little bit... Instead of scraping off the original figure or painting her over... he completed his idea and didn't finish the painting. But it was also too good to throw out. (I've got a box of tone black and white prints that are absolutely nothing. I was advised to not throw them out because silver paper prints would someday be scarce.) The only real mystery is not whether it is finished or not, but first understanding his compositional idea, and second wondering what other issues there were that kept him from 'cleaning it up' and finishing it (so he could sell it.) Maybe the correction wouldn't be possible (Would Turner mess up this canvas if he painted over that 'boat' shape?), maybe the canvas had reached a point where it would be easier - and better - to just paint a new canvas. Would I hang this in my house? Absolutely. I have a fragment of a pastel drawing I watched the artist trim off before I photographed the work. I've got another painting on vellum that has a section cut out at the edge because the artist wanted more space around the paint and this was probably a dribble. I've got a couple of sculptures that I made that I'm not sure what they are. If on my death bed someone says, 'Just put those things in the firewood bin' I won't care a bit. Art is information. Where there's emotional aesthetic information there's art - it doesn't matter if it's 'finished' - what does that even mean? The artist who painted the work on vellum, Ed Moses once told me "Sometimes you have to keep working on a painting until you go too far and have to paint over it. If you don't occasionally go too far you'll never be sure when you've gone far enough." I asked him, "Have you ever just stopped half way?" "Oh yes, I've had to leave the studio and the next day when I come back sometimes I really like what I've done and I don't go any further." Laurence Dryban once made a drawing of some Baroque puttee on a Don Judd stack. He'd done it with a slide projector and he'd obviously left out a line of one of the Judd stack elements. I pointed it out. OOOh. He wasn't happy. He probably didn't want to draw it in because if it was off even a little bit it would look completely wrong. He probably didn't think he could set up the slide projector in just the right position. Last time I saw that drawing it was still missing that line. Would I hung... Sure, why not.
Skilled and engaging lecturer, but I still don't get Turner. I have a bit of an understanding of fine art, but have never had good feelings for his works.
Gotta say, he picked the worst example of a painting to make the claim that Turner wasn't painting something that could be seen, reality, or something that actually happens. This painting is one of the most realist paintings of his later career, it absolutely looks just like reality. It's very grayed down, subtle, simple, the values etc. It looks just like it.
The evening star is in my opinion a significant moment in time according to Jewish life. It announces the beginning of the Sabbath on Friday night and the end on saturday evening. I might be wrong, please check this information. Also gematria plays a big role in Thora life. So What exactly Does the number 117 mean according to Jewish gematria ?
I'm trying to enthuse my whole being into forming a positive opinion with regards to this particular work of Turner's but, alas, I'm fighting a losing battle. It comes back down to who the artist was as opposed to the art itself. Would Matthew Morgan be so willing to expend his time to present his love for this painting if it was known that a butcher or part-time plumber in the local High Street had executed it? Probably not! I have high regard for Turner and bear him no malice whatsoever, but the promotion of "The Evening Star" as one of his classics appears another example of esotericism within the art world.
NickPenlee ....Are you bringing up the question, ‘ Can we appreciate a work of art if we learn something unsavory about its author?’ Is our appreciation of Wagner altered in any way by knowing of his irrational biases? Can we look at the works of Renoir entirely disaffected by the fact that his anti-Jewish prejudices placed him among those who maintained that Alfred Dreyfus was a traitor even when it was proven otherwise? The same question can be asked of Cézanne. The other side of that question is, ‘Do we tend to praise a work of art more when we learn that it was created by one of the ‘greats’? There is a piece by Jeff Koons currently at The Museum of Modern Art ... three basketballs suspended in a fish tank. It sold for $350,000 dollars. Three basketballs suspended in a fish tank! How much would it have fetched without the name Koons attached? And how much is our opinion of a work of art influenced by where it is housed? We think, ‘ if the Tate has it, it must be great. Therefore it is up to us to evolve our tastes to match the esteem placed on it by those who know.’
Hi Renzo My opinion with regards to Turner's featured painting is entirely my own and was not expected to be echoed by the majority. I do tend to agree with your assessment of art in general (eg Jeff Koons), where his name alone can significantly increase value to obnoxious levels. A mere scribble or rudimentary draft copy by a name of repute brings unbelievable price-tags and highlights a truism. 'Can we appreciate a work of art by an unsavoury individual' you ask! I believe I do to some extent. I find nothing appealing in the clown art work of John Wayne Gacy but I do think that there is some merit in the watercolours of Adolf Hitler, for example. Renoir's anti-Semitism doesn't turn me off his oeuvre!
Hi Jonathan I agree with you sir. I personally wouldn't denigrate the masterful efforts of a career plumber and would be happy to bestow praise on any work that I personally deem suitable. The problem faced by us all remains a significant one nonetheless in that a major gallery or institution probably wouldn't choose to hang our poor plumber's painting in the first place. (No name, no acclaim): do you not agree! Instead , as you point out, the world of art has chosen to put credence to what you've described euphemistically as "amorphous blobs", a fact which doesn't sit too well with me on a personal level and I believe that I have an ally in you on this point sir. A greater enigma lies in the willingness of cashed-up individuals to part with honest (or dishonest) funds to purchase obnoxious examples of contemporary art. I take heed however of the creed that 'beauty is in the eye of the beholder'. I believe that Turner's "Evening Star" is a veritable feast for my eyes in comparison with some of todays money-spinners. Warmest regards.
Nick, I think that the painting's main value is that it "shows his working"; Turner was fairly secretive about his methods in his lifetime. It's not one of his great works I agree, but I'm inclined to the "it's unfinished" school of thought. I also agree with your High St Butcher analogy - names sell. Please don't get me started on the YBAs...
Yes, we are sure that Renoir was basically anti-Semitic. Not necessarily to Nazi level, but he and Cézanne and Degas sided against Alfred Dreyfus a Jewish artillery officer who was accused of treason for passing secrets to the Germans. January of 1895, Dreyfus was convicted in a secret court martial, publicly stripped of his army rank, and sentenced to life imprisonment on Devil's Island in French Guiana. In August 1896, the chief of French military intelligence, Lieutenant Colonel Georges Picquart, reported to his superiors that he had found evidence to the effect that the real traitor was a Major Ferdinand Walsin Esterhazy . Picquart was silenced by being transferred to the southern desert of Tunisia . When reports of an army cover-up and Dreyfus's possible innocence were leaked to the press, a heated debate ensued about anti-Semitism and France's identity as a Catholic nation or a republic founded on equal rights for all citizens. Esterhazy was found not guilty by a secret court martial, before fleeing to England. Following a passionate campaign by Dreyfus's supporters, including leading artists and intellectuals such as Émile Zola, Pissarro, Monet, Proust, Wilde he was given a second trial in 1899 and again declared guilty of treason despite the evidence in favor of his innocence. However, due to public opinion, Dreyfus was offered and accepted a pardon by President Émile Loubet in 1899 and released from prison; this was a compromise that saved face for the military's mistake. Why do you use all Caps? It represents shouting and is considered rude online behavior.
I totally get the hype and agree that there's something semi-genius about this painting. trust me I completely 'get it' but I wouldn't want to have it in my home at all...and I find it far less thought-provoking than most of my own works.... so... yeah.........next
A usual National Gallery video concentrating mostly on the presenter and his interesting story. Actually--the story is the painting. Rather tired of looking at 25% of the canvas while the National Gallery 'interpretor' tells us what we can't see. Really guys--from New York--it's about time you changed your presentation. The background wallpaper is fabulous and your presentors are well intentioned and well informed. You know what? All we people in RUclips land want to see is the PAINTING ITSELF. Why is this so hard to understand and why do you continue to make videos like this?
I could have painted that in my lunch hour and still had time for a pint ......and him SHOUTING random WORDS doesn't MAKE it anymore INTERESTING either
What does it matter how the painting is MADE...anymore than how the car you drive or train you catch is made.?Let the art do the talking ...not some opinionated lackey of the Nat Gallery.
Thank you for making these available to the audience online, specially for those abroad.
Great talk❤ Thank you for making these available online! From Buenos Aires, Argentina ❤
I walk my dog in the evening while listening to this graet lecture . I learn and get to know this great British artist ! Thank you!
Well organized, expertly presented, incisive and thought provoking, full of genuine feeling. Agree or disagree, it's refreshing to find opinions so positively and professionally put forth.
Morgan's eloquence on Turner's later works brings so much joy to a lover of impressionism like myself. Turner's watercolor is beyond this world - in a few strokes you see vista of distant landscape cloaked in misty light. Turner is my favorite watercolor artist, he is indeed a genius in this difficult medium.
I shifted my view of art as a result of listening to this lecture - I am indebted
This is the best of the half dozen or so talks that I have heard. The common practice of what is often facile biographical matter is replaced by informative historical exhibition facts, and helpful interpretive and observational comments. The speaker examines no narrative (there isn't one); he looks closely at the canvas, the application of paint and subtle colouring; he tries to account for the vision of the artist; he notes the effects of this picture on a willing viewer. Thank you for the help!
I love these kind of videos. Please more.
@JONATHAN SUTCLIFFE Yes, grotesque even.
This man is an inspiration! One could listen to this marvellous presenter for hours, perhaps for days...
Brilliant! Can't go to London because of Covid. These videos are a way to connect with the city and one of my favorite museums. Thank you so much.
Can't wait to see all of these paintings now I know much more about them.
I have listened to many lectures from the National Gallery but this just ranks RIGHT UP THERE. Thank you, Mr. Morgan! There is always so much to say about any famous painting but you contextualize this canvas and help us to understand its history--a painting without content! An amazing blazing explique of the work, for which thousands (like myself) will be grateful!
Well done Matthew! Perfect pace, enthusiasm, clear layout of the talk and no notes, which, as a lecturer, I find particularly impressive.
.............................and a wicked sense of humor.
Certainly among the very best of these lectures so far.
I enjoyed the presentation and found the content thought-provoking.
I am drawn to Turner's work and hope someday to see something by him in person.
Riveting and informative. Thank you.
J.M.W. Turner is also one of my favorites. You can just look at them forever and get lost in them.
Third watch of this guy.He gets it ramped.Great video.Fantastic passion and knowledge.
He was a star, shining in the moment between day and night. He represents the best of what was and what came after.
Interesting stuff!! 🖼🎨🖌
Love this presentation on jmw turner. Learned new information about turner who I respect deeply. It is great to hear him talk about his life and inheritance and the possible charity. Reminds me of monet’s donation to the people of France displayed at the orangery in Paris. I would love to hear a talk by this presenter on Cezannd who painted the lovely sainte victoire almost 200 times. If you have been there you might understand.
Marvelous! Thank you!
Love Turner. I just finishe a project After Turner on historic spots of Turner's Rhine voyages visualized with a camera obscura! Very familiar moods. Awarded with German Photo Award 2020.
Beautiful painting !!!!
Turner was an incredible master!
Maybe but this painting is very plain and awfully ugly
I already agree with you...Turner is a great master.... and talk about being ahead of his time!!! 20 to 40 years ahead of the
Impressionists...[ who I also love ].....etherial... spiritual....& light light light.....
Thank you, excellent talk & opinion on the piece of art, 👏👏🙏
clear and informative. thank you.
Another wonderful video from the gallery.
Great , and the presentation is amazing.
A wonderfully constructed lecture.
This is superb. Thank you so much.
Thank you 🇺🇸
Incredible lecture here !, Thank you! Light , effect , is not real in life , but it’s undoubtedly , one of the more difficult technics a Master painter can teach us.
Thank YOU very much 👏👏👏 By the way, I love this painting. Warm regards from Argentina 🇦🇷
..being a very tense, anxious person, i don't get calm from this picture..
but it's good to hear about it..
he's like a pendulum, back and forth.. back and forth...!
👏👏👏 very intresting 😊🌼🌻🌺🌹
Bravo!!!
Excellent ✅. Very informative indeed. Thanks 🙂
Glad you enjoyed it!
Somehow, I can see Mark Rothko being inspired by this masterpiece.
Hmm...
might’ve included the poem, the art critic found, that gave the art world a handle on the work.
Guy says we don’t need it, which is fair truth, work can stand solus merit - however, sense of missing poem might add to general appreciation
Just as a poem or work of music can stand on its own without the observer needing to be aware of the background which inspired the composer, why not a painting? I'm curious if there's any evidence Turner had that in mind.
He'd made his money.. his decision to non-conform was now long overdue. He edited..painted over distinction..no mistakes .He influenced the impressionists..no doubt. Unfinished works?.. WHO can decide that but the artist! Academies, Agents & Monetisers become OBSELETE. Beautiful. The PEAK of his career ..were his Last years..He became HONEST! He became an 'Individual'. This is a coming of Age. and THIS is why we should ALWAYS Respect our Elders x
I can definitely hear 'the public' "Lookee there, that's a boat isn't it? How come it's not clear - is there just fog in that patch? " I'm sure Turner heard a lot of his malarkey, some of it probably annoyed him, some of it he probably courted. One thing every artist I know has done with their 'near misses' is to swap them for goods or services. (I was once paid with two small bronze heads of a three bronze head set. I even met the model who'd posed for the third head. I'd immediately recognized her from a full length sculpture but not my heads... Then I realized she was the missing head. So incompleteness can have its own special provenance.)
I've given some thought about this issue of finished/unfinished. There's a Dega in the Norton Simon Museum where the artist has quickly sketched a doubled figure over the top of another but over a little bit. Likely he had the thought that if this central figure were over just a little bit... Instead of scraping off the original figure or painting her over... he completed his idea and didn't finish the painting. But it was also too good to throw out. (I've got a box of tone black and white prints that are absolutely nothing. I was advised to not throw them out because silver paper prints would someday be scarce.) The only real mystery is not whether it is finished or not, but first understanding his compositional idea, and second wondering what other issues there were that kept him from 'cleaning it up' and finishing it (so he could sell it.) Maybe the correction wouldn't be possible (Would Turner mess up this canvas if he painted over that 'boat' shape?), maybe the canvas had reached a point where it would be easier - and better - to just paint a new canvas. Would I hang this in my house? Absolutely. I have a fragment of a pastel drawing I watched the artist trim off before I photographed the work. I've got another painting on vellum that has a section cut out at the edge because the artist wanted more space around the paint and this was probably a dribble. I've got a couple of sculptures that I made that I'm not sure what they are. If on my death bed someone says, 'Just put those things in the firewood bin' I won't care a bit. Art is information. Where there's emotional aesthetic information there's art - it doesn't matter if it's 'finished' - what does that even mean? The artist who painted the work on vellum, Ed Moses once told me "Sometimes you have to keep working on a painting until you go too far and have to paint over it. If you don't occasionally go too far you'll never be sure when you've gone far enough." I asked him, "Have you ever just stopped half way?" "Oh yes, I've had to leave the studio and the next day when I come back sometimes I really like what I've done and I don't go any further." Laurence Dryban once made a drawing of some Baroque puttee on a Don Judd stack. He'd done it with a slide projector and he'd obviously left out a line of one of the Judd stack elements. I pointed it out. OOOh. He wasn't happy. He probably didn't want to draw it in because if it was off even a little bit it would look completely wrong. He probably didn't think he could set up the slide projector in just the right position. Last time I saw that drawing it was still missing that line. Would I hung... Sure, why not.
Ah.....Wow..That's why BTS RM admire his paintings,,, I should learn more about him,, also when he describe about dog,,very cute💜💜💜💜💜💜
Unfinished works reveal the artist mind in ways finished work cannot.
Why doesn't he show the Art???
❤️
Quiet painting
I don't get it though, I really do try.
I don't either. Wish I did
Skilled and engaging lecturer, but I still don't get Turner. I have a bit of an understanding of fine art, but have never had good feelings for his works.
Gotta say, he picked the worst example of a painting to make the claim that Turner wasn't painting something that could be seen, reality, or something that actually happens. This painting is one of the most realist paintings of his later career, it absolutely looks just like reality. It's very grayed down, subtle, simple, the values etc. It looks just like it.
The evening star is in my opinion a significant moment in time according to Jewish life. It announces the beginning of the Sabbath on Friday night and the end on saturday evening. I might be wrong, please check this information. Also gematria plays a big role in Thora life. So What exactly Does the number 117 mean according to Jewish gematria ?
I love these videos...but why is he shouting?
He's unamplified whilst speaking to a gallery full of people and, I guess, needed to project his voice for those at the back.
Because he's a loud mouthed know all !
So that people in the audience can hear
The painting is rediculously plain and he try to make a impression. ....
xXX👍👍👍
I'm trying to enthuse my whole being into forming a positive opinion with regards to this particular work of Turner's but, alas, I'm fighting a losing battle.
It comes back down to who the artist was as opposed to the art itself.
Would Matthew Morgan be so willing to expend his time to present his love for this painting if it was known that a butcher or part-time plumber in the local High Street had executed it? Probably not!
I have high regard for Turner and bear him no malice whatsoever, but the promotion of "The Evening Star" as one of his classics appears another example of esotericism within the art world.
NickPenlee ....Are you bringing up the question, ‘ Can we appreciate a work of art if we learn something unsavory about its author?’
Is our appreciation of Wagner altered in any way by knowing of his irrational biases?
Can we look at the works of Renoir entirely disaffected by the fact that his anti-Jewish prejudices placed him among those who maintained that Alfred Dreyfus was a traitor even when it was proven otherwise?
The same question can be asked of Cézanne.
The other side of that question is, ‘Do we tend to praise a work of art more when we learn that it was created by one of the ‘greats’?
There is a piece by Jeff Koons currently at The Museum of Modern Art ... three basketballs suspended in a fish tank.
It sold for $350,000 dollars.
Three basketballs suspended in a fish tank!
How much would it have fetched without the name Koons attached?
And how much is our opinion of a work of art influenced by where it is housed?
We think, ‘ if the Tate has it, it must be great. Therefore it is up to us to evolve our tastes to match the esteem placed on it by those who know.’
Hi Renzo
My opinion with regards to Turner's featured painting is entirely my own and was not expected to be echoed by the majority.
I do tend to agree with your assessment of art in general (eg Jeff Koons), where his name alone can significantly increase value to obnoxious levels.
A mere scribble or rudimentary draft copy by a name of repute brings unbelievable price-tags and highlights a truism.
'Can we appreciate a work of art by an unsavoury individual' you ask!
I believe I do to some extent. I find nothing appealing in the clown art work of John Wayne Gacy but I do think that there is some merit in the watercolours of Adolf Hitler, for example. Renoir's anti-Semitism doesn't turn me off his oeuvre!
Hi Jonathan
I agree with you sir.
I personally wouldn't denigrate the masterful efforts of a career plumber and would be happy to bestow praise on any work that I personally deem suitable. The problem faced by us all remains a significant one nonetheless in that a major gallery or institution probably wouldn't choose to hang our poor plumber's painting in the first place. (No name, no acclaim): do you not agree!
Instead , as you point out, the world of art has chosen to put credence to what you've described euphemistically as "amorphous blobs", a fact which doesn't sit too well with me on a personal level and I believe that I have an ally in you on this point sir.
A greater enigma lies in the willingness of cashed-up individuals to part with honest (or dishonest) funds to purchase obnoxious examples of contemporary art. I take heed however of the creed that 'beauty is in the eye of the beholder'.
I believe that Turner's "Evening Star" is a veritable feast for my eyes in comparison with some of todays money-spinners.
Warmest regards.
Nick, I think that the painting's main value is that it "shows his working"; Turner was fairly secretive about his methods in his lifetime. It's not one of his great works I agree, but I'm inclined to the "it's unfinished" school of thought. I also agree with your High St Butcher analogy - names sell. Please don't get me started on the YBAs...
Yes, we are sure that Renoir was basically anti-Semitic. Not necessarily to Nazi level, but he and Cézanne and Degas sided against Alfred Dreyfus a Jewish artillery officer who was accused of treason for passing secrets to the Germans.
January of 1895, Dreyfus was convicted in a secret court martial, publicly stripped of his army rank, and sentenced to life imprisonment on Devil's Island in French Guiana.
In August 1896, the chief of French military intelligence, Lieutenant Colonel Georges Picquart, reported to his superiors that he had found evidence to the effect that the real traitor was a Major Ferdinand Walsin Esterhazy . Picquart was silenced by being transferred to the southern desert of Tunisia .
When reports of an army cover-up and Dreyfus's possible innocence were leaked to the press, a heated debate ensued about anti-Semitism and France's identity as a Catholic nation or a republic founded on equal rights for all citizens. Esterhazy was found not guilty by a secret court martial, before fleeing to England.
Following a passionate campaign by Dreyfus's supporters, including leading artists and intellectuals such as Émile Zola, Pissarro, Monet, Proust, Wilde he was given a second trial in 1899 and again declared guilty of treason despite the evidence in favor of his innocence.
However, due to public opinion, Dreyfus was offered and accepted a pardon by President Émile Loubet in 1899 and released from prison; this was a compromise that saved face for the military's mistake.
Why do you use all Caps?
It represents shouting and is considered rude online behavior.
mason and modeeeeeene.
19:46 wtf XDDD
the painting seems to be not much. mostly empty
His voice is a bit of a 'machine gun' IMHO. I feel he' barking at me, lol!
I totally get the hype and agree that there's something semi-genius about this painting. trust me I completely 'get it' but I wouldn't want to have it in my home at all...and I find it far less thought-provoking than most of my own works.... so... yeah.........next
A usual National Gallery video concentrating mostly on the presenter and his interesting story. Actually--the story is the painting. Rather tired of looking at 25% of the canvas while the National Gallery 'interpretor' tells us what we can't see. Really guys--from New York--it's about time you changed your presentation. The background wallpaper is fabulous and your presentors are well intentioned and well informed. You know what? All we people in RUclips land want to see is the PAINTING ITSELF. Why is this so hard to understand and why do you continue to make videos like this?
We're here for the lecture, not the painting.
Even this fine speaker has regrettably adopted the contemporary fashion of using “impact” as a verb.
im sure the royal family was happy, money money money.... must be funny.... it's a rich man's world
Not my cup of tea, sorry.
All the whingeing and whining on here is just that..by whingers and whiners.
I could have painted that in my lunch hour and still had time for a pint ......and him SHOUTING random WORDS doesn't MAKE it anymore INTERESTING either
You try it and you'll find you can't.
What does it matter how the painting is MADE...anymore than how the car you drive or train you catch is made.?Let the art do the talking ...not some opinionated lackey of the Nat Gallery.
The painting bleak and depressing. Good lecture but his impressions are the antithesis of mine.