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If Joseph Mallord William Turner is famous for just one thing, | 0:00:03 | 0:00:08 | |
it's this, | 0:00:08 | 0:00:09 | |
his sunsets. | 0:00:09 | 0:00:10 | |
When I was a student and... | 0:00:11 | 0:00:14 | |
growing up in Margate, you were aware of Turner, | 0:00:14 | 0:00:16 | |
there was blue plaques and everything. | 0:00:16 | 0:00:18 | |
And you were told about the fact | 0:00:18 | 0:00:19 | |
there was this famous Victorian artist | 0:00:19 | 0:00:21 | |
that came to Margate because of the beautiful sunsets. | 0:00:21 | 0:00:24 | |
Turner stands above every other British landscape painter. | 0:00:25 | 0:00:30 | |
His name conjures up images of dramatic skies, | 0:00:30 | 0:00:32 | |
daunting crags and wild seas. | 0:00:32 | 0:00:36 | |
But there's another side to Turner. | 0:00:36 | 0:00:39 | |
Machines, technology, industry. | 0:00:43 | 0:00:48 | |
The opposite of nature. | 0:00:48 | 0:00:50 | |
Turner was much more than a painter of lyrical landscapes. | 0:00:51 | 0:00:55 | |
He embraced the wonders of science and progress. | 0:00:55 | 0:00:58 | |
In the years between his birth in 1775 and his death in 1851, | 0:01:00 | 0:01:06 | |
Britain experienced the most tumultuous upheaval in its history, | 0:01:06 | 0:01:11 | |
the Industrial Revolution. | 0:01:11 | 0:01:13 | |
Essentially, Turner was born in the age of sail, | 0:01:13 | 0:01:16 | |
and he died in the age of steam. | 0:01:16 | 0:01:19 | |
A new was age was being created, fuelled by science and invention. | 0:01:20 | 0:01:25 | |
Science has bestowed on man | 0:01:25 | 0:01:28 | |
powers which could almost be called creative. | 0:01:28 | 0:01:32 | |
The chemist Humphry Davy discovered new elements. | 0:01:32 | 0:01:35 | |
Michael Faraday harnessed the power of electricity. | 0:01:35 | 0:01:38 | |
The connection being now made, the copper wire immediately begins | 0:01:38 | 0:01:42 | |
to revolve around the pole of magnet. | 0:01:42 | 0:01:45 | |
Charles Babbage unveiled plans for the world's first computer. | 0:01:45 | 0:01:49 | |
A machine capable of computing any table with the aid of differences. | 0:01:49 | 0:01:54 | |
It was about finding out about the stuff of life. | 0:01:54 | 0:01:57 | |
That feeds into technological change. | 0:01:57 | 0:02:00 | |
You know, new engines, new techniques, | 0:02:00 | 0:02:03 | |
canals, tunnels, steamships, factories develop. | 0:02:03 | 0:02:08 | |
It's an enormous span | 0:02:08 | 0:02:09 | |
where science and technology and industry all go together. | 0:02:09 | 0:02:14 | |
Turner was at the heart of these momentous events. | 0:02:16 | 0:02:20 | |
He painted the Industrial Revolution as it unfolded, | 0:02:20 | 0:02:24 | |
and in the process created a whole new kind of art. | 0:02:24 | 0:02:27 | |
He wanted to sort of instinctively see | 0:02:27 | 0:02:31 | |
if belching smoke and a cantering train | 0:02:31 | 0:02:34 | |
would generate that kind of beauty. | 0:02:34 | 0:02:38 | |
He is telling his audience that it's here, | 0:02:38 | 0:02:40 | |
and my goodness, it's rushing up at you. | 0:02:40 | 0:02:43 | |
A new world was being forged, | 0:02:44 | 0:02:46 | |
and Turner, more than any other painter, | 0:02:46 | 0:02:49 | |
captured what it felt like to be there. | 0:02:49 | 0:02:51 | |
London, 1807. | 0:03:04 | 0:03:06 | |
Gas lamps light up Pall Mall for the first time. | 0:03:06 | 0:03:09 | |
Britain is in the middle of a scientific revolution. | 0:03:10 | 0:03:14 | |
The phenomena of combustion, | 0:03:14 | 0:03:17 | |
the solution of difference substances in water, | 0:03:17 | 0:03:20 | |
the agencies of fire! | 0:03:20 | 0:03:22 | |
APPLAUSE | 0:03:22 | 0:03:24 | |
At the Royal Institution, Humphry Davy is the star of the show. | 0:03:24 | 0:03:29 | |
The production... of rain, hail and snow! | 0:03:29 | 0:03:33 | |
Humphry Davy is extraordinary. | 0:03:35 | 0:03:37 | |
He had huge crowds. | 0:03:37 | 0:03:38 | |
In fact, Albemarle Street became the first one-way street in London | 0:03:38 | 0:03:42 | |
because the traffic was so dense when people went to his lectures. | 0:03:42 | 0:03:47 | |
For the first time, | 0:03:47 | 0:03:48 | |
we see potassium kind of wonderfully flaring through the crust, | 0:03:48 | 0:03:52 | |
or sodium bursting into flames on water. | 0:03:52 | 0:03:56 | |
Barium, calcium, strontium all new elements. | 0:03:56 | 0:04:01 | |
So the people that come along don't just come for the show. | 0:04:01 | 0:04:04 | |
They come to go away thinking they are at the forefront of knowledge. | 0:04:04 | 0:04:08 | |
This is the world in which Turner finds himself | 0:04:09 | 0:04:13 | |
as a young painter at the beginning of the 19th century. | 0:04:13 | 0:04:16 | |
He's fascinated | 0:04:17 | 0:04:19 | |
by the visual manifestation of scientific...discovery. | 0:04:19 | 0:04:25 | |
These ideas were bubbling up around him. | 0:04:26 | 0:04:28 | |
People met, they talked with the same aim in view, | 0:04:30 | 0:04:35 | |
which was understanding and discovering what goes on around us. | 0:04:35 | 0:04:40 | |
These ideas began to fire him up. | 0:04:40 | 0:04:44 | |
The Fighting Temeraire. | 0:04:56 | 0:04:59 | |
The nation's favourite painting. | 0:04:59 | 0:05:02 | |
Turner painted it towards the end of his life when he was 64, | 0:05:02 | 0:05:05 | |
and it captures on canvas the extraordinary journey | 0:05:05 | 0:05:08 | |
the world had taken over the course of his lifetime. | 0:05:08 | 0:05:11 | |
So the painting is of the Temeraire | 0:05:14 | 0:05:18 | |
being towed from Sheerness to Rotherhithe. | 0:05:18 | 0:05:20 | |
It's on its last ever voyage. | 0:05:20 | 0:05:22 | |
It's this great leviathan of the age of sail | 0:05:22 | 0:05:26 | |
being towed up the Thames into the heart of London by a steam tug. | 0:05:26 | 0:05:30 | |
The moon is rising on one side of the ship, | 0:05:32 | 0:05:35 | |
and on the far side of the steamer, | 0:05:35 | 0:05:37 | |
we have the sun in a big explosion of fiery red. | 0:05:37 | 0:05:40 | |
For the Victorian public who first saw this painting, | 0:05:43 | 0:05:46 | |
the Temeraire was a ship that had symbolised | 0:05:46 | 0:05:49 | |
the best and worst of Nelson's navy. | 0:05:49 | 0:05:51 | |
She'd been one the bravest battleships in the British fleet | 0:05:52 | 0:05:56 | |
with a story that began in 1802, not in glory but in disgrace. | 0:05:56 | 0:06:01 | |
A lot of the English sailors aboard her, | 0:06:06 | 0:06:08 | |
they'd been fighting basically for nine years, | 0:06:08 | 0:06:11 | |
and they just wanted to go home, and they weren't allowed to. | 0:06:11 | 0:06:14 | |
They thought it was their right when, in fact, it wasn't. | 0:06:14 | 0:06:17 | |
The mutineers were flogged, | 0:06:18 | 0:06:20 | |
and the leaders of the mutiny, they were all hanged. | 0:06:20 | 0:06:23 | |
From infamous beginnings, | 0:06:25 | 0:06:27 | |
the Temeraire went on to become a national treasure because of this, | 0:06:27 | 0:06:31 | |
Trafalgar. | 0:06:31 | 0:06:33 | |
The British attacked in two columns. | 0:06:33 | 0:06:35 | |
The Temeraire sailed just behind Nelson. | 0:06:35 | 0:06:38 | |
Nelson, his ship, the Victory, was immediately attacked. | 0:06:38 | 0:06:42 | |
It was at this moment that Nelson was shot. | 0:06:42 | 0:06:45 | |
The captain of the Temeraire, | 0:06:45 | 0:06:47 | |
he saw the Victory in trouble and piled straight in. | 0:06:47 | 0:06:52 | |
So it was unmistakably heroic, what they did, | 0:06:54 | 0:06:56 | |
putting themselves right in the heat of the action. | 0:06:56 | 0:06:59 | |
After the peace with France was declared, | 0:07:07 | 0:07:11 | |
ships like that came to the end of their useful life | 0:07:11 | 0:07:14 | |
until finally the Admiralty decided there was no further use for it | 0:07:14 | 0:07:18 | |
and it needed to be broken up. | 0:07:18 | 0:07:19 | |
So what you're looking at is a tug boat | 0:07:22 | 0:07:25 | |
owned by the ship-breaker Beatson, | 0:07:25 | 0:07:28 | |
pulling the Temeraire up river | 0:07:28 | 0:07:30 | |
towards its final destination at Rotherhithe. | 0:07:30 | 0:07:34 | |
What Turner's got there is this sort of sense of a ghost, | 0:07:35 | 0:07:39 | |
a veteran ghost of something grand and epic in British life. | 0:07:39 | 0:07:44 | |
So it's coming to its last moment, | 0:07:44 | 0:07:47 | |
but it's being pulled there by this tough little iron tug boat. | 0:07:47 | 0:07:51 | |
The Temeraire when she came from Sheerness up to Rotherhithe | 0:07:57 | 0:08:00 | |
was a very sad hulk. | 0:08:00 | 0:08:02 | |
She had no masts at all, she was literally falling apart, | 0:08:02 | 0:08:06 | |
but what Turner does | 0:08:06 | 0:08:07 | |
is he paints almost like she appeared in her glory days. | 0:08:07 | 0:08:11 | |
He's deliberately doing that | 0:08:11 | 0:08:13 | |
to make such a visible important contrast | 0:08:13 | 0:08:16 | |
between this steam tug that's pulling her along | 0:08:16 | 0:08:19 | |
and the great sailing warships | 0:08:19 | 0:08:22 | |
as they would have appeared in their pomp. | 0:08:22 | 0:08:24 | |
I see it also as a combination of noise and silence, | 0:08:27 | 0:08:32 | |
that you feel the thrashing of the wheels going round in the water, | 0:08:32 | 0:08:36 | |
and the sound of the engines, the smoke coming out of the funnel, | 0:08:36 | 0:08:39 | |
indicating all that kind of clanking industrial bustle | 0:08:39 | 0:08:42 | |
you associate with the new technology. | 0:08:42 | 0:08:45 | |
And behind it you just hear the ripple | 0:08:45 | 0:08:49 | |
of this other ship being towed silently to its doom. | 0:08:49 | 0:08:52 | |
Many people, when it was exhibited, | 0:08:55 | 0:08:57 | |
saw it as a sort of elegy for the passing of the age of sail | 0:08:57 | 0:09:01 | |
and its replacement by the new technology of steam. | 0:09:01 | 0:09:04 | |
This is the time when the top guns of Victorian polemic | 0:09:07 | 0:09:12 | |
are saying that we are damned | 0:09:12 | 0:09:14 | |
if we become prisoners of the machine age, | 0:09:14 | 0:09:17 | |
our Christianity is at peril, our national character is at peril, | 0:09:17 | 0:09:22 | |
we can no longer be moral to each other. | 0:09:22 | 0:09:24 | |
Turner didn't feel like that at all, | 0:09:26 | 0:09:28 | |
and the Victorian public didn't want to feel like that at all. | 0:09:28 | 0:09:31 | |
I don't think it is sad. | 0:09:33 | 0:09:35 | |
It seems to me to be a familial picture, | 0:09:35 | 0:09:38 | |
as if this young, tubby steam tug is the new generation, | 0:09:38 | 0:09:43 | |
which is guiding | 0:09:43 | 0:09:45 | |
some Miss Havisham-like ghost of the past! | 0:09:45 | 0:09:49 | |
He called the painting, "my old darling", | 0:09:50 | 0:09:52 | |
so he knew somehow this was the one that made people happy, | 0:09:52 | 0:09:56 | |
because it did actually make them feel good | 0:09:56 | 0:09:58 | |
about the fact they weren't just relying | 0:09:58 | 0:10:02 | |
and leaning on wonderful memories of faded glory. | 0:10:02 | 0:10:06 | |
The faded glory was being pulled on | 0:10:06 | 0:10:08 | |
by an equally tough, glorious, solid, black, energised future. | 0:10:08 | 0:10:12 | |
Steamships are, in Turner, a symbol of the modern world. | 0:10:23 | 0:10:29 | |
Turner really embraced the idea of steam. | 0:10:29 | 0:10:33 | |
I think that's incontrovertible. | 0:10:33 | 0:10:36 | |
While there are very many wrecked sailing ships in Turner, | 0:10:38 | 0:10:43 | |
there are no wrecked steamships. | 0:10:43 | 0:10:46 | |
Steamships are everywhere. | 0:10:47 | 0:10:50 | |
Turner's sketchbooks are really quite extraordinary. | 0:10:54 | 0:10:56 | |
He kept them all his life. | 0:10:56 | 0:10:58 | |
He often kept several of them in his pocket at the same time. | 0:10:58 | 0:11:03 | |
And this is a steamer, just off a harbour. | 0:11:03 | 0:11:07 | |
And quite typically, | 0:11:09 | 0:11:10 | |
Turner has added a couple of little colour notes for himself | 0:11:10 | 0:11:13 | |
just to remind himself of the effect, | 0:11:13 | 0:11:15 | |
so where the smoke is fading away, | 0:11:15 | 0:11:19 | |
he marks G for grey. | 0:11:19 | 0:11:21 | |
And of course, it's not a composition, | 0:11:22 | 0:11:24 | |
it's just a very quick record of something seen, | 0:11:24 | 0:11:27 | |
and these sketchbooks are full of little memoranda like that. | 0:11:27 | 0:11:30 | |
Turner was absolutely a chronicler of his times. | 0:11:32 | 0:11:35 | |
He was interested in everything that was going on around him, | 0:11:35 | 0:11:38 | |
and of course this was what made him | 0:11:38 | 0:11:40 | |
such a wonderful portrayer of the Britain of his day. | 0:11:40 | 0:11:45 | |
In the 1820s, international steam travel arrived, | 0:11:49 | 0:11:54 | |
and Turner was one of the first to record it. | 0:11:54 | 0:11:56 | |
In Dover, a steamer chugs merrily out to sea | 0:11:56 | 0:12:00 | |
while oarsmen puff and pant in the foreground. | 0:12:00 | 0:12:02 | |
Steamboats were soon a regular sight around the coast of Britain. | 0:12:04 | 0:12:07 | |
It must have been a great relief to get on a modern steamer, | 0:12:09 | 0:12:12 | |
instead of the old heaving hoys | 0:12:12 | 0:12:14 | |
that used to make everybody horrendously seasick | 0:12:14 | 0:12:17 | |
and took hours and hours to get there. | 0:12:17 | 0:12:19 | |
It would have been a very exciting thing. | 0:12:19 | 0:12:22 | |
But the world into which Turner was born | 0:12:29 | 0:12:31 | |
couldn't have been more different. | 0:12:31 | 0:12:33 | |
He came from another era 18th century Georgian England. | 0:12:33 | 0:12:38 | |
Turner was born in 1775, the same year as Jane Austen. | 0:12:40 | 0:12:44 | |
His father was a barber and wig-maker | 0:12:44 | 0:12:48 | |
who practised his trade in Covent Garden. | 0:12:48 | 0:12:51 | |
Just tuck you in, sir... | 0:12:51 | 0:12:52 | |
It's an area where, because of theatre, | 0:12:52 | 0:12:54 | |
the beginnings of opera and all that world, | 0:12:54 | 0:12:57 | |
society is coming, and good society and dodgy society. | 0:12:57 | 0:13:01 | |
Turner's dad was very ambitious for him. | 0:13:03 | 0:13:06 | |
He was very keen that Turner should make money. | 0:13:06 | 0:13:08 | |
He said that his father never praised him | 0:13:08 | 0:13:10 | |
for anything other than saving a ha'penny... | 0:13:10 | 0:13:13 | |
My own son, sir. | 0:13:13 | 0:13:15 | |
..which seems to left its mark on Turner's character, | 0:13:15 | 0:13:17 | |
because he became somewhat notoriously mean with money | 0:13:17 | 0:13:20 | |
throughout his life. | 0:13:20 | 0:13:21 | |
It was obvious from quite early on that Turner was very gifted. | 0:13:23 | 0:13:27 | |
The good thing about his father having a barber's business | 0:13:30 | 0:13:34 | |
was that lots of different sorts of people would come in there | 0:13:34 | 0:13:37 | |
to have their hair trimmed or their faces shaved, | 0:13:37 | 0:13:40 | |
and we know that some of the people who came in got to see Turner's work. | 0:13:40 | 0:13:45 | |
One person who is known to have frequented the barber's shop | 0:13:45 | 0:13:49 | |
was Thomas Stothard. | 0:13:49 | 0:13:51 | |
And Thomas Stothard was actually a member of the Royal Academy. | 0:13:51 | 0:13:54 | |
He was a painter. | 0:13:54 | 0:13:56 | |
And Turner's father once remarked | 0:13:56 | 0:13:58 | |
to Thomas Stothard, the Royal Academician... | 0:13:58 | 0:14:00 | |
My son is going to be a painter. | 0:14:00 | 0:14:03 | |
And he did, he joined the Royal Academy Schools at the age of 14. | 0:14:06 | 0:14:11 | |
Joshua Reynolds, the first president of the Royal Academy, was in charge, | 0:14:16 | 0:14:20 | |
and Turner absolutely revered Reynolds. | 0:14:20 | 0:14:23 | |
The great end to all art | 0:14:23 | 0:14:25 | |
is to make an impression on the imagination and the feelings. | 0:14:25 | 0:14:30 | |
The imitation of nature frequently does this. | 0:14:30 | 0:14:34 | |
Sometimes it fails and something else succeeds. | 0:14:34 | 0:14:38 | |
You know, he was a scholarship boy, got into the Royal Academy School. | 0:14:38 | 0:14:42 | |
He's sort of upwardly mobile through his wits, | 0:14:42 | 0:14:45 | |
and you could at that time be such a person. | 0:14:45 | 0:14:48 | |
And then he's on his way. | 0:14:48 | 0:14:51 | |
The academy in those days | 0:14:51 | 0:14:53 | |
wasn't what we think of an art school being now. | 0:14:53 | 0:14:56 | |
You weren't taught to paint at all, it was a drawing school, | 0:14:56 | 0:15:00 | |
and you were very much on your own in a way. | 0:15:00 | 0:15:03 | |
I wish you to be persuaded that success in your art | 0:15:05 | 0:15:10 | |
depends almost entirely on your own industry, | 0:15:10 | 0:15:14 | |
and that industry, I principally recommend, | 0:15:14 | 0:15:18 | |
is not of the industry of the hands | 0:15:18 | 0:15:20 | |
but of the mind. | 0:15:20 | 0:15:22 | |
He taught himself to paint in oils, | 0:15:24 | 0:15:27 | |
and at the age of 21, in 1796, | 0:15:27 | 0:15:30 | |
he exhibited his first oil painting at the Royal Academy, | 0:15:30 | 0:15:34 | |
and it was called Fishermen At Sea. | 0:15:34 | 0:15:37 | |
It was an absolutely virtuoso piece of painting. | 0:15:38 | 0:15:41 | |
It was almost as if he'd waited | 0:15:44 | 0:15:46 | |
till he'd completely mastered oil painting | 0:15:46 | 0:15:49 | |
and then demonstrated exactly what he could do. | 0:15:49 | 0:15:52 | |
You know, I mean, if one thinks of an artist like Constable, | 0:15:55 | 0:15:57 | |
he had to battle for years to get taken seriously | 0:15:57 | 0:16:01 | |
and was an incredibly slow-burner compared to Turner, | 0:16:01 | 0:16:04 | |
who came roaring onto the scene | 0:16:04 | 0:16:06 | |
and continued to occupy the centre ground for the rest of his life. | 0:16:06 | 0:16:10 | |
I think, by the time he painted the self-portrait, | 0:16:13 | 0:16:15 | |
he probably felt he really had arrived. | 0:16:15 | 0:16:18 | |
And it's a very flattering self-portrait. | 0:16:18 | 0:16:20 | |
I mean, Turner didn't like his own appearance. | 0:16:20 | 0:16:22 | |
He was quite short, quite rough in his manners, | 0:16:22 | 0:16:26 | |
strong Cockney accent, which he never got rid of, | 0:16:26 | 0:16:29 | |
never wanted to get rid of it. | 0:16:29 | 0:16:32 | |
He was very pushy, very self-assertive, | 0:16:32 | 0:16:35 | |
very ambitious, | 0:16:35 | 0:16:37 | |
but...he had the talent to go with it. | 0:16:37 | 0:16:41 | |
I would chiefly recommend an implicit obedience | 0:16:41 | 0:16:44 | |
to the rules of art as established by the great masters. | 0:16:44 | 0:16:49 | |
Reynolds pointed Turner towards certain painters | 0:16:49 | 0:16:53 | |
who he regarded were models of great painting. | 0:16:53 | 0:16:56 | |
But the practice of the Frenchman Claude Lorrain is to be adopted... | 0:16:56 | 0:17:00 | |
He would recommend the 17th century French painters, | 0:17:00 | 0:17:05 | |
Claude in particular. | 0:17:05 | 0:17:07 | |
Claude was regarded as the absolute master of light in landscape. | 0:17:08 | 0:17:13 | |
Claude painted classical scenes | 0:17:16 | 0:17:18 | |
of gods and nymphs frolicking in nature. | 0:17:18 | 0:17:22 | |
Ironically, it would be Claude, a painter of a mythical past, | 0:17:22 | 0:17:26 | |
who would inspire Turner | 0:17:26 | 0:17:28 | |
to paint the industrial Britain of 19th century. | 0:17:28 | 0:17:32 | |
Turner certainly loved Claude's paintings. | 0:17:32 | 0:17:34 | |
There's a famous story of him as a young man | 0:17:34 | 0:17:37 | |
going to a collector's house | 0:17:37 | 0:17:40 | |
and seeing paintings by Claude and bursting into tears. | 0:17:40 | 0:17:44 | |
He said... | 0:17:44 | 0:17:45 | |
I shall never paint like that. | 0:17:45 | 0:17:47 | |
But of course as time went by, he did paint like that. | 0:17:47 | 0:17:51 | |
He started to think | 0:17:51 | 0:17:52 | |
about how he could apply the lessons of Claude's art | 0:17:52 | 0:17:56 | |
to something appropriate to his own age. | 0:17:56 | 0:17:59 | |
This is Turner's version of a Claude. | 0:18:08 | 0:18:11 | |
Young women bathe in pastoral setting. | 0:18:11 | 0:18:14 | |
It looks in every way like a Claude, | 0:18:14 | 0:18:17 | |
except this is not the mythical past. | 0:18:17 | 0:18:20 | |
It's Devon in 1815, | 0:18:20 | 0:18:22 | |
and the Industrial Revolution is about to transform the landscape. | 0:18:22 | 0:18:27 | |
If you look very, very carefully, you'll see an enormous water wheel. | 0:18:28 | 0:18:33 | |
And this is the wheel for Gunnislake Old Mine, | 0:18:33 | 0:18:37 | |
which was the biggest copper mine in the world at the time. | 0:18:37 | 0:18:40 | |
So he paints this picture | 0:18:40 | 0:18:42 | |
of the most Claudian scene he can find in England | 0:18:42 | 0:18:45 | |
as though he were a modern Claude, | 0:18:45 | 0:18:47 | |
but, unlike Claude, he includes in the middle of it | 0:18:47 | 0:18:50 | |
a scene of modern industries. | 0:18:50 | 0:18:52 | |
Ten years later, | 0:19:00 | 0:19:02 | |
and Turner's hint of an industrial Britain | 0:19:02 | 0:19:05 | |
becomes an onslaught. | 0:19:05 | 0:19:07 | |
A Claudian seaport | 0:19:07 | 0:19:09 | |
transformed into the fires and furnaces | 0:19:09 | 0:19:12 | |
of modern Britain. | 0:19:12 | 0:19:13 | |
It's the most resolutely industrial scene | 0:19:15 | 0:19:18 | |
of coal being loaded onboard a ship | 0:19:18 | 0:19:21 | |
to be taken from the Northumbrian coalfields to the rest of Britain. | 0:19:21 | 0:19:25 | |
This is a moonlight scene, | 0:19:29 | 0:19:30 | |
but this is modern industry on the Tyne. | 0:19:30 | 0:19:34 | |
Industry never stops. | 0:19:34 | 0:19:35 | |
It's a 24-hour productive effort, and this is about industrial might. | 0:19:35 | 0:19:41 | |
These are the reasons that the England that Turner lives in | 0:19:41 | 0:19:45 | |
has become that very place. | 0:19:45 | 0:19:48 | |
It's because industry is a transforming factor in the world, | 0:19:48 | 0:19:53 | |
and his picture is a response to that. | 0:19:53 | 0:19:55 | |
I think Turner was very excited by this kind of progress | 0:19:57 | 0:20:01 | |
and also its potential for him as an artist to make pictures. | 0:20:01 | 0:20:06 | |
Keelmen is a modern British equivalent | 0:20:09 | 0:20:13 | |
of a classical Claude seaport. | 0:20:13 | 0:20:17 | |
It's a tradition bought up-to-date. | 0:20:17 | 0:20:19 | |
Claude's seaport paintings were very distinctive, | 0:20:21 | 0:20:24 | |
because you were invariably looking to the source of light, | 0:20:24 | 0:20:27 | |
which was the sun, | 0:20:27 | 0:20:29 | |
and you had parallel lines going off towards a vanishing point, | 0:20:29 | 0:20:33 | |
and that was the way they were structured. | 0:20:33 | 0:20:35 | |
And the structure that he uses for this very, very modern subject | 0:20:36 | 0:20:42 | |
is essentially a Claudian structure. | 0:20:42 | 0:20:44 | |
If you wanted to renovate the Claudian tradition, | 0:20:47 | 0:20:51 | |
you're saying effectively that Claude understood something about landscape, | 0:20:51 | 0:20:55 | |
this is how to compose, how to deal with light. | 0:20:55 | 0:20:58 | |
But the Britain of the middle of the 19th century | 0:20:58 | 0:21:02 | |
is no longer peopled with nymphs and gods. | 0:21:02 | 0:21:06 | |
It's peopled with industry and the people who work in it. | 0:21:06 | 0:21:09 | |
But this momentous scene could never have existed | 0:21:13 | 0:21:16 | |
without one pursuit that had dominated the age | 0:21:16 | 0:21:20 | |
science. | 0:21:20 | 0:21:22 | |
Somerset House in London | 0:21:28 | 0:21:30 | |
was home not just to the Royal Academy for artists | 0:21:30 | 0:21:33 | |
but also the Royal Society for scientists. | 0:21:33 | 0:21:37 | |
In the early 1800s, there was no great divide | 0:21:37 | 0:21:40 | |
between art and science like there is today. | 0:21:40 | 0:21:42 | |
They shared the same building. | 0:21:44 | 0:21:45 | |
The intellectual world was much smaller. | 0:21:46 | 0:21:49 | |
You'd meet at the same parties, | 0:21:49 | 0:21:50 | |
you'd discuss the same ideas, you'd go to the same salons. | 0:21:50 | 0:21:53 | |
There wasn't this separation of cultures | 0:21:53 | 0:21:56 | |
between the arts and sciences, | 0:21:56 | 0:21:58 | |
so that on one side of the wall there might be painters having a dinner, | 0:21:58 | 0:22:01 | |
and then two rooms down the corridor, | 0:22:01 | 0:22:03 | |
there might be a scientific lecture going on. | 0:22:03 | 0:22:06 | |
We have reason to look upon the sun | 0:22:08 | 0:22:10 | |
as a most magnificent opaque globe | 0:22:10 | 0:22:14 | |
possessed of an atmosphere in which luminous clouds, ever varying... | 0:22:14 | 0:22:18 | |
In April 1801, just as Turner was hanging his next big seascape, | 0:22:18 | 0:22:23 | |
on the other side of the wall at the Royal Society, | 0:22:23 | 0:22:27 | |
legendary astronomer William Herschel | 0:22:27 | 0:22:29 | |
was giving a lecture on the sun. | 0:22:29 | 0:22:32 | |
In order to obtain as intimate a knowledge of the sun, | 0:22:32 | 0:22:36 | |
it is obvious that the first step must be to become well acquainted | 0:22:36 | 0:22:40 | |
with all the phenomena that appear on its surface. | 0:22:40 | 0:22:43 | |
Openings, flats, | 0:22:44 | 0:22:47 | |
ridges, nodules, | 0:22:47 | 0:22:50 | |
crankles, shallows, | 0:22:50 | 0:22:53 | |
dimples and punctures. | 0:22:53 | 0:22:55 | |
Herschel's lecture on the sun was published immediately. | 0:22:57 | 0:23:01 | |
And it was at this point | 0:23:01 | 0:23:02 | |
that Turner also began to look at the sun in a new way. | 0:23:02 | 0:23:05 | |
Even here, in this most Claudian of landscapes, | 0:23:06 | 0:23:09 | |
is hidden evidence of the latest scientific thinking. | 0:23:09 | 0:23:12 | |
Young women dance around celebrating a new harvest. | 0:23:12 | 0:23:16 | |
It looks like another Claude except for one thing the sun. | 0:23:16 | 0:23:20 | |
There are many, many, many examples in Turner throughout his life | 0:23:22 | 0:23:26 | |
of new science triggering ideas. | 0:23:26 | 0:23:30 | |
In a sense, Herschel allows | 0:23:32 | 0:23:35 | |
the way Turner paints the sun | 0:23:35 | 0:23:38 | |
in the Macon. | 0:23:38 | 0:23:40 | |
Without Herschel's observations, | 0:23:40 | 0:23:42 | |
Turner might not have really... thought about it. | 0:23:42 | 0:23:45 | |
That was the trigger. | 0:23:45 | 0:23:48 | |
If you look closely at the picture, | 0:23:48 | 0:23:49 | |
it does seem to have incorporated ideas that were announced. | 0:23:49 | 0:23:55 | |
The way the paint is actually applied with a sort of ridge in it | 0:23:55 | 0:23:59 | |
seems to be taking Herschel's discovery | 0:23:59 | 0:24:02 | |
and manifesting it in paint. | 0:24:02 | 0:24:04 | |
Whereas Turner's great hero Claude | 0:24:05 | 0:24:09 | |
would paint the sun as a yellow disc hanging in the sky, | 0:24:09 | 0:24:13 | |
Turner paints slashes of... | 0:24:13 | 0:24:17 | |
little sharp lines. | 0:24:17 | 0:24:19 | |
Turner is noted throughout his career | 0:24:19 | 0:24:22 | |
for making the sun a very physical object, | 0:24:22 | 0:24:24 | |
of using impasto, which is thick paint that sticks up... | 0:24:24 | 0:24:26 | |
If you look at a canvas sideways, | 0:24:26 | 0:24:28 | |
it would stick up like a boss of a shield. | 0:24:28 | 0:24:31 | |
To bring the sun as a physical object | 0:24:31 | 0:24:34 | |
very much closer to the spectator's attention. | 0:24:34 | 0:24:37 | |
For the first time in painting, I think we can say, | 0:24:41 | 0:24:46 | |
he sees the sun as a real object, | 0:24:46 | 0:24:49 | |
but something you simply cannot look at without damaging your eyes. | 0:24:49 | 0:24:54 | |
We are being blinded by that sun. | 0:24:54 | 0:24:57 | |
"When I was a boy, I used to lie for hours on my back watching the skies | 0:25:01 | 0:25:06 | |
"and then go home and paint them. | 0:25:06 | 0:25:07 | |
"And there was a stall in Soho bazaar where they sold drawing materials, | 0:25:07 | 0:25:11 | |
"and they used to buy my skies. | 0:25:11 | 0:25:14 | |
"They gave me one shilling sixpence for the small ones | 0:25:14 | 0:25:16 | |
"and three shillings sixpence for the larger ones. | 0:25:16 | 0:25:19 | |
"There's many a young lady who's got my sky for her drawing." | 0:25:19 | 0:25:22 | |
Turner's sketchbook from 1804 | 0:25:26 | 0:25:27 | |
contains a record of the stages of an eclipse. | 0:25:27 | 0:25:31 | |
But it's not just the heavens that were being analysed. | 0:25:32 | 0:25:35 | |
Turner was absorbing developments in the understanding of the weather. | 0:25:35 | 0:25:39 | |
In December 1802, a young Quaker called Luke Howard | 0:25:41 | 0:25:44 | |
gave a lecture to a small group of scientists in London. | 0:25:44 | 0:25:48 | |
It would become a landmark moment in the creation of modern meteorology. | 0:25:48 | 0:25:52 | |
My talk this evening is concerned with what may strike some | 0:25:56 | 0:26:01 | |
as an uncharacteristically impractical subject. | 0:26:01 | 0:26:04 | |
He decided to give his talk | 0:26:04 | 0:26:07 | |
on a subject which had preoccupied him for many years, | 0:26:07 | 0:26:09 | |
and he had no idea that this lecture to an amateur science club | 0:26:09 | 0:26:13 | |
was going to make him famous. | 0:26:13 | 0:26:14 | |
It is concerned with the modification of clouds. | 0:26:14 | 0:26:18 | |
If clouds were merely the result | 0:26:19 | 0:26:22 | |
of the condensation of vapour in the atmosphere, | 0:26:22 | 0:26:26 | |
then indeed might the study of them | 0:26:26 | 0:26:27 | |
be deemed a useless pursuit of shadows. | 0:26:27 | 0:26:30 | |
But the case is not so with clouds. | 0:26:32 | 0:26:35 | |
Howard made the simple but penetrating observation | 0:26:36 | 0:26:40 | |
that there are many shapes and varieties of clouds, | 0:26:40 | 0:26:43 | |
but only three basic forms, which he called... | 0:26:43 | 0:26:46 | |
Cirrus. | 0:26:46 | 0:26:48 | |
Cumulus. | 0:26:48 | 0:26:50 | |
Stratus. | 0:26:50 | 0:26:51 | |
Before that time, people thought | 0:26:52 | 0:26:54 | |
that each cloud was somehow unique and on its own, | 0:26:54 | 0:26:57 | |
and what Howard did | 0:26:57 | 0:26:58 | |
was give a basic grounding to the science of meteorology. | 0:26:58 | 0:27:02 | |
Turner would have known of Howard's cloud classification, | 0:27:04 | 0:27:07 | |
because everybody did, | 0:27:07 | 0:27:08 | |
and it was used in artists' manuals already by the 1810s and '20s. | 0:27:08 | 0:27:14 | |
Hereafter I shall estimate the force of the wind | 0:27:21 | 0:27:24 | |
according to the following scale. | 0:27:24 | 0:27:27 | |
Nought calm. | 0:27:27 | 0:27:30 | |
One faint breeze or just not a calm. | 0:27:30 | 0:27:34 | |
Two light air... | 0:27:34 | 0:27:36 | |
The sun was being mapped, the clouds classified, | 0:27:36 | 0:27:40 | |
and in 1806 a ship's captain called Francis Beaufort measured the wind. | 0:27:40 | 0:27:46 | |
Seven gentle steady gale. | 0:27:46 | 0:27:48 | |
He came up with a fantastically simple idea. | 0:27:48 | 0:27:51 | |
Instead of simply having a list of wind strengths | 0:27:51 | 0:27:53 | |
from 1, light breeze, to 12, hurricane, | 0:27:53 | 0:27:57 | |
why not measure the effects that those winds have | 0:27:57 | 0:28:01 | |
on the sails of a ship? | 0:28:01 | 0:28:04 | |
That was a brilliant insight. | 0:28:04 | 0:28:06 | |
It used a visual sign for creating a new way of understanding weather. | 0:28:06 | 0:28:11 | |
And Beaufort's scale, it's been amended a little bit, | 0:28:13 | 0:28:16 | |
but essentially it's still with us. | 0:28:16 | 0:28:19 | |
Southwest five to seven, | 0:28:19 | 0:28:21 | |
becoming cyclonic gale eight or severe gale nine, | 0:28:21 | 0:28:26 | |
occasionally storm ten in Portland and Plymouth. | 0:28:26 | 0:28:29 | |
Well, you can't look at a painting by Turner | 0:28:29 | 0:28:31 | |
and say, "Well, that was a showery day in 1831." | 0:28:31 | 0:28:34 | |
But what you can look at Turner's paintings and see | 0:28:34 | 0:28:37 | |
is a fascination with the weather, | 0:28:37 | 0:28:38 | |
which is what everybody was feeling at that time. | 0:28:38 | 0:28:42 | |
The root of that feeling is what philosophers called the Sublime... | 0:28:47 | 0:28:51 | |
..an obsession with the powerful forces of nature. | 0:28:54 | 0:28:57 | |
It was the big idea for Turner | 0:28:58 | 0:29:00 | |
and other Romantic painters in the early 1800s. | 0:29:00 | 0:29:03 | |
The Sublime was a category of art, | 0:29:05 | 0:29:08 | |
which represented nature at its most...terrifying and intimidating. | 0:29:08 | 0:29:13 | |
Turner was fascinated with those aspects of nature | 0:29:15 | 0:29:20 | |
that showed how fragile human life was, | 0:29:20 | 0:29:23 | |
and this was a common Romantic theme. | 0:29:23 | 0:29:25 | |
The idea that we humans are in awe of what the natural world can do, | 0:29:30 | 0:29:34 | |
the volcanoes and hurricanes and floods and vast expanses, | 0:29:34 | 0:29:38 | |
all of that. | 0:29:38 | 0:29:39 | |
The category was defined in 1757 by the philosopher Edmund Burke, | 0:29:41 | 0:29:47 | |
and Edmund Burke set out to explain why it was that we should be | 0:29:47 | 0:29:52 | |
fascinated by things in pictures | 0:29:52 | 0:29:55 | |
that would terrify us if we encountered them in real life. | 0:29:55 | 0:29:59 | |
It's about being excited by high mountains, | 0:30:06 | 0:30:09 | |
by a sense of scale and mystery in the world around us, | 0:30:09 | 0:30:13 | |
and being taken to a point | 0:30:13 | 0:30:16 | |
where you are almost on the brink, perhaps, of being destroyed. | 0:30:16 | 0:30:21 | |
Certainly on the edge of being terrified. | 0:30:21 | 0:30:23 | |
The Sublime, the terrible, is also beautiful. | 0:30:25 | 0:30:29 | |
But Turner, unlike any other painter, | 0:30:32 | 0:30:35 | |
would take the idea of the Sublime | 0:30:35 | 0:30:37 | |
and re-cast it for the industrial age. | 0:30:37 | 0:30:39 | |
This is his Bell Rock Lighthouse. | 0:30:43 | 0:30:46 | |
The sea is wild and dangerous. | 0:30:46 | 0:30:48 | |
It's everything a picture of the Sublime should be, | 0:30:48 | 0:30:51 | |
except for one thing. | 0:30:51 | 0:30:52 | |
The lighthouse. | 0:30:53 | 0:30:54 | |
Man is not submitting to the power of nature. | 0:30:56 | 0:30:59 | |
He's challenging it with technology. | 0:30:59 | 0:31:01 | |
The lighthouse was built between 1807 and 1811 | 0:31:03 | 0:31:07 | |
by the Scottish engineer Robert Stevenson, | 0:31:07 | 0:31:10 | |
who commissioned Turner to paint it. | 0:31:10 | 0:31:11 | |
This is Robert Stevenson's classic account | 0:31:13 | 0:31:16 | |
of building the Bell Rock lighthouse. | 0:31:16 | 0:31:18 | |
This is a very special one with its water stains and all, | 0:31:19 | 0:31:22 | |
because this is Robert Stevenson's own copy, and the chief item | 0:31:22 | 0:31:28 | |
in the book is the frontispiece, | 0:31:28 | 0:31:30 | |
and for this, he approached JMW Turner. | 0:31:30 | 0:31:33 | |
The Bell Rock's this great big lump here, that is the rock, | 0:31:35 | 0:31:39 | |
11 miles from Arbroath, and about the same distance from St Andrews. | 0:31:39 | 0:31:44 | |
In 1799, something like 70 ships were wrecked | 0:31:46 | 0:31:51 | |
in the vicinity of the Bellrock lighthouse. | 0:31:51 | 0:31:53 | |
Most of the boats at that time were wooden ships. | 0:31:54 | 0:31:57 | |
You can imagine the effect of that striking a rock. | 0:31:57 | 0:32:01 | |
Stevenson wanted to build a lighthouse | 0:32:01 | 0:32:04 | |
in an almost impossible situation. | 0:32:04 | 0:32:08 | |
It was only at low tide you could actually get onto the rock, | 0:32:08 | 0:32:12 | |
so the rock would totally disappear at high water. | 0:32:12 | 0:32:15 | |
What made Stevenson's lighthouse special was not just its location, | 0:32:18 | 0:32:23 | |
but also its revolutionary shape - | 0:32:23 | 0:32:26 | |
a curved base calculated precisely to withstand forces of the sea. | 0:32:26 | 0:32:31 | |
It's almost unbelievable that it was successful. | 0:32:32 | 0:32:36 | |
Everything about this job was innovative. | 0:32:36 | 0:32:39 | |
When Turner finished his watercolour, | 0:32:42 | 0:32:44 | |
he sent it to Stevenson to be engraved for the book. | 0:32:44 | 0:32:47 | |
If you look closely at the watercolour, | 0:32:49 | 0:32:51 | |
the waves that are breaking on the lighthouse come up and almost grip | 0:32:51 | 0:32:55 | |
it like a hand and there is a bit of wreckage in the foreground. | 0:32:55 | 0:33:00 | |
These are indices of just how dangerous this spot actually is. | 0:33:00 | 0:33:06 | |
But the ships in Turner's picture are not sinking. | 0:33:08 | 0:33:11 | |
They're surviving. | 0:33:11 | 0:33:14 | |
The lighthouse is protecting them. | 0:33:14 | 0:33:16 | |
Turner understood precisely what these things stood for - | 0:33:18 | 0:33:21 | |
that, built properly, they were going to save hundreds, | 0:33:21 | 0:33:24 | |
and over years, thousands of lives. | 0:33:24 | 0:33:28 | |
Here you have something that is a demonstration of human ingenuity | 0:33:28 | 0:33:32 | |
in the face of an untamed sea. | 0:33:32 | 0:33:35 | |
This engineering marvel marks a turning point in Turner's art. | 0:33:39 | 0:33:44 | |
From now on, the Sublime would not just be about the power of nature, | 0:33:44 | 0:33:48 | |
it would also be about humanity's inventive ways of challenging it. | 0:33:48 | 0:33:51 | |
This painting by Turner looks, at first glance, | 0:33:59 | 0:34:02 | |
like a classic shipwreck. | 0:34:02 | 0:34:04 | |
But again, Turner has incorporated new technology in an age-old scene. | 0:34:04 | 0:34:09 | |
This painting depicts an invention by a man | 0:34:12 | 0:34:15 | |
called George William Manby, and it shows here this puff of air | 0:34:15 | 0:34:20 | |
which has fired a shot, | 0:34:20 | 0:34:23 | |
which is attached to a rope out to a shipwreck, | 0:34:23 | 0:34:26 | |
and they are going to pull that rope tight, | 0:34:26 | 0:34:28 | |
and they are going to try to ferry people to shore from the shipwreck. | 0:34:28 | 0:34:32 | |
It was painted in 1831, the year that Manby was elected | 0:34:33 | 0:34:36 | |
as a fellow of the Royal Society, | 0:34:36 | 0:34:38 | |
and Turner always had his eyes on the newspapers. | 0:34:38 | 0:34:41 | |
Manby was front page news, and that, I think, | 0:34:41 | 0:34:44 | |
is why Turner's painted it. | 0:34:44 | 0:34:45 | |
Turner met him though a patron, a Yarmouth patron called Dawson Turner, | 0:34:47 | 0:34:51 | |
who was no relation, but Turner obviously admired this man, | 0:34:51 | 0:34:56 | |
admired his work. | 0:34:56 | 0:34:58 | |
It's one of those painting in which human ingenuity | 0:34:58 | 0:35:02 | |
triumphs over the power of the sea. | 0:35:02 | 0:35:04 | |
Manby was a barrack master at Yarmouth, | 0:35:07 | 0:35:09 | |
and Yarmouth was renowned for being a very, very dangerous coast. | 0:35:09 | 0:35:14 | |
And in 1807 we know Mandy witnessed a ship, the Snipe, | 0:35:14 | 0:35:18 | |
going aground on this sandbar. | 0:35:18 | 0:35:20 | |
And he was horrified by it. | 0:35:23 | 0:35:24 | |
He could hear cries of these of the shipwrecked sailors. | 0:35:24 | 0:35:27 | |
And the next day he came down to the beach | 0:35:29 | 0:35:31 | |
and there were 144 corpses had been washed up. | 0:35:31 | 0:35:34 | |
No-one could do anything to save those people, | 0:35:38 | 0:35:41 | |
and Manby decided he was the man to solve this problem. | 0:35:41 | 0:35:44 | |
A rope, so as to communicate in such circumstances with a ship, | 0:35:46 | 0:35:51 | |
and a portable motor, the better to ensure a prompt | 0:35:51 | 0:35:57 | |
and effectual communication at a period when each successive instant | 0:35:57 | 0:36:01 | |
was big with the fate of an entire ship's company. | 0:36:01 | 0:36:06 | |
And this is all brilliant stuff that Turner loved. | 0:36:06 | 0:36:10 | |
Everyone was talking about Manby and his rather crazy invention. | 0:36:10 | 0:36:13 | |
The entire coast of Great Britain, I hope, | 0:36:15 | 0:36:18 | |
will be guarded with this additional belt of succour, | 0:36:18 | 0:36:22 | |
and I am not without the exhilarating hope | 0:36:22 | 0:36:25 | |
of living to that day when my project | 0:36:25 | 0:36:29 | |
shall be hailed as the seaman's best friend. | 0:36:29 | 0:36:33 | |
Lots of people were saved by his device, | 0:36:36 | 0:36:39 | |
though one wonders exactly what terrors people had to go though | 0:36:39 | 0:36:43 | |
between the ship and the shore | 0:36:43 | 0:36:46 | |
If you think about the Sublime, and in this case, you know, | 0:36:47 | 0:36:50 | |
raging winds, tempestuous seas, | 0:36:50 | 0:36:53 | |
here you have a device that can't overcome them, | 0:36:53 | 0:36:56 | |
but can give us a fighting chance among them. | 0:36:56 | 0:36:59 | |
Turner's embrace of new technology was not just there | 0:37:05 | 0:37:07 | |
in the subject of his paintings, it was in the very paint itself. | 0:37:07 | 0:37:11 | |
He discussed pigment recipes with the scientist Michael Faraday. | 0:37:12 | 0:37:17 | |
New fiery reds and chrome yellows - the colours of industry. | 0:37:17 | 0:37:22 | |
He was also interested in the geometric rules of art. | 0:37:23 | 0:37:27 | |
Since 1811, he'd been giving a series of lectures | 0:37:27 | 0:37:29 | |
at the Royal Academy on Perspective. | 0:37:29 | 0:37:31 | |
He gave the audience a great deal of pleasure | 0:37:32 | 0:37:36 | |
by providing beautiful diagrams showing perspective in action. | 0:37:36 | 0:37:42 | |
It has often been advanced that the study of perspective | 0:37:42 | 0:37:45 | |
is a drudgery and a toil, | 0:37:45 | 0:37:48 | |
while the observation of nature is pleasant and all must be abitted, | 0:37:48 | 0:37:51 | |
but we, erm, we are not always so happily placed | 0:37:51 | 0:37:54 | |
so as to be able to consult her unerring laws... | 0:37:54 | 0:37:57 | |
The problem for Turner was that | 0:37:57 | 0:37:58 | |
despite his pugnacious self-confidence, | 0:37:58 | 0:38:01 | |
when it came to performing in public, he was a disaster. | 0:38:01 | 0:38:05 | |
To these rules, the perspective lies an undivided claim. | 0:38:05 | 0:38:08 | |
The trouble was he wasn't a very good speaker. | 0:38:08 | 0:38:11 | |
The lectures really exposed his cockney accent. | 0:38:11 | 0:38:16 | |
It often happens that the prevent the completion of the, | 0:38:16 | 0:38:20 | |
the great concerns, and therefore I must waive saying... | 0:38:20 | 0:38:23 | |
And this was thought to be not quite the thing. | 0:38:23 | 0:38:26 | |
It was thought to reflect a bit badly on the Academy. | 0:38:27 | 0:38:31 | |
Impetu...impetuosity of genius travels on without a guide. | 0:38:31 | 0:38:33 | |
It too often finds itself in doubt about... | 0:38:33 | 0:38:35 | |
'There is an embarrassment in his manner | 0:38:35 | 0:38:37 | |
'approaching almost unintelligibly and a vulgarity of pronunciation | 0:38:37 | 0:38:42 | |
'astonishing in an artist of his rank and respectability.' | 0:38:42 | 0:38:46 | |
Next illustration, please. | 0:38:48 | 0:38:50 | |
'Mathematics he perpetually called "mithematics", and so on.' | 0:38:50 | 0:38:55 | |
Certainly he wouldn't have taken it very kindly | 0:38:56 | 0:38:58 | |
if his friends had given him any advice, | 0:38:58 | 0:39:01 | |
so, really, he just blundered on. | 0:39:01 | 0:39:04 | |
Sir Joshua left to future art a volume rich and... | 0:39:04 | 0:39:09 | |
His audience began to drift away, | 0:39:09 | 0:39:11 | |
but one person who remained there was Turner's father. | 0:39:11 | 0:39:15 | |
But it is the lot of all to follow, and mine is a humble one. | 0:39:15 | 0:39:19 | |
Turner's father was his closest ally. | 0:39:22 | 0:39:25 | |
he was his guide and his companion. | 0:39:25 | 0:39:27 | |
His mother, though, was a different story. | 0:39:27 | 0:39:29 | |
She was a family secret. | 0:39:32 | 0:39:34 | |
There is some evidence from relatively early in Turner's life | 0:39:37 | 0:39:42 | |
that his mother was accused of having "an ungovernable temper". | 0:39:42 | 0:39:46 | |
His mum is going crazy. | 0:39:47 | 0:39:49 | |
She's a really loose cannon at many times, so we're led to believe. | 0:39:49 | 0:39:53 | |
And Turner has to incarcerate her. He has to effectively section her. | 0:39:55 | 0:40:00 | |
Turner's mother was committed to Bedlam Hospital. | 0:40:03 | 0:40:06 | |
Whether she was clinically insane, we simply don't know. | 0:40:08 | 0:40:12 | |
What we do know, and this is, I think, | 0:40:12 | 0:40:15 | |
a stain on Turner's reputation, and his father's for that matter, | 0:40:15 | 0:40:18 | |
is that they could have elected | 0:40:18 | 0:40:21 | |
a more humane, private treatment for her, and they didn't. | 0:40:21 | 0:40:25 | |
The very year his mother was incarcerated, Turner left home | 0:40:33 | 0:40:36 | |
and moved to Harley Street, home to rich connoisseurs and patrons. | 0:40:36 | 0:40:41 | |
She died in 1804 in Bedlam. | 0:40:44 | 0:40:49 | |
This was not something, I think, that Turner was keen for people to know, | 0:40:49 | 0:40:55 | |
as he was moving up the ladder in his profession. | 0:40:55 | 0:40:58 | |
There's one very small and poignant profile drawing | 0:41:03 | 0:41:09 | |
of a woman in a mob cap in an early sketchbook. | 0:41:09 | 0:41:12 | |
She's off guard, she's musing, she's looking down. | 0:41:13 | 0:41:18 | |
I think that might well be her. | 0:41:18 | 0:41:20 | |
With the mother gone, Dad comes to live with Turner, | 0:41:23 | 0:41:28 | |
you know, he mixes his paints for him, | 0:41:28 | 0:41:30 | |
so it is a kind of "me and me old dad" kind of cockney thing. | 0:41:30 | 0:41:35 | |
Turner never married, and so his father, as time went on, | 0:41:37 | 0:41:41 | |
gave up the shop and became the person who looked after Turner. | 0:41:41 | 0:41:46 | |
As a personality, Turner was quite complex, very complex. | 0:41:48 | 0:41:53 | |
His relationship with women was not at all conventional. | 0:41:54 | 0:41:57 | |
He had a liaison with a widow of a musician called Sarah Danby | 0:41:57 | 0:42:02 | |
and she bore him two daughters. | 0:42:02 | 0:42:04 | |
But he doesn't seem to have been a particularly doting parent. | 0:42:04 | 0:42:10 | |
They were maintained at a separate residence. | 0:42:10 | 0:42:13 | |
As far as his character was concerned, | 0:42:14 | 0:42:16 | |
it really depended who you talked to. | 0:42:16 | 0:42:18 | |
When the French Romantic painter Delacroix met Turner in 1832, | 0:42:21 | 0:42:25 | |
he described him as "uncouth, like an English farmer", he said, | 0:42:25 | 0:42:30 | |
"with a hard, cold demeanour." | 0:42:30 | 0:42:33 | |
Constable, who admired Turner's art, didn't like him either. | 0:42:33 | 0:42:36 | |
But Turner was never going to fit in with his fellow Romantics, | 0:42:38 | 0:42:41 | |
either as a person or as an artist. | 0:42:41 | 0:42:44 | |
This is his picture of a factory in the West Midlands. | 0:42:48 | 0:42:51 | |
For the Romantics, factories were the dark side of progress, | 0:42:51 | 0:42:55 | |
but for Turner, they were a source of inspiration. | 0:42:55 | 0:42:58 | |
He coaxes the most exquisite, beautiful pictorial effect | 0:43:00 | 0:43:05 | |
out of the blast furnaces of industrial Dudley. | 0:43:05 | 0:43:09 | |
Those people who visited Dudley, especially literary commentators, | 0:43:12 | 0:43:16 | |
were often appalled by what they saw. | 0:43:16 | 0:43:19 | |
Dickens was horrified by the Black country | 0:43:19 | 0:43:22 | |
and the effects of industrialization. | 0:43:22 | 0:43:25 | |
But what Turner is representing | 0:43:25 | 0:43:27 | |
are not what Blake described as the Dark Satanic Mills. | 0:43:27 | 0:43:30 | |
It is an image which certainly doesn't criticise | 0:43:32 | 0:43:36 | |
the industrial revolution in any way. | 0:43:36 | 0:43:38 | |
When Turner paints industry, he does paint it in a unjudgemental way, | 0:43:38 | 0:43:42 | |
yes, and I don't think that kind of Romantic nostalgia | 0:43:42 | 0:43:48 | |
that we perhaps tend to get rather obsessed with nowadays | 0:43:48 | 0:43:50 | |
really occurred to Turner at all. | 0:43:50 | 0:43:53 | |
If you went into the valleys | 0:43:53 | 0:43:55 | |
and you went into the industrial cities, there it was, | 0:43:55 | 0:43:58 | |
there was industry, this was now, this was progress, | 0:43:58 | 0:44:00 | |
this was the modern world. | 0:44:00 | 0:44:02 | |
The modern world in 1842 looked like this. | 0:44:05 | 0:44:09 | |
A steamboat in a vortex of rain and snow. | 0:44:10 | 0:44:13 | |
And Turner is doing something extraordinary. | 0:44:13 | 0:44:15 | |
His painting has become loose, less figurative, | 0:44:16 | 0:44:20 | |
more atmospheric, less solid. | 0:44:20 | 0:44:22 | |
It's perhaps one of the most extreme pictures he ever showed. | 0:44:24 | 0:44:29 | |
You cannot tell where the sea ends and the air begins. | 0:44:29 | 0:44:33 | |
It has no sides, no middle, nothing to hold onto. | 0:44:35 | 0:44:40 | |
The only solid thing is this little steam boat. | 0:44:40 | 0:44:44 | |
But this isn't just a boat in a storm. | 0:44:46 | 0:44:49 | |
There are other forces at work in this painting. | 0:44:49 | 0:44:52 | |
There's an order in the chaos. | 0:44:52 | 0:44:54 | |
An order which has everything to do with the scientific discoveries | 0:44:55 | 0:44:59 | |
that were changing our understanding of nature. | 0:44:59 | 0:45:01 | |
It all begins with the scientist Michael Faraday. | 0:45:03 | 0:45:06 | |
In 1821, he demonstrated the theory of magnetic rotation, | 0:45:08 | 0:45:12 | |
with the world's first electric motor. | 0:45:12 | 0:45:15 | |
The connection being now made from the plates to the copper wire | 0:45:15 | 0:45:18 | |
and to the mercury below, | 0:45:18 | 0:45:20 | |
the copper wire immediately begins to revolve | 0:45:20 | 0:45:23 | |
around the pole of the magnet. | 0:45:23 | 0:45:24 | |
A decade later, Faraday showed that an electric current | 0:45:25 | 0:45:29 | |
could be generated though exposure to a magnetic field. | 0:45:29 | 0:45:32 | |
The relation that holds between the fixed magnetic pole, | 0:45:32 | 0:45:36 | |
the moving wire or metal, | 0:45:36 | 0:45:38 | |
and the direction of the current involved... | 0:45:38 | 0:45:40 | |
At the same time, Turner and Faraday's friend, | 0:45:40 | 0:45:42 | |
the mathematician Mary Somerville, was introducing the idea | 0:45:42 | 0:45:46 | |
of electro-magnetism to a wider public in a bestselling book. | 0:45:46 | 0:45:50 | |
"Dr Faraday observes that such is the facility with which electricity | 0:45:51 | 0:45:55 | |
"is evolved by the earth's magnetism, | 0:45:55 | 0:45:58 | |
"that scarcely any piece of metal can be moved in contact with others." | 0:45:58 | 0:46:03 | |
Turner knew Mary Somerville very well indeed. | 0:46:04 | 0:46:07 | |
They were good friends. | 0:46:07 | 0:46:09 | |
Mary Somerville talked many times of going to Turner's studio | 0:46:09 | 0:46:13 | |
and always being welcomed. | 0:46:13 | 0:46:15 | |
"Even a ship passing over the surface of the water | 0:46:17 | 0:46:20 | |
"in northern or southern latitudes | 0:46:20 | 0:46:23 | |
"ought to have electric currents running directly across | 0:46:23 | 0:46:25 | |
"the line of her motion. | 0:46:25 | 0:46:28 | |
"Curious electro-magnetic combinations probably exist | 0:46:28 | 0:46:31 | |
"which have never yet been noticed." | 0:46:31 | 0:46:33 | |
What is Turner doing in Snowstorm? | 0:46:37 | 0:46:39 | |
Is he describing just the kind of things | 0:46:40 | 0:46:42 | |
Somerville and Faraday were talking about? | 0:46:42 | 0:46:45 | |
Is this the visual manifestation | 0:46:46 | 0:46:48 | |
of the invisible magnetic forces in nature? | 0:46:48 | 0:46:51 | |
The key point for Snowstorm, in my view, | 0:46:53 | 0:46:57 | |
is the visual parallel that it creates between the sea | 0:46:57 | 0:47:02 | |
as a vast, uncontrollable force, and the invisible powers | 0:47:02 | 0:47:08 | |
of the earth's magnetism. | 0:47:08 | 0:47:10 | |
Underneath the chaos, there's a real regularity. | 0:47:12 | 0:47:15 | |
The waves have a sort of a hairy quality that gets very near | 0:47:17 | 0:47:22 | |
the effect of a putting iron filings in the magnetic field | 0:47:22 | 0:47:27 | |
around with a bar magnet and how they gather around the bar magnet. | 0:47:27 | 0:47:30 | |
I think there is a direct connection. | 0:47:31 | 0:47:34 | |
Magnetism was in the air. | 0:47:34 | 0:47:36 | |
Michael Faraday was working on it, Turner and Faraday had conversations, | 0:47:37 | 0:47:42 | |
their mutual friend Mary Somerville | 0:47:42 | 0:47:45 | |
was beginning to write about these and other scientific topics, | 0:47:45 | 0:47:49 | |
and making them much more publically accessible. | 0:47:49 | 0:47:55 | |
All these things go together, and suddenly Snowstorm appears. | 0:47:55 | 0:47:59 | |
It's the idea of a ship as the focus of all this massive energy. | 0:48:02 | 0:48:09 | |
This isn't a scientific diagram. | 0:48:10 | 0:48:12 | |
Turner is not trying to explain the earth's magnetism, | 0:48:12 | 0:48:16 | |
but he's trying to express what this power is. | 0:48:16 | 0:48:21 | |
We are looking at a visual metaphor. | 0:48:21 | 0:48:24 | |
Turner had found a new way of painting. | 0:48:27 | 0:48:30 | |
He'd created a visual language to express nature's hidden forces. | 0:48:30 | 0:48:34 | |
Whatever he's understood about magnetism and about science, | 0:48:37 | 0:48:41 | |
the key thing he's taken from it is an understanding of flux | 0:48:41 | 0:48:44 | |
and dynamism, and if you stand in front of the Snowstorm | 0:48:44 | 0:48:49 | |
and look at that tilted horizon, and look at that vortex, | 0:48:49 | 0:48:53 | |
you realise that you yourself have been caught up in that same rhythm. | 0:48:53 | 0:48:57 | |
By 1840, Turner, now in his 60s, was making regular trips to Margate, | 0:49:03 | 0:49:08 | |
a seaside town on the Kent coast. | 0:49:08 | 0:49:10 | |
He'd been visiting Margate since his childhood. | 0:49:12 | 0:49:14 | |
Now, it was a second home. | 0:49:14 | 0:49:16 | |
The thing about Margate is Margate is very gritty, | 0:49:19 | 0:49:22 | |
and has really strange light and amazing sunsets, | 0:49:22 | 0:49:26 | |
and it's got a lot of fecundity in the atmosphere, | 0:49:26 | 0:49:29 | |
there is something sexy about it. | 0:49:29 | 0:49:31 | |
And I think artists and people pick up on that. | 0:49:31 | 0:49:34 | |
In Margate, Turner settled in with a new mistress, Mrs Booth. | 0:49:35 | 0:49:39 | |
This may be a picture of her. | 0:49:40 | 0:49:42 | |
It's part of a stash of erotic drawings by Turner, | 0:49:43 | 0:49:46 | |
found after his death. | 0:49:46 | 0:49:48 | |
Of course, when he became close to Mrs Booth, | 0:49:49 | 0:49:52 | |
his landlady in Margate, he used to called himself Admiral Booth | 0:49:52 | 0:49:56 | |
and pretend to be a retired naval man. | 0:49:56 | 0:50:00 | |
There are stories late in life when he was getting more reclusive. | 0:50:00 | 0:50:03 | |
If he took a cab, he would get it to drop him off several streets away, | 0:50:03 | 0:50:07 | |
so that people wouldn't discover his real identity. | 0:50:07 | 0:50:10 | |
Turner loved to cultivate this air of mystery. | 0:50:13 | 0:50:16 | |
Few people were allowed to see him at work. | 0:50:17 | 0:50:20 | |
But one artist who did was Edward Rippingille, | 0:50:20 | 0:50:23 | |
who witnessed Turner putting the final touches | 0:50:23 | 0:50:25 | |
to one of his paintings. | 0:50:25 | 0:50:27 | |
"In one part of the mysterious proceedings, Turner, | 0:50:30 | 0:50:33 | |
"who worked almost entirely with his pallet knife, | 0:50:33 | 0:50:35 | |
"was observed to be rolling and spreading | 0:50:35 | 0:50:38 | |
"a lump of half transparent stuff over his picture." | 0:50:38 | 0:50:41 | |
What is that he's plastering his picture with? | 0:50:41 | 0:50:43 | |
"Presently the work was finished. Turner gathered his tools together | 0:50:44 | 0:50:48 | |
"and then, with his face still to the wall, went sliding off." | 0:50:48 | 0:50:52 | |
All it was for these witnesses was a master magician | 0:50:55 | 0:50:59 | |
doing something that they couldn't comprehend. | 0:50:59 | 0:51:02 | |
OK, you want to see how it's done, here's how it's done. | 0:51:02 | 0:51:06 | |
This is how it was done in 1844, | 0:51:12 | 0:51:16 | |
one of Turner's last great oil paintings. | 0:51:16 | 0:51:18 | |
A train hurtling out of the canvas into the future. | 0:51:19 | 0:51:23 | |
It's all there in this one extraordinary picture. | 0:51:23 | 0:51:27 | |
The scientific discoveries, the engineering breakthroughs, | 0:51:27 | 0:51:30 | |
the industrial upheavals come together | 0:51:30 | 0:51:33 | |
in Turner's vision of the new Britain. | 0:51:33 | 0:51:35 | |
It's about atmosphere - a train crossing a bridge | 0:51:36 | 0:51:39 | |
puffing out smoke and soot on a rather wet, misty day | 0:51:39 | 0:51:44 | |
in the Thames Valley. | 0:51:44 | 0:51:45 | |
It just the title. Rain, Steam And Speed. | 0:51:47 | 0:51:50 | |
Everything pouring, you know. It's kind of like, it's exciting. | 0:51:50 | 0:51:53 | |
It's hitting the same note as Temeraire. | 0:51:54 | 0:51:57 | |
The world of old motion drifting along in that little boat, | 0:51:57 | 0:52:03 | |
while da-da-dun, da-da-da-dun - this sort of coming along. | 0:52:03 | 0:52:06 | |
The fire box has almost eaten through | 0:52:08 | 0:52:11 | |
the casing of the engine chassis as it roars towards you. | 0:52:11 | 0:52:16 | |
This is the Great Western Railway. | 0:52:20 | 0:52:21 | |
This is Brunel's fantastic engineering achievement. | 0:52:21 | 0:52:27 | |
It's the jewel in the crown of the railway system. | 0:52:27 | 0:52:31 | |
The railway bridge over which the train is going | 0:52:31 | 0:52:34 | |
is Isambard Kingdom Brunel's. | 0:52:34 | 0:52:36 | |
So it is a homage to one of the defining figures | 0:52:39 | 0:52:42 | |
of Victorian Britain. | 0:52:42 | 0:52:43 | |
When this picture is painted, we are about a decade-and-a-half | 0:52:45 | 0:52:48 | |
into the history of the railways. | 0:52:48 | 0:52:50 | |
Remember, before the railways arrived, | 0:52:50 | 0:52:53 | |
nobody had gone faster than a horse could gallop, | 0:52:53 | 0:52:56 | |
and now we have these railways that, even by 1844, | 0:52:56 | 0:52:59 | |
when this picture is done, are going 30, 40 miles an hours, | 0:52:59 | 0:53:02 | |
and soon to go 50, 60 miles an hour. Unheard-of speeds. | 0:53:02 | 0:53:07 | |
It really is transformational. | 0:53:07 | 0:53:09 | |
The Great Western was even responsible for standardising time. | 0:53:12 | 0:53:15 | |
There was a time difference between, say, Exeter and London, of about | 0:53:17 | 0:53:21 | |
15 to 20 minutes, because it was set by rising of the sun. | 0:53:21 | 0:53:25 | |
And it was thanks to the Great Western | 0:53:28 | 0:53:30 | |
that we have Greenwich Mean Time. | 0:53:30 | 0:53:33 | |
If you look very closely, | 0:53:37 | 0:53:39 | |
there's a hare running for its life in front of the train. | 0:53:39 | 0:53:44 | |
The hare is, in Britain, anyway, the fastest natural animal. | 0:53:50 | 0:53:54 | |
So you've got this contrast between the modern, | 0:53:56 | 0:53:58 | |
industrial speedy machine and the natural speedy animal. | 0:53:58 | 0:54:03 | |
The train in Rain, Steam And Speed is not just a train rushing at us. | 0:54:05 | 0:54:10 | |
It's also a reminder of the modern world, | 0:54:10 | 0:54:13 | |
and how the modern world is changing the landscape, | 0:54:13 | 0:54:17 | |
changing society, changing individual lives. | 0:54:17 | 0:54:21 | |
The coming of the railways, the destruction of many, many homes | 0:54:21 | 0:54:25 | |
of ordinary people, especially building the stations in London | 0:54:25 | 0:54:28 | |
and all the cities, driving though old England. | 0:54:28 | 0:54:32 | |
The people that most resented it are, by now, | 0:54:33 | 0:54:36 | |
the ageing Romantics like Wordsworth and Ruskin, | 0:54:36 | 0:54:38 | |
who fear that these hoards would invade their beauteous landscapes, | 0:54:38 | 0:54:44 | |
but Turner's painting is a great cheer for Brunel, I think. | 0:54:44 | 0:54:47 | |
When the novelist and art critic William Thackeray | 0:54:48 | 0:54:51 | |
first saw Rain, Steam And Speed, | 0:54:51 | 0:54:53 | |
he knew he was looking at something completely new in painting. | 0:54:53 | 0:54:57 | |
"The rain in the astounding picture is composed of dabs of dirty putty | 0:55:01 | 0:55:07 | |
"slapped on to the canvas with a trowel. | 0:55:07 | 0:55:10 | |
"The sunshine scintillates out of very thick, smeary lumps | 0:55:10 | 0:55:14 | |
"of chrome yellow. | 0:55:14 | 0:55:17 | |
"The world has never seen anything like this picture." | 0:55:17 | 0:55:21 | |
He's using paint to make us feel what it was like to be there. | 0:55:22 | 0:55:26 | |
I mean, Thackerary commented on the fact that when you got close | 0:55:26 | 0:55:29 | |
to the picture, you really couldn't get away | 0:55:29 | 0:55:31 | |
from the thickness of the paint. | 0:55:31 | 0:55:33 | |
We shouldn't say that only Impressionism and the Modern movement | 0:55:34 | 0:55:39 | |
had these revelations. | 0:55:39 | 0:55:40 | |
I think what makes Turner extraordinary is that he came upon | 0:55:40 | 0:55:44 | |
these understandings in the 19th century. | 0:55:44 | 0:55:47 | |
Look at the rest of Victorian painting around this time, | 0:55:47 | 0:55:50 | |
including mates of his like Wilkie, who he loved. | 0:55:50 | 0:55:53 | |
I mean, it's pathetically rudimentary and laborious and literal. | 0:55:53 | 0:55:58 | |
The notion that you, as a fellow of the Royal Academy | 0:55:58 | 0:56:03 | |
would make this maelstrom of paint and deliver it as art. | 0:56:03 | 0:56:07 | |
You tell me who else is doing that. The answer is no-one. | 0:56:07 | 0:56:10 | |
It isn't simply nice, little curlicues of smoke | 0:56:12 | 0:56:14 | |
coming out of a funnel. | 0:56:14 | 0:56:15 | |
It's somebody who understands how steam power | 0:56:15 | 0:56:18 | |
has harnessed heat and turned it into motion. | 0:56:18 | 0:56:23 | |
Nobody else had found a way of painting that transformation. | 0:56:25 | 0:56:29 | |
He wanted to instinctively see if belching smoke | 0:56:31 | 0:56:35 | |
and a cantering train would generate that kind of beauty. | 0:56:35 | 0:56:40 | |
What he does is the industrial Sublime. | 0:56:42 | 0:56:44 | |
It is a kind of modernisation, perhaps, of the Sublime. | 0:56:46 | 0:56:48 | |
It's making it applicable to a modern age, | 0:56:48 | 0:56:51 | |
which is making scientific and technological advances | 0:56:51 | 0:56:56 | |
and is leaning to harness nature. | 0:56:56 | 0:56:59 | |
You know, the Sublime usually presupposes the intrusion | 0:57:00 | 0:57:04 | |
of something mechanical as the enemy. | 0:57:04 | 0:57:06 | |
It's not the enemy for Turner. | 0:57:06 | 0:57:07 | |
The most atmospheric of all of Turner's paintings, | 0:57:10 | 0:57:14 | |
where all the elements come together - earth, air, fire and water - | 0:57:14 | 0:57:19 | |
becomes a celebration of progress. | 0:57:19 | 0:57:22 | |
For Turner, industry becomes the Sublime. | 0:57:22 | 0:57:25 | |
It's as though those natural forces have been harnessed by mankind | 0:57:29 | 0:57:35 | |
for their own betterment. | 0:57:35 | 0:57:38 | |
The volcanoes and hurricanes that might traditionally be associated | 0:57:38 | 0:57:41 | |
with the Sublime now occur inside boilers and drive pistons. | 0:57:41 | 0:57:46 | |
No-one had thought like that, painted like that, imagined it like that. | 0:57:47 | 0:57:51 | |
And it's not going to be repeated, arguably, | 0:57:51 | 0:57:55 | |
until one gets in to the 1910s. | 0:57:55 | 0:57:58 | |
He was painting what was happening, the reality of that time, | 0:57:58 | 0:58:02 | |
because he had his finger on the pulse. | 0:58:02 | 0:58:04 | |
He managed to achieve something quite phenomenal, | 0:58:04 | 0:58:07 | |
and that's what makes Turner a great artist. | 0:58:07 | 0:58:09 | |
I think he's phenomenally important for the history of art | 0:58:09 | 0:58:12 | |
and the history of Britain. | 0:58:12 | 0:58:14 | |
This, then, is JMW Turner, | 0:58:17 | 0:58:21 | |
Britain's great Romantic landscape painter, | 0:58:21 | 0:58:24 | |
who delivered to us a visionary story of the Industrial Revolution. | 0:58:24 | 0:58:27 | |
Who painted nature, and at the same time | 0:58:30 | 0:58:33 | |
revealed the wonders of science and invention. | 0:58:33 | 0:58:35 | |
Who used paint to herald a new world. | 0:58:37 | 0:58:41 | |
Subtitles by Red Bee Media Ltd. | 0:59:08 | 0:59:11 |