Browse content similar to Atrocious Artists. Check below for episodes and series from the same categories and more!
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# Terrible Tudors, gorgeous Georgians, slimy Stuarts, | 0:00:02 | 0:00:03 | |
# Vile Victorians, Woeful wars, | 0:00:03 | 0:00:04 | |
# Ferocious fights, Dingy castles, daring knights | 0:00:04 | 0:00:07 | |
# Horrors that defy description Cut-throat Celts, awful Egyptians | 0:00:07 | 0:00:09 | |
# Vicious Vikings, cruel crimes Punishment from ancient times | 0:00:09 | 0:00:12 | |
# Romans, rotten, rank and ruthless | 0:00:12 | 0:00:13 | |
# Cavemen, savage, fierce and toothless | 0:00:13 | 0:00:15 | |
# Groovy Greeks, brainy sages Mean and measly Middle Ages | 0:00:15 | 0:00:18 | |
# Gory stories, we do that | 0:00:18 | 0:00:20 | |
# And your host, a talking rat | 0:00:20 | 0:00:23 | |
# The past is no longer a mystery | 0:00:23 | 0:00:26 | |
# Welcome to... | 0:00:26 | 0:00:27 | |
# Horrible Histories. # | 0:00:27 | 0:00:31 | |
Horrible Histories presents Atrocious Artists. | 0:00:32 | 0:00:35 | |
Art has constantly changed throughout history. | 0:00:35 | 0:00:39 | |
In the Middle Ages, it wasn't always the most realistic, | 0:00:39 | 0:00:42 | |
but then 600 years ago in Italy, | 0:00:42 | 0:00:45 | |
everything changed in an explosion of creativity | 0:00:45 | 0:00:48 | |
called the Renaissance. | 0:00:48 | 0:00:50 | |
And it produced some pretty bodacious artists. | 0:00:50 | 0:00:54 | |
Give me the bag. | 0:00:56 | 0:00:58 | |
-Give me the bag, lady, give me the bag. -Help! | 0:00:58 | 0:01:01 | |
-VOICE IN THE DISTANCE: -You leave that old lady alone, punk. | 0:01:01 | 0:01:04 | |
Who said that? | 0:01:04 | 0:01:05 | |
Leonardo. | 0:01:05 | 0:01:07 | |
Michelangelo. | 0:01:07 | 0:01:08 | |
Donatello. | 0:01:08 | 0:01:10 | |
Raph... | 0:01:10 | 0:01:11 | |
Raphael. | 0:01:11 | 0:01:12 | |
ALL: And we are the Teenage Mutant Ninja Renaissance Artists. | 0:01:17 | 0:01:20 | |
Yes, we are. | 0:01:20 | 0:01:22 | |
Quick, ninja him. | 0:01:22 | 0:01:24 | |
No, we don't actually have any ninja skills. | 0:01:24 | 0:01:26 | |
But we do have some pretty cowabunga artistic skills. | 0:01:26 | 0:01:32 | |
Raphael, paint a fresco so beautiful | 0:01:32 | 0:01:35 | |
it will stop the thief in his tracks. | 0:01:35 | 0:01:37 | |
I'm on it, dude. | 0:01:37 | 0:01:40 | |
Take this! | 0:01:42 | 0:01:43 | |
Good luck resisting Raphael's captivating use | 0:01:46 | 0:01:49 | |
of all the available colours of his time, including powdered gold. | 0:01:49 | 0:01:55 | |
That's not helping. | 0:01:55 | 0:01:57 | |
Give him a ninja chop. | 0:01:57 | 0:01:59 | |
Nice work. Michelangelo, | 0:01:59 | 0:02:01 | |
quick, paint on the ceiling like you did in the Sistine Chapel. | 0:02:01 | 0:02:04 | |
An artwork of that scale is sure to render him breathless. | 0:02:04 | 0:02:07 | |
Radical idea, dude. I'm a-feeling paint-a-licious. | 0:02:10 | 0:02:14 | |
Oh, no, it's a really high ceiling and I didn't bring my ladder | 0:02:14 | 0:02:18 | |
or my scaffolding. | 0:02:18 | 0:02:20 | |
This thief is one step ahead of us. | 0:02:20 | 0:02:22 | |
Come on, give him a ninja kick. | 0:02:22 | 0:02:24 | |
Oh, I could confuse him with an awesome portrait. | 0:02:24 | 0:02:29 | |
Is the Mona Lisa smiling or sad? | 0:02:30 | 0:02:35 | |
Smiling or sad? | 0:02:35 | 0:02:39 | |
Don't you guys have any ninja weapons? | 0:02:39 | 0:02:42 | |
Good idea, old lady. Quick, Donatello, sculpt a ninja star. | 0:02:42 | 0:02:46 | |
Should be done in about three days, two, if I bodge it. | 0:02:47 | 0:02:51 | |
You guys are useless. | 0:02:51 | 0:02:53 | |
He's getting away! | 0:02:55 | 0:02:57 | |
That bag had all my groceries in it. | 0:02:58 | 0:03:00 | |
I just bought a pizza. | 0:03:00 | 0:03:02 | |
-Pizza? -Mamma Mia. | 0:03:02 | 0:03:04 | |
ALL SHOUTING IN ITALIAN | 0:03:04 | 0:03:08 | |
Ratabunga! | 0:03:12 | 0:03:15 | |
Hang on! Where are all the paintings of rats? | 0:03:16 | 0:03:19 | |
Well, that's it. | 0:03:19 | 0:03:20 | |
I'm going to paint a portrait of the greatest, | 0:03:20 | 0:03:23 | |
most handsomest rat in history. | 0:03:23 | 0:03:25 | |
Me. | 0:03:26 | 0:03:28 | |
Now, it needs to be a masterpiece, | 0:03:28 | 0:03:30 | |
so I'd better get some tips from history's greatest artists | 0:03:30 | 0:03:33 | |
and where better to start than the beginning? | 0:03:33 | 0:03:37 | |
I wonder what it would have been like to see a painting | 0:03:37 | 0:03:40 | |
for the very first time. | 0:03:40 | 0:03:42 | |
-Oi! -Oh! | 0:03:49 | 0:03:51 | |
I'm so glad I saw your profile. | 0:03:53 | 0:03:55 | |
I knew we had to meet. | 0:03:55 | 0:03:57 | |
Wonderful, yeah. Oh, now look. | 0:03:57 | 0:04:01 | |
This, this is fascinating. | 0:04:01 | 0:04:02 | |
Um, you probably haven't seen this but I have. | 0:04:02 | 0:04:05 | |
It's a new type of expression called art. | 0:04:05 | 0:04:08 | |
-Ah. -Art. | 0:04:08 | 0:04:10 | |
Ah. | 0:04:10 | 0:04:12 | |
-Art. -Ah. | 0:04:12 | 0:04:15 | |
Close enough. | 0:04:15 | 0:04:17 | |
Before now, everything made by us has a practical use, | 0:04:17 | 0:04:22 | |
so spears were used for hunting. | 0:04:22 | 0:04:23 | |
Oh! Oh, God, so realistic. | 0:04:23 | 0:04:27 | |
Or for, you know, gathering food. | 0:04:28 | 0:04:31 | |
Food, yum, I love food. | 0:04:31 | 0:04:33 | |
Such a foodie. | 0:04:33 | 0:04:34 | |
Um, that's paint made from charcoal and beetle's blood. | 0:04:34 | 0:04:37 | |
I mean, this is art for art's sake. | 0:04:39 | 0:04:41 | |
For the first time, the nascent human is crying out, | 0:04:41 | 0:04:45 | |
-"look at me, I exist, I'm here." -Where? | 0:04:45 | 0:04:47 | |
Look, Laura, I'm really sorry but I think this date was a bad idea. | 0:04:50 | 0:04:53 | |
I mean, we're clearly not on the same, um... | 0:04:53 | 0:04:56 | |
..level. | 0:04:59 | 0:05:00 | |
Anyway, it's, it's been nice. | 0:05:00 | 0:05:02 | |
Oh, another exuberant work. | 0:05:05 | 0:05:08 | |
I'm going to check out the rest of his stuff. | 0:05:08 | 0:05:10 | |
Oh, no, actually that one's a warning sign. | 0:05:10 | 0:05:13 | |
Beware of the sabre toothed tig... | 0:05:13 | 0:05:14 | |
GROWLING AND SCREAMING | 0:05:14 | 0:05:17 | |
Hello, I'm Swill Gumbitz and welcome to a special | 0:05:20 | 0:05:24 | |
HH News cultural report. | 0:05:24 | 0:05:26 | |
Greek statues - beautiful, elegant, but where do they come from? | 0:05:26 | 0:05:30 | |
I've narrowed it down to Greece, | 0:05:30 | 0:05:32 | |
which is why I've come to ancient Greece itself | 0:05:32 | 0:05:34 | |
to see the statues of the great sculptor, Phidias, | 0:05:34 | 0:05:37 | |
as they were originally intended to be seen. | 0:05:37 | 0:05:40 | |
Their pale white form... | 0:05:40 | 0:05:42 | |
Oi, stop that, you vandal! | 0:05:42 | 0:05:44 | |
What? Where? | 0:05:44 | 0:05:45 | |
Phidias's art can be enjoyed across the world, | 0:05:47 | 0:05:49 | |
but it seems even his work in ancient Greece itself | 0:05:49 | 0:05:52 | |
is not safe from vandals. You, sir, are a hooligan. | 0:05:52 | 0:05:55 | |
-No, I'm not, I'm an Athenian. -No, I mean... | 0:05:55 | 0:05:57 | |
What, what, what on earth is going on? | 0:05:57 | 0:06:01 | |
This idiot is painting bright colours | 0:06:01 | 0:06:03 | |
all over these beautiful statues. | 0:06:03 | 0:06:05 | |
-It'll take weeks to wash it off. -Stop it. -What are you doing? | 0:06:05 | 0:06:08 | |
Greek statues are supposed to be painted. | 0:06:08 | 0:06:11 | |
-I don't think they are. -They are. | 0:06:11 | 0:06:13 | |
-I don't think they are. -They are. -I don't think they are. -They are. | 0:06:13 | 0:06:16 | |
Don't think they are. | 0:06:16 | 0:06:18 | |
They are! I'm an ancient Greek. Trust me, I know. | 0:06:18 | 0:06:20 | |
But the museums of the future are full of lovely plain white ones. | 0:06:20 | 0:06:23 | |
Well, then the paint must have faded or some idiot's washed it off. | 0:06:23 | 0:06:27 | |
A Hoolahan, like you. | 0:06:27 | 0:06:28 | |
-Hooligan. -See, he admits it. | 0:06:28 | 0:06:30 | |
Ah. So, if these are meant to be painted, then you're, um... | 0:06:30 | 0:06:34 | |
..Phidias. Can I just say what an honour it is to have met you? | 0:06:35 | 0:06:38 | |
No. | 0:06:38 | 0:06:40 | |
So, there you have it. Painting was in fact all the rage in ancient | 0:06:40 | 0:06:43 | |
Greece, so what better way for me to sign off than having a go myself. | 0:06:43 | 0:06:47 | |
I'm Swill Gumbitz, goodbye. | 0:06:47 | 0:06:50 | |
Can you tell which one's mine? | 0:06:53 | 0:06:54 | |
It's just after dinner in medieval Europe and all over the continent | 0:06:56 | 0:06:59 | |
people are settling down to enjoy a bit of art together. | 0:06:59 | 0:07:02 | |
Is that little one baby Jesus? | 0:07:02 | 0:07:05 | |
Is it baby Jesus?! | 0:07:05 | 0:07:07 | |
Who else are Mary and Joseph going to be carting around? | 0:07:07 | 0:07:10 | |
It doesn't look like a baby though, does it? | 0:07:10 | 0:07:12 | |
Look at the size of its head. It looks like a tiny bloke. | 0:07:12 | 0:07:14 | |
This week, an Italian artist is about to change the way people view | 0:07:14 | 0:07:18 | |
paintings forever. | 0:07:18 | 0:07:20 | |
Oh, man. | 0:07:20 | 0:07:22 | |
This is Giottobox. | 0:07:22 | 0:07:23 | |
It's coming right out the painting. | 0:07:26 | 0:07:28 | |
It's coming at us. | 0:07:28 | 0:07:30 | |
It's so real. | 0:07:30 | 0:07:31 | |
It's more real than your hair. | 0:07:31 | 0:07:32 | |
Oh, shut up. | 0:07:32 | 0:07:33 | |
It's true. | 0:07:35 | 0:07:36 | |
The artist Giotto used the new technique of perspective to make | 0:07:36 | 0:07:39 | |
his pictures look 3-D and lifelike. | 0:07:39 | 0:07:41 | |
-Look at that. -Oh, careful, Steve. Wow. | 0:07:43 | 0:07:47 | |
It's amazing, innit? | 0:07:47 | 0:07:49 | |
-What's going on there? -It's like 3D, innit? | 0:07:49 | 0:07:51 | |
It's like I'm actually inside the picture. | 0:07:51 | 0:07:53 | |
Which one are you, the donkey? | 0:07:53 | 0:07:55 | |
Giotto was also one of the first artists to make the people in his | 0:07:57 | 0:08:00 | |
paintings look more realistic. | 0:08:00 | 0:08:02 | |
Eh, what's the matter, Mum? | 0:08:02 | 0:08:04 | |
I feel for him. | 0:08:04 | 0:08:06 | |
It's emotional, like. | 0:08:06 | 0:08:08 | |
Are you crying too, Dad? | 0:08:10 | 0:08:11 | |
-No, I've just got something in my eye, all reet? -All reet. | 0:08:11 | 0:08:14 | |
I'll turn it over, see what's on the other side. | 0:08:14 | 0:08:17 | |
That's better. | 0:08:24 | 0:08:26 | |
Giotto really did change art forever with his realistic paintings | 0:08:27 | 0:08:31 | |
but as pictures became more real, | 0:08:31 | 0:08:33 | |
artists found they had to be very careful with what they painted. | 0:08:33 | 0:08:37 | |
You know, the rude bits. | 0:08:37 | 0:08:39 | |
Mind you, what was considered rude wasn't necessarily | 0:08:39 | 0:08:42 | |
what you might expect. | 0:08:42 | 0:08:44 | |
Madame Le Brun. | 0:08:49 | 0:08:50 | |
Oh, monsieur, you have come to see my painting. Et voila! | 0:08:50 | 0:08:55 | |
My dear, you seem to have made a mistake. | 0:08:55 | 0:08:58 | |
-Where? -What is that there in between your nose and your chin? | 0:09:00 | 0:09:04 | |
It is my mouth. | 0:09:04 | 0:09:06 | |
I'm not stupid. | 0:09:06 | 0:09:08 | |
I mean inside your mouth, those white rectangular things. | 0:09:08 | 0:09:11 | |
Those are my teeth. | 0:09:11 | 0:09:13 | |
SCREAMS IN SHOCK | 0:09:13 | 0:09:15 | |
A person of good breeding does not show her teeth to the world. | 0:09:15 | 0:09:19 | |
The world is not ready for teeth. | 0:09:19 | 0:09:21 | |
Well, why, why not? | 0:09:21 | 0:09:23 | |
Because it is not done. | 0:09:23 | 0:09:25 | |
Teeth are supposed to be covered, | 0:09:25 | 0:09:27 | |
like a table with a cloth or a bottom with knickers. | 0:09:27 | 0:09:31 | |
Stop with the glove thing! | 0:09:31 | 0:09:32 | |
It is me with my little daughter and so I smiled. | 0:09:34 | 0:09:38 | |
No, no, no, no! Smiling in a portrait is not respectable. | 0:09:38 | 0:09:42 | |
Here, look. | 0:09:44 | 0:09:45 | |
Look at this disreputable character. | 0:09:47 | 0:09:50 | |
Would you have him singing to you? | 0:09:50 | 0:09:53 | |
He would sing and then try and eat you. | 0:09:53 | 0:09:55 | |
-Ay! -Look at this. | 0:09:55 | 0:09:58 | |
-This man is smiling so big his head is falling off. -Ay! | 0:09:58 | 0:10:02 | |
This lady is showing her teeth and talking to an owl. | 0:10:03 | 0:10:07 | |
Do you talk to owls, Madame? | 0:10:07 | 0:10:09 | |
-No, I... -Do you want your head to fall off or turn all the way around? | 0:10:09 | 0:10:14 | |
-I don't. -Do you want to be eaten by a man with a lute? | 0:10:14 | 0:10:17 | |
-No! -Then don't show your teeth. | 0:10:17 | 0:10:19 | |
You look crazy. | 0:10:19 | 0:10:21 | |
I think that you may be wrong. | 0:10:21 | 0:10:23 | |
I think that in future many more people will smile | 0:10:23 | 0:10:27 | |
in their portraits. | 0:10:27 | 0:10:28 | |
I do not agree. | 0:10:28 | 0:10:29 | |
Why ever not, monsieur? | 0:10:29 | 0:10:31 | |
Ay! | 0:10:32 | 0:10:34 | |
SHE GAGS | 0:10:34 | 0:10:35 | |
Oh, hello, I am Frida Kahlo, the famous Mexican artist. | 0:10:37 | 0:10:41 | |
I'm just doing a self-portrait. | 0:10:41 | 0:10:44 | |
Many of the world's great painters paint themselves once or twice, | 0:10:44 | 0:10:47 | |
but tell me, how many times did I paint myself? | 0:10:47 | 0:10:52 | |
Is it: | 0:10:52 | 0:10:56 | |
The answer is C, 55 times. | 0:11:00 | 0:11:04 | |
Oh, there, that one is finished. | 0:11:04 | 0:11:06 | |
Now, what shall I paint next? | 0:11:06 | 0:11:09 | |
Oh, who am I kidding? | 0:11:09 | 0:11:11 | |
Me again. OK. | 0:11:11 | 0:11:13 | |
Hi, I'm Turner prize-winning Chris Ofili and I like to experiment | 0:11:20 | 0:11:25 | |
using a load of different materials for my paintings. | 0:11:25 | 0:11:28 | |
My most famous paintings use real elephant poo. | 0:11:28 | 0:11:32 | |
So, my top tip for you is when your art materials are being delivered... | 0:11:32 | 0:11:37 | |
ELEPHANT TRUMPETS | 0:11:39 | 0:11:41 | |
..careful where you stand. | 0:11:41 | 0:11:43 | |
Oh, that's quite nice. | 0:11:43 | 0:11:45 | |
Oh, Nelly! | 0:11:47 | 0:11:48 | |
ELEPHANT TRUMPETS | 0:11:48 | 0:11:50 | |
It's true. Chris Ofili really does paint with poo. | 0:11:50 | 0:11:54 | |
It's plop art! | 0:11:54 | 0:11:56 | |
But I'm after something more traditional. | 0:11:58 | 0:12:00 | |
Maybe I should look at other famous painters. | 0:12:00 | 0:12:03 | |
There was one artist in Georgian times who painted | 0:12:03 | 0:12:06 | |
so many celebrities that he became a celebrity himself. | 0:12:06 | 0:12:09 | |
Yeah, yeah. Oh, yeah. | 0:12:12 | 0:12:15 | |
I love it, baby. It's fantastic. | 0:12:15 | 0:12:16 | |
OK, give me sassy. | 0:12:19 | 0:12:21 | |
That's it, a girl's just walked in and she's got a bigger hat than you. | 0:12:21 | 0:12:24 | |
What is she thinking? | 0:12:24 | 0:12:26 | |
Yeah. Yeah. That's it. | 0:12:26 | 0:12:30 | |
OMG, Joshua Reynolds is like the hottest painter in London right now. | 0:12:30 | 0:12:35 | |
I'm not even looking. Not even looking. | 0:12:35 | 0:12:36 | |
We have queued for hours. | 0:12:36 | 0:12:39 | |
All the Duchesses and generals are having their pictures done by him. | 0:12:39 | 0:12:42 | |
-Yah. -Hide and seek. | 0:12:42 | 0:12:44 | |
Everyone hide, hide, hide. | 0:12:44 | 0:12:45 | |
Five, six, seven, eight... | 0:12:45 | 0:12:48 | |
Right, you've got to hide. | 0:12:49 | 0:12:51 | |
He's painting everyone. | 0:12:51 | 0:12:52 | |
Even Admiral Nelson's girlfriend, Emma Hamilton. | 0:12:52 | 0:12:55 | |
Admiral Nelson's in the Navy or something. | 0:12:55 | 0:12:57 | |
No, no, it's too masculine. | 0:12:57 | 0:12:59 | |
Way too masculine. I want something innocent, coquettish. | 0:12:59 | 0:13:01 | |
Yeah, different angle. Try the left hand. Yeah, that's it. | 0:13:01 | 0:13:04 | |
That's it, yeah. | 0:13:04 | 0:13:05 | |
Exactly. Canvas adores you, by the way. | 0:13:05 | 0:13:08 | |
Oh, canvas doesn't like you any more. | 0:13:09 | 0:13:13 | |
-#portraitgirls. -#totallyagree. | 0:13:13 | 0:13:15 | |
#pouttocamera. | 0:13:15 | 0:13:17 | |
That's really helpful. | 0:13:17 | 0:13:19 | |
Just having a little trouble with that profile. | 0:13:19 | 0:13:22 | |
I'm so cheeky. | 0:13:22 | 0:13:24 | |
I love you, hate you, love you, hate you! | 0:13:24 | 0:13:26 | |
It's brilliant, it's brilliant, fantastic. Let's take five. | 0:13:26 | 0:13:29 | |
Hola, I am famous artist Pablo Picasso | 0:13:31 | 0:13:34 | |
-and I don't take cash with me anywhere. -I beg your pardon, Sir? | 0:13:34 | 0:13:38 | |
That is because I pay for everything with Masterpiece. | 0:13:38 | 0:13:41 | |
With Masterpiece, I don't have to pay for anything. | 0:13:46 | 0:13:49 | |
That is because drawings by me are simply priceless. | 0:13:49 | 0:13:52 | |
Your tip. | 0:13:53 | 0:13:55 | |
Hi, I'm Salvador Dali and I don't even need to draw a picture. | 0:13:59 | 0:14:04 | |
My signature is so valuable no-one ever cashes in my checks. Kerching. | 0:14:04 | 0:14:08 | |
Because there are some things in life that being a famous artist | 0:14:08 | 0:14:12 | |
can't buy, but for everything else, there's Masterpiece. | 0:14:12 | 0:14:15 | |
We prefer cash, if it's all the same. | 0:14:19 | 0:14:21 | |
Warning, Masterpiece does not work for mime artists. | 0:14:21 | 0:14:24 | |
Mime is not money. Terms and conditions apply. | 0:14:24 | 0:14:26 | |
Paintings by famous artists like those two can be worth millions, | 0:14:28 | 0:14:33 | |
so there is no surprise that plenty have been stolen throughout history | 0:14:33 | 0:14:37 | |
and in the case of one particular painting, | 0:14:37 | 0:14:40 | |
a lot more than once or twice. | 0:14:40 | 0:14:43 | |
SMASH! CAT YELPS | 0:14:43 | 0:14:44 | |
Oh, I've no idea how that got there. | 0:14:44 | 0:14:47 | |
Hi, I'm Sandy Hole, | 0:14:50 | 0:14:52 | |
I am chief of security for the gallery | 0:14:52 | 0:14:54 | |
and in particular for our star exhibit, | 0:14:54 | 0:14:57 | |
Rembrandt's Jacob de Gheyn III. | 0:14:57 | 0:14:59 | |
-What?! Someone's taken the painting. -ALARM BLARES | 0:15:00 | 0:15:03 | |
Cut! Take two, The Security Guards. | 0:15:03 | 0:15:06 | |
I'm Sandy Hole and I am chief of security for the gallery and in | 0:15:07 | 0:15:11 | |
particular for our star exhibit, | 0:15:11 | 0:15:14 | |
Rembrandt's Jacob de Gheyn, | 0:15:14 | 0:15:16 | |
which was recently found in a lost luggage department in Germany | 0:15:16 | 0:15:19 | |
after it was stolen... | 0:15:19 | 0:15:21 | |
-ALARM BLARES -Cut. | 0:15:21 | 0:15:24 | |
-It's gone again. -Take three, The Security Guards. | 0:15:24 | 0:15:27 | |
Sandy Hole, chief of security for the gallery. | 0:15:27 | 0:15:30 | |
I am responsible for the security of Rembrandt's Jacob de Gheyn, | 0:15:30 | 0:15:35 | |
which was recently returned to us anonymously after it was stolen | 0:15:35 | 0:15:39 | |
for the second time. | 0:15:39 | 0:15:40 | |
-ALARM BLARES -Cut. | 0:15:40 | 0:15:42 | |
We found it on the back of someone's bike. | 0:15:42 | 0:15:44 | |
Take four, The Security Guards. | 0:15:44 | 0:15:45 | |
Hello, I'm Sandy Hole, | 0:15:45 | 0:15:47 | |
I am chief of security for the gallery | 0:15:47 | 0:15:49 | |
and Rembrandt's Jacob de Gheyn, which I think, | 0:15:49 | 0:15:52 | |
if it's stolen one more time, will make it the most stolen | 0:15:52 | 0:15:54 | |
old master in history. But that' not going to... | 0:15:54 | 0:15:57 | |
-ALARM BLARES -Cut. | 0:15:57 | 0:15:58 | |
Found under a graveyard bench in Streatham. | 0:15:58 | 0:16:00 | |
-I'm not kidding. -Take five. | 0:16:00 | 0:16:02 | |
Hi, I'm Sandy Hole and if you'd like to steal Rembrandt's Jacob de Gheyn, | 0:16:04 | 0:16:08 | |
just take it. Do what you like. | 0:16:08 | 0:16:10 | |
It's fine. The one on the wall's a fake. | 0:16:11 | 0:16:13 | |
Should have done this years ago. | 0:16:13 | 0:16:15 | |
The real one's in here. | 0:16:15 | 0:16:16 | |
Cut! | 0:16:20 | 0:16:22 | |
-SIRENS WAILING -I don't know why I bother. | 0:16:22 | 0:16:24 | |
Hello, I am famous artist Vincent van Gogh | 0:16:28 | 0:16:31 | |
and here I am painting sunflowers. | 0:16:31 | 0:16:34 | |
Again. | 0:16:34 | 0:16:35 | |
Sunflowers. What can I say, I like sunflowers. | 0:16:35 | 0:16:39 | |
Also, I have a lot of yellow paint to use up. | 0:16:39 | 0:16:41 | |
But, hey, don't knock it. | 0:16:43 | 0:16:44 | |
One day in the future, my paintings will be worth millions. | 0:16:44 | 0:16:47 | |
One day. One day. | 0:16:48 | 0:16:50 | |
But, tell me this, how many paintings did I sell in my lifetime? | 0:16:50 | 0:16:56 | |
Was it: | 0:16:56 | 0:16:57 | |
The answer is B, I sold a couple of paintings. | 0:17:04 | 0:17:06 | |
I don't know where this rumour started | 0:17:06 | 0:17:08 | |
that I only sold one painting. | 0:17:08 | 0:17:09 | |
I sold a few, swapped a few, lent a few, was commissioned for a few. | 0:17:09 | 0:17:14 | |
OK, so it wasn't a lot, but it was a few. | 0:17:14 | 0:17:17 | |
Not my fault if people don't recognise my genius. | 0:17:17 | 0:17:21 | |
Or maybe they just don't like sunflowers. | 0:17:21 | 0:17:23 | |
Van Gogh's sunflower pictures are now worth tens of millions | 0:17:25 | 0:17:29 | |
but this new style of painting, called Impressionism, well, | 0:17:29 | 0:17:33 | |
it wasn't always appreciated during his lifetime. | 0:17:33 | 0:17:36 | |
Not like me. When people see my self portrait, | 0:17:36 | 0:17:38 | |
they'll be throwing money at it. | 0:17:38 | 0:17:41 | |
And probably rotten fruit, too. | 0:17:41 | 0:17:43 | |
And maybe furniture. | 0:17:43 | 0:17:45 | |
I'll be honest, it still needs some work. | 0:17:45 | 0:17:48 | |
The problem is there are so many new and unusual styles of art | 0:17:48 | 0:17:51 | |
that it's hard to know which one to choose. | 0:17:51 | 0:17:54 | |
Hey, imagine if you could get all the famous artists in one place, | 0:17:54 | 0:17:58 | |
so you could compare them. Hey, they could take an art class together. | 0:17:58 | 0:18:02 | |
OK, everyone, for this week's art class, | 0:18:04 | 0:18:07 | |
I asked you to think about light and shade, and remember, | 0:18:07 | 0:18:12 | |
paint what you see. | 0:18:12 | 0:18:14 | |
OK, Pablo Picasso, what's going on here, matey? | 0:18:14 | 0:18:18 | |
Nada. I am painting what I see. | 0:18:18 | 0:18:21 | |
In that case, probably time to visit the opticians. | 0:18:21 | 0:18:24 | |
Idiota! | 0:18:25 | 0:18:26 | |
HE SHOUTS IN SPANISH | 0:18:26 | 0:18:29 | |
Ah, Rembrandt. | 0:18:29 | 0:18:32 | |
That's more like it. | 0:18:32 | 0:18:34 | |
But what did I ask you to paint? | 0:18:34 | 0:18:35 | |
Er, the model. | 0:18:35 | 0:18:39 | |
And what have you actually painted? | 0:18:39 | 0:18:41 | |
You've painted yourself, just like you did last week | 0:18:41 | 0:18:44 | |
and the week before and the week before that. | 0:18:44 | 0:18:46 | |
-I find myself fascinating. -Well, I'm glad someone does. | 0:18:46 | 0:18:50 | |
Put it this way, you're no oil painting. | 0:18:50 | 0:18:52 | |
Try again. Give me that mirror. | 0:18:52 | 0:18:54 | |
I thought you people wanted to be artists. | 0:18:56 | 0:18:58 | |
I mean, look at this one, it's a nightmare. | 0:18:58 | 0:19:00 | |
Mr Munch, what on earth made you think that... | 0:19:00 | 0:19:02 | |
All right, it's not that bad. | 0:19:03 | 0:19:05 | |
Aha, now, this is real talent. | 0:19:05 | 0:19:09 | |
Rene Magritte, formidable. | 0:19:09 | 0:19:10 | |
Oh, well, it's not quite finished yet. | 0:19:10 | 0:19:13 | |
What's that for? We did fruit last week. | 0:19:16 | 0:19:18 | |
I am interested in what we cannot see. | 0:19:18 | 0:19:21 | |
Here's what I cannot see - you being a decent painter. | 0:19:21 | 0:19:24 | |
I mean, how big do you think apples are, mate? | 0:19:24 | 0:19:26 | |
-It's a cooking apple. -Dear, oh, dear. | 0:19:26 | 0:19:27 | |
Barbara Hepworth, Babs, you've not even put a canvas on here. | 0:19:29 | 0:19:34 | |
What are you up to? | 0:19:34 | 0:19:36 | |
It's a sculpture. Go on, pat it. | 0:19:36 | 0:19:39 | |
-I'm not going to pat it. -Pat it. | 0:19:39 | 0:19:40 | |
I'm not going to pat it. | 0:19:40 | 0:19:41 | |
Right, sorry to say this, but basically you're all rubbish | 0:19:41 | 0:19:44 | |
and I wouldn't trust you to paint my skirting boards. | 0:19:44 | 0:19:46 | |
Go on, clear off, class dismissed. | 0:19:46 | 0:19:49 | |
Not again. I've told you before, Banksy, not on the walls! | 0:19:52 | 0:19:55 | |
Banksy is a famous graffiti artist but he does it in secret so no-one | 0:19:57 | 0:20:01 | |
knows who he is. | 0:20:01 | 0:20:02 | |
Mind you, Banksy's not nearly as messy as this next famous painter, | 0:20:02 | 0:20:07 | |
whose unusual splatter style caused a bit of a stir. | 0:20:07 | 0:20:10 | |
Oh, Mr Pollock, Jackson Pollock. | 0:20:12 | 0:20:15 | |
Yeah, who wants to know? | 0:20:15 | 0:20:18 | |
Hi, I'm Sherman Nathaniel III. Oh, you have paint on your hands, sure. | 0:20:18 | 0:20:22 | |
I'm your biggest fan and I just love the whole expressionistic | 0:20:22 | 0:20:25 | |
-abstractism thing. -Abstract Expressionism. | 0:20:25 | 0:20:29 | |
That's what I said. | 0:20:29 | 0:20:30 | |
And anyway, as you know, you're all the rage in town | 0:20:30 | 0:20:33 | |
and I'd just love to buy one of your paintings. | 0:20:33 | 0:20:35 | |
Like this. | 0:20:35 | 0:20:37 | |
It is just... Well, it's wonderful. | 0:20:37 | 0:20:39 | |
You know, it's breathtaking, it's... | 0:20:39 | 0:20:41 | |
It's not for sale. | 0:20:41 | 0:20:43 | |
-I already sold it. -Good, good, I am glad about that because... | 0:20:43 | 0:20:48 | |
I actually prefer this one. | 0:20:48 | 0:20:50 | |
Oh, it's just genius. | 0:20:50 | 0:20:52 | |
I just spilt paint on the floor. | 0:20:52 | 0:20:53 | |
Obviously I was joking, because I can spot one of your paintings | 0:20:53 | 0:20:56 | |
a mile off. And, oh, you spilt it on the canvas as well, buddy. | 0:20:56 | 0:20:58 | |
I mean, good luck getting that off. | 0:20:58 | 0:21:00 | |
-That's one of my paintings. -That's my favourite one. | 0:21:00 | 0:21:02 | |
Yeah. Where's the next one? | 0:21:02 | 0:21:04 | |
Well, where do you think? | 0:21:04 | 0:21:05 | |
Whoa, hello! | 0:21:08 | 0:21:10 | |
-This is the best one yet. -My neighbour's daughter painted that. | 0:21:10 | 0:21:13 | |
-She should be ashamed. -She's three. | 0:21:13 | 0:21:14 | |
She's a little terror and she's taken all these paints | 0:21:14 | 0:21:17 | |
and spilt them up there as well. | 0:21:17 | 0:21:18 | |
-You must be livid. -No, no, cos that's one of my paintings. | 0:21:18 | 0:21:21 | |
-I will buy it for 1 million. -It's not for sale to you. | 0:21:21 | 0:21:23 | |
In fact, nothing is for sale to you. | 0:21:23 | 0:21:25 | |
-You can get out. -Whoa. | 0:21:25 | 0:21:26 | |
-Ah, I'm sorry. -Are you kidding? | 0:21:28 | 0:21:30 | |
My shoes are original Jackson Pollocks now. | 0:21:30 | 0:21:32 | |
Thank you, Mr Pollock. I am going to be the toast of the town. | 0:21:32 | 0:21:36 | |
THUNDER RUMBLES | 0:21:36 | 0:21:37 | |
It's raining outside. | 0:21:37 | 0:21:38 | |
Is there any chance I could borrow an umbrella? | 0:21:38 | 0:21:40 | |
-Get out. -Sure. | 0:21:40 | 0:21:41 | |
Jackson Pollock's paintings were one of the new styles | 0:21:43 | 0:21:46 | |
that emerged during the 20th century, | 0:21:46 | 0:21:49 | |
along with movements like pop art | 0:21:49 | 0:21:51 | |
and surrealism, which involved taking everyday objects | 0:21:51 | 0:21:54 | |
and making them look weird. | 0:21:54 | 0:21:58 | |
Yeah, really weird. | 0:21:59 | 0:22:01 | |
And sometimes the painters were as weird as their paintings. | 0:22:01 | 0:22:06 | |
Like the painter of this one, Salvador Dali. | 0:22:06 | 0:22:10 | |
It's a new term and headteacher Hannah Lawrence is doing her best to | 0:22:10 | 0:22:13 | |
improve school standards, which are currently so low they will have to | 0:22:13 | 0:22:16 | |
improve just to get rock-bottom. | 0:22:16 | 0:22:17 | |
Welcome to Historical Educating. | 0:22:17 | 0:22:20 | |
It's Monday morning and class 7F need a new teacher. | 0:22:20 | 0:22:23 | |
We needed a supply teacher last minute | 0:22:23 | 0:22:25 | |
and Mr Dali's CV came through. | 0:22:25 | 0:22:27 | |
Well, I say CV, | 0:22:28 | 0:22:30 | |
it's actually a box of cauliflowers. | 0:22:30 | 0:22:33 | |
But apparently that's called surrealism. | 0:22:33 | 0:22:35 | |
Greengrocery, that's what I call it. | 0:22:35 | 0:22:38 | |
There really wasn't anyone else. | 0:22:38 | 0:22:40 | |
Good morning, everyone. My name is Dali. | 0:22:40 | 0:22:43 | |
-ALL: -Morning, Mr Dali. | 0:22:43 | 0:22:45 | |
Now, I like my surroundings to be perfect. | 0:22:45 | 0:22:48 | |
You two, drag in the bath. | 0:22:48 | 0:22:50 | |
Today's lesson is titled The Genius Of Salvador Dali. | 0:23:01 | 0:23:07 | |
PHONE RINGS | 0:23:07 | 0:23:08 | |
-Sorry, sir, that's my phone. -That is not a phone. | 0:23:08 | 0:23:10 | |
This is a phone. | 0:23:11 | 0:23:13 | |
What's the matter? You pulled a mussel. | 0:23:13 | 0:23:16 | |
Good for you. | 0:23:16 | 0:23:17 | |
I could teach you about art, | 0:23:17 | 0:23:19 | |
but it would be pointless as none of you is a genius like me. | 0:23:19 | 0:23:23 | |
You don't seem like a genius, sir, you seem like a weirdo. | 0:23:23 | 0:23:26 | |
And you, little girl, seem like an ignoramus. | 0:23:26 | 0:23:31 | |
Now, if you'll excuse me, I'm going to take my anteater for a walk. | 0:23:31 | 0:23:35 | |
Weirdo, indeed! | 0:23:35 | 0:23:37 | |
Mr Dali has been called in to see the headteacher. | 0:23:37 | 0:23:40 | |
Mr Dali, I'm a little concerned about what you've... | 0:23:40 | 0:23:43 | |
Sorry, what are you wearing? | 0:23:43 | 0:23:45 | |
Help me. | 0:23:45 | 0:23:46 | |
I was just trying to convey how I exist | 0:23:54 | 0:23:56 | |
at the bottom of a sea of dreams. | 0:23:56 | 0:23:58 | |
Mr Dali, I'm afraid your teaching methods are much too peculiar | 0:23:58 | 0:24:01 | |
for the children here. I'm sorry, but it's time for you to leave. | 0:24:01 | 0:24:05 | |
Tell me, have you seen my anteater? | 0:24:05 | 0:24:07 | |
Get out. | 0:24:07 | 0:24:09 | |
Coming, Snowball, walkies. | 0:24:09 | 0:24:12 | |
I'm world-famous pop artist Andy Warhol. | 0:24:20 | 0:24:23 | |
Now, I've mixed with some of the greatest artists of the 20th century | 0:24:23 | 0:24:26 | |
and if there's one thing I've learned over the years, it's... | 0:24:26 | 0:24:29 | |
..always wear green pants. | 0:24:31 | 0:24:34 | |
Seriously. It's what I do. | 0:24:34 | 0:24:36 | |
I only wear green pants. | 0:24:36 | 0:24:38 | |
Fabulous. I mean, normally I buy them green, | 0:24:38 | 0:24:42 | |
but this pair I just haven't washed for a while. | 0:24:42 | 0:24:44 | |
Hmm, mouldy pants. | 0:24:46 | 0:24:48 | |
Strangely comforting. | 0:24:48 | 0:24:50 | |
Top tip, Mr Warhol. | 0:24:55 | 0:24:57 | |
OK, it's finally finished, and from cave art to the Renaissance to | 0:24:57 | 0:25:01 | |
surrealism, I've used them all in my masterpiece, | 0:25:01 | 0:25:05 | |
in a new style I call post-rodentism. | 0:25:05 | 0:25:09 | |
Or, as one critic called it, rubbish. | 0:25:09 | 0:25:12 | |
I'm thinking of titling it the Moaning Cheese-a. | 0:25:12 | 0:25:15 | |
The Moaning Cheesea! | 0:25:15 | 0:25:18 | |
Suit yourself. OK, can I start the bidding at 1.5 billion? | 0:25:18 | 0:25:21 | |
No? OK, 1.4 billion. | 0:25:21 | 0:25:25 | |
No? How about a quid? | 0:25:25 | 0:25:28 | |
No, it looks like I've got a long way to go to match | 0:25:28 | 0:25:31 | |
this last incredible painting by Leonardo da Vinci. | 0:25:31 | 0:25:34 | |
It hangs in the Louvre Museum in Paris | 0:25:34 | 0:25:36 | |
and it's probably the most famous piece of art of all time | 0:25:36 | 0:25:40 | |
and it's got a pretty mysterious history, too. | 0:25:40 | 0:25:44 | |
Over to you, Mona. | 0:25:44 | 0:25:46 | |
Or is it Lisa? | 0:25:46 | 0:25:49 | |
# Hello? | 0:25:49 | 0:25:52 | |
# It's-a-me | 0:25:52 | 0:25:55 | |
# The most famousest painting in history | 0:25:55 | 0:25:59 | |
# Ten million see me every year | 0:26:00 | 0:26:03 | |
# Not hanging in the loo but in the Louvre here | 0:26:03 | 0:26:07 | |
# Hello, it's me, from the other side of that you see | 0:26:07 | 0:26:12 | |
# I'm Lisa Gherardini who posed for this | 0:26:12 | 0:26:15 | |
# My husband wants a portrait of his missus | 0:26:15 | 0:26:18 | |
# I modelled at the start then the story gets shady | 0:26:18 | 0:26:22 | |
# Under her is painted another Mona Lady | 0:26:22 | 0:26:25 | |
# Is this picture me? Or someone like me? | 0:26:25 | 0:26:28 | |
# Is this Lisa, me-sa? | 0:26:28 | 0:26:29 | |
# It's a mystery Though my husband was the owner | 0:26:29 | 0:26:32 | |
# Was there another Mona? No-one knows the real history | 0:26:32 | 0:26:38 | |
# Hello, it's me | 0:26:38 | 0:26:40 | |
# I'm the one they call 'The Code' da Vinci | 0:26:40 | 0:26:44 | |
# Not just an artist I'm a procrastinator | 0:26:44 | 0:26:47 | |
# If you don't know what that means then I will tell you later | 0:26:47 | 0:26:50 | |
# Hello, Raphael | 0:26:50 | 0:26:52 | |
# My student's got to copy this and make a sale | 0:26:52 | 0:26:56 | |
# This painting is incredibly profound | 0:26:56 | 0:26:59 | |
# Please stop, those eyes are following me around | 0:26:59 | 0:27:02 | |
# Her enigmatic smile a visual delight | 0:27:02 | 0:27:05 | |
# You think so? No, still not quite right | 0:27:05 | 0:27:08 | |
# The picture's not good enough for someone like me | 0:27:08 | 0:27:11 | |
# For 15 years those hands have been bothering me | 0:27:11 | 0:27:14 | |
# My legacy will last I may be great, but I'm not fast | 0:27:14 | 0:27:18 | |
# And you wonder why I lived in poverty? | 0:27:18 | 0:27:21 | |
# Patience! One day this great work of art | 0:27:22 | 0:27:25 | |
# Will hang in the bedroom of Bonaparte | 0:27:25 | 0:27:28 | |
# Most expensive pic of all you'd better believe it | 0:27:28 | 0:27:31 | |
# People gonna vandalise forge and steal it | 0:27:31 | 0:27:34 | |
# If I wanted it back what must I bid? | 0:27:34 | 0:27:37 | |
# I'm said to be worth one-and-a-half billion quid! # | 0:27:37 | 0:27:39 | |
What?! | 0:27:39 | 0:27:41 | |
# Then I was stolen cos someone liked me | 0:27:41 | 0:27:43 | |
# That was when I gained notoriety | 0:27:43 | 0:27:46 | |
# Peaceful life ain't being attacked by red paint | 0:27:46 | 0:27:49 | |
# Now bulletproof glass protects me. # | 0:27:49 | 0:27:52 | |
Is that little one baby Jesus? | 0:27:55 | 0:27:58 | |
Is it baby Jesus?! | 0:27:58 | 0:28:00 | |
Who else are Mary and Joseph | 0:28:00 | 0:28:01 | |
going to be carting around? | 0:28:01 | 0:28:03 | |
HE SPEAKS GIBBERISH | 0:28:03 | 0:28:04 | |
LAUGHTER | 0:28:04 | 0:28:07 | |
# The past is no longer a mystery | 0:28:07 | 0:28:09 | |
# Hope you enjoyed Horrible Histories. # | 0:28:09 | 0:28:14 |