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I once made a film with Leni Riefenstahl, the notorious | 0:00:23 | 0:00:27 | |
German film director who made propaganda films for the Nazis. | 0:00:27 | 0:00:32 | |
And she told me that Hitler told her that he'd decided to join | 0:00:32 | 0:00:37 | |
the Nazi Party while looking down on the world from a mountain. | 0:00:37 | 0:00:42 | |
Now, I don't know if that's true, | 0:00:42 | 0:00:44 | |
but I do know that mountains have a powerful effect on people. | 0:00:44 | 0:00:49 | |
Mountains cloud your judgment. | 0:00:52 | 0:00:55 | |
They heighten your emotions and intoxicate you. | 0:00:56 | 0:01:00 | |
And in Renaissance times, the times we're looking at, | 0:01:01 | 0:01:06 | |
they intoxicated that especially disquieting Renaissance presence... | 0:01:06 | 0:01:12 | |
..Leonardo da Vinci. | 0:01:13 | 0:01:15 | |
When Leonardo pops up in Renaissance films, he's always presented as | 0:01:20 | 0:01:25 | |
this gatherer of knowledge. Leonardo, artist and scientist! | 0:01:25 | 0:01:30 | |
The leading genius of the Renaissance. | 0:01:30 | 0:01:33 | |
And of course, he was very clever and all that, | 0:01:34 | 0:01:37 | |
but he was also driven, unsettling, imbalanced. | 0:01:37 | 0:01:43 | |
And that's the Leonardo we'll be looking at in this film. | 0:01:43 | 0:01:46 | |
Personally, I can't see how Leonardo ever managed | 0:02:34 | 0:02:38 | |
to pass for a scientific genius. | 0:02:38 | 0:02:42 | |
One look at his paintings tells you there was something | 0:02:42 | 0:02:45 | |
strange about him, something peculiar and visionary. | 0:02:45 | 0:02:49 | |
So in this film, a film about the darkness that enveloped | 0:02:52 | 0:02:56 | |
the Renaissance as it hurtled through the 16th century... | 0:02:56 | 0:03:01 | |
..we'll be celebrating Leonardo the fiery visionary. | 0:03:03 | 0:03:06 | |
And not Leonardo the brilliant scientist. | 0:03:08 | 0:03:12 | |
And then, when we've done with Leonardo, | 0:03:15 | 0:03:19 | |
we'll turn to all the other wild-eyed eccentrics | 0:03:19 | 0:03:24 | |
who began popping up in the Renaissance in increasing numbers. | 0:03:24 | 0:03:29 | |
Hieronymus Bosch. | 0:03:31 | 0:03:32 | |
Arcimboldo. | 0:03:34 | 0:03:36 | |
El Greco. | 0:03:38 | 0:03:40 | |
The Renaissance is supposed to be the first modern Age of Reason. | 0:03:42 | 0:03:48 | |
But look how packed it really was with unreason. | 0:03:50 | 0:03:54 | |
We have to start here, of course, | 0:04:01 | 0:04:03 | |
with the world's most famous painting. | 0:04:03 | 0:04:06 | |
Painted in around 1504, | 0:04:12 | 0:04:16 | |
the Mona Lisa has spent half a millennium confusing people. | 0:04:16 | 0:04:21 | |
I must have seen her 100 times and I still can't tell you | 0:04:23 | 0:04:28 | |
what that mysterious look on her face is trying to convey. | 0:04:28 | 0:04:33 | |
It's all deliberate. | 0:04:35 | 0:04:38 | |
Leonardo, the cunning so-and-so, is playing mind games with us. | 0:04:38 | 0:04:43 | |
With most portraits, you look at the sitter. | 0:04:43 | 0:04:47 | |
With this one, the sitter looks at you. | 0:04:47 | 0:04:52 | |
Staring slowly into your thoughts, | 0:04:52 | 0:04:55 | |
as if she knows what you're thinking. | 0:04:55 | 0:04:58 | |
That's why she's got that irritating smirk on her face. | 0:05:01 | 0:05:06 | |
The famous "Mona Lisa smile". | 0:05:06 | 0:05:09 | |
Damn it! She knows everything. | 0:05:10 | 0:05:12 | |
Apart from the psychological games, which are brilliant | 0:05:15 | 0:05:19 | |
and way ahead of their time, | 0:05:19 | 0:05:21 | |
what I really admire about her | 0:05:21 | 0:05:24 | |
is that she's not classically beautiful. | 0:05:24 | 0:05:27 | |
This isn't a Renaissance dolly bird or a stand-in for Venus. | 0:05:30 | 0:05:36 | |
This is a smart, older woman. | 0:05:37 | 0:05:40 | |
Independent and strong. | 0:05:40 | 0:05:43 | |
When you admire the Mona Lisa you admire her mystery, | 0:05:44 | 0:05:49 | |
not her cuteness. | 0:05:49 | 0:05:51 | |
And that's where the mountains come in. | 0:05:54 | 0:05:57 | |
These fabulous Leonardo mountains. | 0:05:57 | 0:06:00 | |
The landscape here is really important. | 0:06:02 | 0:06:06 | |
Usually in art, the landscape helps to place the sitter | 0:06:06 | 0:06:09 | |
so you know where you are. | 0:06:09 | 0:06:11 | |
But with the Mona Lisa, the opposite happens. | 0:06:11 | 0:06:16 | |
Leonardo's mountains echo her sense of mystery and amplify it. | 0:06:19 | 0:06:26 | |
Smuggled into Renaissance art are timeless moods... | 0:06:28 | 0:06:33 | |
..that belong in Lord Of The Rings. | 0:06:34 | 0:06:36 | |
The same thing happens all over his art. | 0:06:39 | 0:06:43 | |
The pictures play mind games with you. | 0:06:43 | 0:06:47 | |
This is the Virgin Of The Rocks, also in the Louvre. | 0:06:47 | 0:06:50 | |
And again what a puzzling picture | 0:06:50 | 0:06:54 | |
with all this strange pointing going on | 0:06:54 | 0:06:58 | |
and another stupendous | 0:06:58 | 0:07:01 | |
and thoroughly mysterious mountain landscape. | 0:07:01 | 0:07:05 | |
Like a clever whodunnit that we will never solve, | 0:07:07 | 0:07:12 | |
the art of Leonardo da Vinci keeps us guessing, | 0:07:12 | 0:07:17 | |
speculating and suspecting. | 0:07:17 | 0:07:20 | |
It's true of so much of his art, | 0:07:27 | 0:07:30 | |
as if he's deliberately stoking up the sense of mystery | 0:07:30 | 0:07:35 | |
to keep us interested. | 0:07:35 | 0:07:37 | |
And very often, it involves mountains. | 0:07:37 | 0:07:42 | |
In Windsor Castle in the Royal Library, | 0:07:48 | 0:07:51 | |
there is a remarkable set of drawings. | 0:07:51 | 0:07:55 | |
The so-called Deluge Drawings. | 0:07:57 | 0:08:01 | |
Made towards the end of his life in around 1514. | 0:08:03 | 0:08:09 | |
And all of them have this turbulent apocalyptic power to them. | 0:08:11 | 0:08:17 | |
When I first saw these Deluge pictures | 0:08:24 | 0:08:27 | |
I assumed they were scientific drawings | 0:08:27 | 0:08:31 | |
in which Leonardo was recording the effects | 0:08:31 | 0:08:35 | |
of a particularly fierce storm. | 0:08:35 | 0:08:37 | |
And we now know that in 1513 there really was a terrible | 0:08:37 | 0:08:43 | |
landslide here in Bellinzona near the Swiss border with Italy | 0:08:43 | 0:08:49 | |
and that Leonardo may have witnessed the damage as the mountain | 0:08:49 | 0:08:54 | |
crumbled and slid into the valley. | 0:08:54 | 0:08:57 | |
ITALIAN NEWS REPORT | 0:08:58 | 0:09:00 | |
And guess what? | 0:09:04 | 0:09:06 | |
Just recently, in 2012, it happened again in this same valley. | 0:09:06 | 0:09:13 | |
You can see it on YouTube. | 0:09:15 | 0:09:18 | |
The Bellinzona landslide. | 0:09:18 | 0:09:21 | |
It's very dramatic. | 0:09:21 | 0:09:23 | |
So this was something that actually happened. | 0:09:31 | 0:09:33 | |
It looks imaginary but it wasn't. | 0:09:33 | 0:09:36 | |
It's the same with another drawing in the Royal Library in Windsor | 0:09:36 | 0:09:41 | |
called The Cloud Burst Of Material Possessions | 0:09:41 | 0:09:45 | |
in which all sorts of garden implements | 0:09:45 | 0:09:49 | |
are falling out of the sky. | 0:09:49 | 0:09:51 | |
Rakes. | 0:09:51 | 0:09:53 | |
Bottles. | 0:09:53 | 0:09:54 | |
Umbrellas. | 0:09:54 | 0:09:55 | |
You can see that on YouTube as well. | 0:09:58 | 0:10:01 | |
A few months ago, it happened near Venice | 0:10:01 | 0:10:05 | |
when a tornado struck the Veneto | 0:10:05 | 0:10:09 | |
and all this stuff began falling out of the sky. | 0:10:09 | 0:10:13 | |
So all this can really happen. | 0:10:19 | 0:10:22 | |
Nature can tear the world apart and reorder it. | 0:10:22 | 0:10:25 | |
It is scientifically observable and provable. | 0:10:25 | 0:10:29 | |
But there is something else going on here. | 0:10:29 | 0:10:32 | |
If you look at the top, see, | 0:10:32 | 0:10:34 | |
Leonardo has written something in his famous mirror writing. | 0:10:34 | 0:10:39 | |
It actually says, "On this side, Adam, on this, Eve." | 0:10:40 | 0:10:46 | |
Adam and Eve, the first man and the first woman in the Bible, | 0:10:49 | 0:10:55 | |
who committed the first sin. | 0:10:55 | 0:10:58 | |
What have they got to do with any of this? | 0:10:59 | 0:11:03 | |
They've got everything to do with it | 0:11:05 | 0:11:07 | |
because what we've really got in these tremendous Deluge Drawings | 0:11:07 | 0:11:11 | |
is an intense and pessimistic religious vision | 0:11:11 | 0:11:16 | |
disguised as science. | 0:11:16 | 0:11:18 | |
Here's another of the Deluge Drawings. | 0:11:23 | 0:11:26 | |
A hurricane sweeping across the sky uprooting the trees, | 0:11:27 | 0:11:33 | |
drowning the horsemen. | 0:11:33 | 0:11:35 | |
And look, up in the clouds, hidden in the billows, | 0:11:37 | 0:11:42 | |
an angry God is driving the storm. | 0:11:42 | 0:11:46 | |
Look over here in the corner. | 0:11:51 | 0:11:54 | |
There is a cloud load of trumpeting angels, blowing the final chord. | 0:11:54 | 0:12:00 | |
We have seen angels like this before in this series. | 0:12:03 | 0:12:07 | |
Back in film two when we visited the Sistine Chapel | 0:12:08 | 0:12:14 | |
and saw Michelangelo's last judgment... | 0:12:14 | 0:12:17 | |
..where another cloud load of trumpeting angels | 0:12:18 | 0:12:22 | |
is playing the final tune. | 0:12:22 | 0:12:25 | |
These Deluge Drawings may look like accurate observations of nature, | 0:12:29 | 0:12:33 | |
things that Leonardo actually saw, but what they really are | 0:12:33 | 0:12:37 | |
are fantastical envisionings of the final apocalypse. | 0:12:37 | 0:12:42 | |
The end of the world. | 0:12:42 | 0:12:44 | |
This isn't the handiwork of a particularly clever scientist. | 0:12:47 | 0:12:52 | |
It's the handiwork of a particularly pessimistic visionary. | 0:12:53 | 0:12:58 | |
In the mind of Leonardo da Vinci... | 0:13:01 | 0:13:04 | |
..exquisite knowledge had turned into exquisite despair. | 0:13:05 | 0:13:11 | |
# He sendeth the springs into the rivers | 0:13:21 | 0:13:26 | |
# Which run among the hills | 0:13:26 | 0:13:30 | |
# All beasts of the field drink thereof. # | 0:13:30 | 0:13:34 | |
Scratch the surface of the Renaissance just about anywhere | 0:13:34 | 0:13:39 | |
and the pessimism comes bubbling up like Saudi crude. | 0:13:39 | 0:13:45 | |
It's true of many Renaissance hotspots. | 0:13:47 | 0:13:51 | |
But it's especially true of this one. | 0:13:54 | 0:13:57 | |
When it comes to pessimism, even Leonardo has some way to go | 0:14:00 | 0:14:05 | |
to match the despair of Hieronymus Bosch. | 0:14:05 | 0:14:10 | |
# And green herb for the service of men. # | 0:14:10 | 0:14:15 | |
Bosch was almost an exact contemporary of Leonardo's, | 0:14:16 | 0:14:20 | |
just a couple of years older. | 0:14:20 | 0:14:22 | |
He was born around 1450 and died 1516. | 0:14:22 | 0:14:28 | |
So this pessimism they shared was the pessimism of their times. | 0:14:28 | 0:14:34 | |
As the 15th century turned into the 16th, | 0:14:38 | 0:14:43 | |
art, the truest evidence there is of these things... | 0:14:43 | 0:14:47 | |
..got weirder and weirder. | 0:14:48 | 0:14:50 | |
Darker and darker. | 0:14:51 | 0:14:53 | |
This is supposed to be an age of enlightenment. | 0:14:56 | 0:14:59 | |
So where did the enlightenment go? | 0:15:01 | 0:15:03 | |
Bosch was born over there in 's-Hertogenbosch, | 0:15:06 | 0:15:10 | |
or Den Bosch as they call it now in Holland. | 0:15:10 | 0:15:13 | |
He was christened Hieronymus van Aken, | 0:15:13 | 0:15:17 | |
but just as Veronese came from Verona | 0:15:17 | 0:15:20 | |
and da Vinci came from Vinci, | 0:15:20 | 0:15:23 | |
so Bosch came from Den Bosch. | 0:15:23 | 0:15:25 | |
His most famous picture, | 0:15:28 | 0:15:31 | |
The Garden Of Earthly Delights in the Prado, | 0:15:31 | 0:15:34 | |
that extraordinary theme park of sin, | 0:15:34 | 0:15:39 | |
is a triptych packed with so much bad news | 0:15:39 | 0:15:45 | |
that I can't deal with it all at once. | 0:15:45 | 0:15:48 | |
So I'm going to do the three panels separately. | 0:15:50 | 0:15:54 | |
The one on the left shows us paradise, | 0:15:57 | 0:16:00 | |
where God has just created Adam and Eve. | 0:16:00 | 0:16:04 | |
So there they all are standing under a dragon tree. | 0:16:07 | 0:16:11 | |
And because this is paradise Satan is there as well. | 0:16:13 | 0:16:19 | |
But he's in disguise. | 0:16:19 | 0:16:21 | |
He is usually shown as a snake, | 0:16:22 | 0:16:26 | |
but Bosch reinvents him as an owl... | 0:16:26 | 0:16:30 | |
..lurking in his cubbyhole at the centre of paradise. | 0:16:31 | 0:16:36 | |
The owl, the dragon tree, they are all symbolic details | 0:16:41 | 0:16:47 | |
and the picture is jam-packed with them. | 0:16:47 | 0:16:50 | |
It took us three hours to film it in the Prado | 0:16:50 | 0:16:54 | |
and we still didn't finish. | 0:16:54 | 0:16:56 | |
Bosch was part of a large family of painters - the van Akens... | 0:16:59 | 0:17:05 | |
..who worked communally in a house by the market in Den Bosch | 0:17:07 | 0:17:13 | |
with everyone chipping in. | 0:17:13 | 0:17:15 | |
They all lived and worked in a studio on the square here. | 0:17:19 | 0:17:23 | |
That is where The Garden Of Earthly Delights would have been painted. | 0:17:23 | 0:17:28 | |
While the left-hand panel shows us paradise... | 0:17:31 | 0:17:35 | |
..the central panel is a picture of Disneyland. | 0:17:36 | 0:17:41 | |
Whoops, sorry! No it isn't. | 0:17:42 | 0:17:45 | |
It's just that it looks like it | 0:17:45 | 0:17:48 | |
with its Cinderella castles and its Sleeping Beauty fountains. | 0:17:48 | 0:17:54 | |
And all that romping and revelling in the grass. | 0:17:55 | 0:17:59 | |
What it actually shows is paradise a bit later on as it were | 0:18:04 | 0:18:08 | |
once the humans and the animals have settled in | 0:18:08 | 0:18:12 | |
and spurred on by Satan begin doing what humans | 0:18:12 | 0:18:17 | |
and animals always do when you let them off the leash. | 0:18:17 | 0:18:22 | |
Show a man a woman and he will sin with her. | 0:18:24 | 0:18:28 | |
Show a woman a man and she will tempt him. | 0:18:29 | 0:18:34 | |
Or so Bosch is telling us as he warns us | 0:18:36 | 0:18:40 | |
in excruciating and marvellous detail | 0:18:40 | 0:18:44 | |
of the unstoppable dangers of lust. | 0:18:44 | 0:18:48 | |
Because Bosch's art is so strange, | 0:18:52 | 0:18:55 | |
some very daft suggestions have been put forward to explain it. | 0:18:55 | 0:18:59 | |
Particularly that middle panel. | 0:18:59 | 0:19:02 | |
It's been claimed that he used hallucinogenic drugs | 0:19:06 | 0:19:10 | |
to imagine this. | 0:19:10 | 0:19:12 | |
Renaissance LSD, perhaps. | 0:19:13 | 0:19:16 | |
And Freudians have outed him as a repressed sadomasochist. | 0:19:18 | 0:19:23 | |
Another popular idea is that he was a member of a secret religious cult | 0:19:28 | 0:19:34 | |
and that his art was smuggling wicked heretical ideas | 0:19:34 | 0:19:39 | |
into the Renaissance. | 0:19:39 | 0:19:41 | |
But of course, he wasn't any of those things. | 0:19:41 | 0:19:44 | |
Bosch was a fierce and inventive Catholic, a religious pessimist | 0:19:44 | 0:19:51 | |
who looked around at the world about him and didn't like what he saw. | 0:19:51 | 0:19:55 | |
# He sendeth the springs into the rivers. # | 0:19:55 | 0:19:59 | |
In Bosch's time, 's-Hertogenbosch had about 18,000 people living in it. | 0:20:00 | 0:20:08 | |
And of those 18,000, 2,000 or so were religious folk. | 0:20:08 | 0:20:15 | |
Monks, friars, nuns. | 0:20:16 | 0:20:20 | |
# Their habitation | 0:20:20 | 0:20:23 | |
# And sing among the branches... # | 0:20:23 | 0:20:27 | |
So this was an unusually religious town. | 0:20:27 | 0:20:31 | |
And these unusually religious moods are his moods. | 0:20:32 | 0:20:37 | |
# For the cattle | 0:20:37 | 0:20:39 | |
# And green herb for the service of men | 0:20:39 | 0:20:44 | |
# That he may bring food out of the earth. # | 0:20:44 | 0:20:48 | |
It's been suggested that a version of The Garden Of Earthly Delights | 0:20:48 | 0:20:52 | |
used to hang here in the cathedral in 's-Hertogenbosch, | 0:20:52 | 0:20:57 | |
but the nudity was too much for later times. | 0:20:57 | 0:21:02 | |
So it was replaced. | 0:21:02 | 0:21:05 | |
# And the wild asses quench their thirst | 0:21:05 | 0:21:08 | |
# Beside them shall the fowls of the air have their habitation. # | 0:21:08 | 0:21:15 | |
Some of the strange architecture in the garden | 0:21:15 | 0:21:19 | |
was inspired by this new font for baptising children, | 0:21:19 | 0:21:25 | |
which arrived in the cathedral in 1492. | 0:21:25 | 0:21:30 | |
# He watereth the hills from above... # | 0:21:30 | 0:21:33 | |
Bosch converted it into an ungodly blue totem | 0:21:33 | 0:21:39 | |
that the locals are worshipping in their religious Disneyland. | 0:21:39 | 0:21:44 | |
# And green herb for the service of men... # | 0:21:44 | 0:21:47 | |
Full of guilt and terror, set free in paradise, | 0:21:47 | 0:21:52 | |
mankind gets straight down to the business | 0:21:52 | 0:21:56 | |
of forgetting the true God. | 0:21:56 | 0:21:59 | |
# The Lord shall rejoice in His works. # | 0:22:00 | 0:22:05 | |
So the central panel is packed with sinners | 0:22:05 | 0:22:09 | |
and all that sinning can only lead to one place. | 0:22:09 | 0:22:13 | |
Hell. | 0:22:13 | 0:22:15 | |
And that is what is depicted in the right-hand panel. | 0:22:15 | 0:22:19 | |
# I will praise my God while I have my being... # | 0:22:19 | 0:22:22 | |
Hell is Bosch's speciality. | 0:22:22 | 0:22:25 | |
He painted the most imaginative and terrifying scenes of punishment | 0:22:25 | 0:22:31 | |
and distortion to be found anywhere in art. | 0:22:31 | 0:22:35 | |
# And the ungodly shall come to an end... # | 0:22:37 | 0:22:40 | |
I don't need to describe them. | 0:22:40 | 0:22:43 | |
You can see what they are. | 0:22:43 | 0:22:45 | |
The only thing that needs pointing out perhaps | 0:22:47 | 0:22:50 | |
is that this is Renaissance art as well. | 0:22:50 | 0:22:55 | |
Just as Renaissance as the Mona Lisa. | 0:22:55 | 0:22:58 | |
# World without end | 0:22:59 | 0:23:02 | |
# Amen. # | 0:23:02 | 0:23:05 | |
The darkness of Hieronymus Bosch, | 0:23:14 | 0:23:18 | |
the sweaty guiltiness of his art, | 0:23:18 | 0:23:21 | |
all that punishment and sin, | 0:23:21 | 0:23:25 | |
isn't confined to Renaissance painting. | 0:23:25 | 0:23:28 | |
It's a feature too of Renaissance ceramics. | 0:23:28 | 0:23:33 | |
And particularly of the remarkable plates | 0:23:34 | 0:23:38 | |
made in Renaissance France by Bernard Palissy. | 0:23:38 | 0:23:42 | |
Palissy was a French Huguenot. | 0:23:48 | 0:23:50 | |
A protestant. | 0:23:50 | 0:23:53 | |
He was born in around 1510 | 0:23:53 | 0:23:56 | |
and died aged about 80 in the Bastille prison. | 0:23:56 | 0:24:00 | |
They locked him up because he was fiercely religious | 0:24:00 | 0:24:05 | |
and refused to denounce his protestant faith. | 0:24:05 | 0:24:08 | |
We are not sure where Palissy learnt | 0:24:12 | 0:24:14 | |
to make his remarkable Renaissance plates. | 0:24:14 | 0:24:18 | |
He seems to have been largely self-taught. | 0:24:19 | 0:24:22 | |
They say he was trying to recreate Chinese porcelain. | 0:24:24 | 0:24:28 | |
But I don't think I buy that. | 0:24:30 | 0:24:32 | |
It's obvious surely that Palissy's plates have a dark side. | 0:24:34 | 0:24:39 | |
A typical Palissy will have a snake in the middle | 0:24:44 | 0:24:48 | |
and all around will be lizards, snails, frogs, | 0:24:48 | 0:24:53 | |
things that slither and creep and come out in the deep. | 0:24:53 | 0:24:58 | |
They are spectacularly realistic and ahead of their times. | 0:25:02 | 0:25:06 | |
He made them using plaster moulds taken from real snakes | 0:25:08 | 0:25:13 | |
and lizards he had collected in the marshes. | 0:25:13 | 0:25:16 | |
Why would anyone in Renaissance France be making plates like these? | 0:25:18 | 0:25:25 | |
In art, snakes, lizards, frogs have a very dark history. | 0:25:29 | 0:25:35 | |
They have been victimised, picked out of the animal kingdom | 0:25:36 | 0:25:41 | |
and turned into symbols of death and evil. | 0:25:41 | 0:25:45 | |
When Carpaccio painted his fabulous St George And The Dragon | 0:25:49 | 0:25:54 | |
in the Scuola San Giorgio in Venice, | 0:25:54 | 0:25:58 | |
he littered the ground around his hero | 0:25:58 | 0:26:02 | |
with symbols of darkness, mutilation and mortality. | 0:26:02 | 0:26:07 | |
Also in Venice, why is this young man, painted by Lorenzo Lotto, | 0:26:10 | 0:26:17 | |
being examined so intently by a lizard? | 0:26:17 | 0:26:22 | |
Because the lizard's job in the painting | 0:26:24 | 0:26:27 | |
is to remind the man that youth is short | 0:26:27 | 0:26:31 | |
and death is waiting. | 0:26:31 | 0:26:34 | |
It all starts in the Bible, | 0:26:39 | 0:26:41 | |
which is packed with prejudicial views of reptiles and amphibians. | 0:26:41 | 0:26:47 | |
When a plague descends on God's chosen people in Exodus, | 0:26:47 | 0:26:52 | |
it's a plague of frogs. | 0:26:52 | 0:26:55 | |
And right at the start in Genesis | 0:26:55 | 0:26:58 | |
when Satan tempts Eve in the Garden of Eden, | 0:26:58 | 0:27:02 | |
he does it disguised as a snake. | 0:27:02 | 0:27:05 | |
So these aren't any old religious issues. | 0:27:06 | 0:27:09 | |
These are the critical ones. | 0:27:09 | 0:27:12 | |
The only reason we have to die at all according to the Bible | 0:27:15 | 0:27:21 | |
is because we sinned in paradise. | 0:27:21 | 0:27:24 | |
And why did we sin in paradise? | 0:27:25 | 0:27:28 | |
Because a snake tempted Eve to commit the first sin. | 0:27:29 | 0:27:34 | |
And Bernard Palissy, | 0:27:36 | 0:27:39 | |
a religious extremist who died in the Bastille for his beliefs, | 0:27:39 | 0:27:44 | |
would have known all about the terrible meaning of snakes, | 0:27:44 | 0:27:50 | |
frogs and lizards. | 0:27:50 | 0:27:53 | |
And that's why he put them into his revolutionary ceramics. | 0:27:54 | 0:27:59 | |
It's a kind of Renaissance action art. | 0:28:06 | 0:28:09 | |
What do you do with a plate? | 0:28:09 | 0:28:11 | |
You put food on it. God's bounty. | 0:28:11 | 0:28:14 | |
And you eat it. | 0:28:14 | 0:28:16 | |
And as you eat it... | 0:28:17 | 0:28:19 | |
..the lizards, the frogs, the snakes begin popping up | 0:28:20 | 0:28:27 | |
and reminding you that earthly pleasures don't last for long | 0:28:27 | 0:28:33 | |
and that the devil is always there. | 0:28:33 | 0:28:38 | |
Always ready. | 0:28:38 | 0:28:40 | |
Always lurking. | 0:28:42 | 0:28:44 | |
In the marvellous Renaissance action art of Bernard Palissy, | 0:28:47 | 0:28:52 | |
something new appeared in the world. | 0:28:52 | 0:28:56 | |
Ceramics that pack a punch. | 0:28:56 | 0:28:59 | |
And the pessimism of the Renaissance | 0:29:00 | 0:29:03 | |
found one of its most inventive outlets. | 0:29:03 | 0:29:07 | |
The deeper you go in the late Renaissance, the weirder it gets. | 0:29:24 | 0:29:29 | |
Especially if you stray into Renaissance Prague, | 0:29:31 | 0:29:37 | |
the unlikely bailiwick | 0:29:37 | 0:29:40 | |
of this notoriously peculiar Habsburg emperor. | 0:29:40 | 0:29:45 | |
Oh, OK then. | 0:29:49 | 0:29:50 | |
This isn't really Rudolph II | 0:29:50 | 0:29:53 | |
and he didn't really have an edible chestnut for a chin | 0:29:53 | 0:29:57 | |
or a pear for a nose. | 0:29:57 | 0:29:59 | |
But this is a portrait of him, | 0:29:59 | 0:30:02 | |
painted by his remarkable court painter, Giuseppe Arcimboldo. | 0:30:02 | 0:30:08 | |
Even in this strange stretch of creativity | 0:30:11 | 0:30:15 | |
that is late Renaissance art, | 0:30:15 | 0:30:19 | |
Arcimboldo stands out. | 0:30:19 | 0:30:22 | |
The Renaissance always liked puzzles, tricks, complexities. | 0:30:23 | 0:30:30 | |
But with Arcimboldo, | 0:30:31 | 0:30:34 | |
this taste for conundrums reached a startling climax. | 0:30:34 | 0:30:39 | |
Although he was Italian, from Milan originally, | 0:30:43 | 0:30:46 | |
Arcimboldo came into his own, if that's what this can be called, | 0:30:46 | 0:30:51 | |
in Prague where he found himself at the end of the 16th century | 0:30:51 | 0:30:55 | |
working for Rudolph II. | 0:30:55 | 0:30:58 | |
Plenty of people have plenty of views | 0:31:00 | 0:31:03 | |
on what Arcimboldo was trying to do. | 0:31:03 | 0:31:07 | |
He's an alchemist, say some. | 0:31:08 | 0:31:10 | |
A magician, say others. | 0:31:11 | 0:31:13 | |
Or perhaps an occultist. | 0:31:15 | 0:31:17 | |
It was actually simpler than all that. | 0:31:21 | 0:31:23 | |
He was just a man of his times. | 0:31:23 | 0:31:26 | |
If you poke about in the recesses of late Renaissance art, | 0:31:26 | 0:31:31 | |
step just a little bit off the beaten track, you will find lots | 0:31:31 | 0:31:36 | |
of signs of an appetite that had arisen for mutation and strangeness. | 0:31:36 | 0:31:42 | |
Look at this thing, | 0:31:44 | 0:31:46 | |
commissioned by Rudolph II from his favourite jeweller, | 0:31:46 | 0:31:52 | |
Abraham Jamnitzer. | 0:31:52 | 0:31:54 | |
It's the beautiful Daphne turning into a tree made of coral... | 0:31:55 | 0:32:01 | |
..as the laws of nature are usurped by the laws of art. | 0:32:02 | 0:32:07 | |
And speaking of nature, | 0:32:10 | 0:32:12 | |
what about this unexpected Renaissance plate | 0:32:12 | 0:32:16 | |
at the Ashmolean Museum in Oxford? | 0:32:16 | 0:32:19 | |
It's another disguised portrait, | 0:32:21 | 0:32:24 | |
made up this time of interlocking penises. | 0:32:24 | 0:32:28 | |
That caption actually reads, | 0:32:30 | 0:32:33 | |
"Everyone looks at me as if I were a dickhead." | 0:32:33 | 0:32:37 | |
Oh, yes. The Renaissance. | 0:32:39 | 0:32:42 | |
Rebirth of civilisation(!) | 0:32:42 | 0:32:44 | |
So Arcimboldo wasn't going against the Renaissance grain | 0:32:50 | 0:32:54 | |
when he began painting these extraordinary heads. | 0:32:54 | 0:32:58 | |
He was continuing a Renaissance tradition. | 0:32:58 | 0:33:01 | |
And while he was at it, he was throwing in some sneaky satire. | 0:33:01 | 0:33:07 | |
This librarian made completely of books is having a little dig | 0:33:10 | 0:33:16 | |
at all the showy Renaissance book collectors who pretended they | 0:33:16 | 0:33:22 | |
were learned because their shelves were heavy with unopened books. | 0:33:22 | 0:33:29 | |
His beard is made out of the fur tails | 0:33:32 | 0:33:36 | |
that these learned Renaissance types used as dust whisks. | 0:33:36 | 0:33:40 | |
And the curtain, that's the curtain that sealed off the reading area | 0:33:40 | 0:33:46 | |
in the great man's private library. | 0:33:46 | 0:33:49 | |
"Sh," it seems to say, "scholar at work". | 0:33:50 | 0:33:55 | |
There is so much clever pictorial invention going on in Arcimboldo. | 0:33:58 | 0:34:04 | |
See this plate here for instance, full of excellent kitchen produce. | 0:34:05 | 0:34:11 | |
Look what happens when, through the magic of television, | 0:34:13 | 0:34:16 | |
we turn it upside down. | 0:34:16 | 0:34:19 | |
So Arcimboldo was brilliant and inventive | 0:34:24 | 0:34:29 | |
and you have to wonder how he managed to get as good as he did | 0:34:29 | 0:34:33 | |
while working for the impossible Rudolph II. | 0:34:33 | 0:34:37 | |
All of the Habsburgs were problematic. | 0:34:41 | 0:34:45 | |
Centuries of inbreeding had seen to that. | 0:34:45 | 0:34:49 | |
But when it came to eccentricity, | 0:34:51 | 0:34:54 | |
Rudolph II was in a league of his own. | 0:34:54 | 0:34:58 | |
In art, he developed an uncontrollable appetite | 0:35:03 | 0:35:08 | |
for the erotic and filled his castle walls | 0:35:08 | 0:35:12 | |
with the paintings of Bartholomeus Spranger, | 0:35:12 | 0:35:16 | |
a sly eroticist from Antwerp | 0:35:16 | 0:35:19 | |
who knew exactly where to press Rudolph's buttons. | 0:35:19 | 0:35:23 | |
Rudolph would arrange his pictures on chairs so he could transport them | 0:35:29 | 0:35:34 | |
around the castle and look at them wherever he wanted. | 0:35:34 | 0:35:39 | |
The other unusual place he put them was up on the ceiling | 0:35:39 | 0:35:44 | |
and he would lie down on the ground and look up at his art. | 0:35:44 | 0:35:48 | |
And there he would rest, gazing up at Spranger's Venus tempting Adonis. | 0:35:52 | 0:35:59 | |
A Renaissance moment so naughty that even the dog knows what's going on. | 0:35:59 | 0:36:05 | |
And here is his Venus In Vulcan's Forge. | 0:36:08 | 0:36:13 | |
I hear it gets hot in there. | 0:36:13 | 0:36:15 | |
Very hot. | 0:36:16 | 0:36:18 | |
His other great passion, apart from erotic art, was alchemy. | 0:36:24 | 0:36:30 | |
He invited most of the notable alchemists in Europe | 0:36:30 | 0:36:35 | |
here to Prague with instructions to search for... | 0:36:35 | 0:36:40 | |
..the Philosopher's Stone. | 0:36:46 | 0:36:47 | |
This legendary substance was said to turn lead into gold. | 0:36:52 | 0:36:58 | |
And it brought you what Rudolph II most desired. | 0:36:59 | 0:37:04 | |
Immortality. | 0:37:05 | 0:37:07 | |
He had his own private alchemy laboratory where he conducted | 0:37:12 | 0:37:16 | |
increasingly dangerous experiments in this desperate search... | 0:37:16 | 0:37:21 | |
..for eternal youth. | 0:37:23 | 0:37:24 | |
To this day, Prague enjoys a regrettable reputation | 0:37:29 | 0:37:34 | |
for alchemical experiment and occult tinkering. | 0:37:34 | 0:37:39 | |
It's the European capital of hocus-pocus. | 0:37:42 | 0:37:46 | |
And it has Rudolph II to thank for that. | 0:37:47 | 0:37:50 | |
Another of Rudolph's eccentricities | 0:37:55 | 0:37:58 | |
was to lead his life entirely by the horoscope. | 0:37:58 | 0:38:02 | |
The stars ruled his every move. | 0:38:02 | 0:38:06 | |
And to mark his commitment to the cosmos, Rudolph commissioned | 0:38:11 | 0:38:17 | |
this painting from the great Tintoretto in Venice. | 0:38:17 | 0:38:22 | |
The Origin Of The Milky Way. | 0:38:23 | 0:38:25 | |
So sure was he that the stars governed everything, | 0:38:28 | 0:38:32 | |
that anyone seeking an audience with him, | 0:38:32 | 0:38:37 | |
be they pope or emperor, had to have their horoscope done first... | 0:38:37 | 0:38:43 | |
..to make sure they were suitable. | 0:38:45 | 0:38:47 | |
And to prove that his immortality was written in the stars, | 0:38:50 | 0:38:55 | |
Rudolph commissioned his own personal horoscope from Nostradamus. | 0:38:55 | 0:39:01 | |
Unfortunately, Nostradamus came back with bad news. | 0:39:01 | 0:39:06 | |
The stars were not predicting immortality. | 0:39:06 | 0:39:11 | |
So Rudolph did what any sensible, all-powerful Renaissance despot | 0:39:11 | 0:39:17 | |
obsessed with magic and alchemy would do. | 0:39:17 | 0:39:21 | |
He changed his birthday. | 0:39:22 | 0:39:24 | |
Having been born in the realm of Cancer, Rudolph tinkered with | 0:39:26 | 0:39:31 | |
the cosmos and announced that his sign was now Taurus. | 0:39:31 | 0:39:37 | |
But the stars weren't fooled. | 0:39:38 | 0:39:41 | |
Nostradamus predicted that Rudolph would live to 73. | 0:39:43 | 0:39:47 | |
Unfortunately, he only made it to 60. | 0:39:47 | 0:39:52 | |
But in his weird Renaissance way, he certainly left his mark. | 0:39:52 | 0:39:57 | |
For a brief but exciting moment, | 0:39:59 | 0:40:03 | |
Prague became the epicentre of a wild wing of the Renaissance. | 0:40:03 | 0:40:09 | |
And to this day, the strange things done here | 0:40:10 | 0:40:14 | |
in the name of Rudolph II have not been forgotten. | 0:40:14 | 0:40:19 | |
So perhaps he did achieve some immortality after all. | 0:40:21 | 0:40:27 | |
All the way through this series I've been arguing | 0:40:42 | 0:40:46 | |
that the Renaissance was a wilder epoch than we are usually told. | 0:40:46 | 0:40:52 | |
And to make this point, I have sometimes had to deal with nuances. | 0:40:54 | 0:41:00 | |
But other times, the wildness stares you in the face | 0:41:02 | 0:41:06 | |
and you just can't miss it. | 0:41:06 | 0:41:10 | |
This is the creation of Giulio Romano, a pupil of Raphael, | 0:41:16 | 0:41:22 | |
who came here to Mantua | 0:41:22 | 0:41:25 | |
and produced this preposterous Chamber Of The Giants in 1532. | 0:41:25 | 0:41:33 | |
The entire room tells the story of some uppity giants | 0:41:36 | 0:41:42 | |
who are being thrown out of Mount Olympus by Jupiter and the gods. | 0:41:42 | 0:41:48 | |
The uppity giants had tried to overthrow the divine Olympians. | 0:41:49 | 0:41:56 | |
But they failed. | 0:41:56 | 0:41:58 | |
And this is what happened to them. | 0:41:58 | 0:42:00 | |
So that's actually Mount Olympus up there. | 0:42:05 | 0:42:09 | |
And there's Jupiter, the king of the gods, with his thunderbolts. | 0:42:09 | 0:42:13 | |
And on the right, in the low-cut tunic, | 0:42:14 | 0:42:18 | |
that's Juno, the queen of the gods. | 0:42:18 | 0:42:21 | |
And all the other gods are up there as well. | 0:42:21 | 0:42:25 | |
There's Apollo with his lyre. | 0:42:25 | 0:42:28 | |
And on the other side of the mountain, Kronos with his scythe. | 0:42:29 | 0:42:34 | |
And next to him with the two faces, there's Janus. | 0:42:35 | 0:42:39 | |
What a fine name that is. Janus. | 0:42:41 | 0:42:44 | |
Now this kind of painting is called Mannerism. | 0:42:49 | 0:42:53 | |
At least, that's what we call it now. | 0:42:53 | 0:42:55 | |
For centuries it didn't really have a name. | 0:42:55 | 0:42:59 | |
Nobody knew what to make of it. | 0:42:59 | 0:43:02 | |
Mannerism has always been a tough ism to grasp. | 0:43:06 | 0:43:11 | |
Its defining characteristics | 0:43:12 | 0:43:15 | |
don't seem to define anything sensible or rational. | 0:43:15 | 0:43:19 | |
Outrageous anatomies and weird poses. | 0:43:21 | 0:43:25 | |
Mad colours and mysterious meanings. | 0:43:26 | 0:43:30 | |
Peculiar storylines and twisty moods. | 0:43:32 | 0:43:36 | |
Why would Renaissance art start doing this? | 0:43:38 | 0:43:43 | |
In here for instance, to make a potty experience even pottier, | 0:43:49 | 0:43:54 | |
the entire floor was originally covered in river pebbles | 0:43:54 | 0:44:00 | |
and that's what you walked on. | 0:44:00 | 0:44:02 | |
It's as if common sense has been thrown out of the window | 0:44:05 | 0:44:10 | |
and everything has grown illogical, distorted and strange. | 0:44:10 | 0:44:17 | |
And it wasn't just painting that was affected. | 0:44:25 | 0:44:28 | |
It hit all the arts. | 0:44:29 | 0:44:31 | |
This is the famous Apennine Giant by Giambologna. | 0:44:33 | 0:44:37 | |
And how about that for a garden ornament? | 0:44:38 | 0:44:42 | |
So unexpected and gargantuan. | 0:44:42 | 0:44:46 | |
And so clearly not influenced by the Greeks. | 0:44:46 | 0:44:49 | |
You get Mannerist metalwork as well. | 0:44:53 | 0:44:56 | |
Mad creations in silver and gold. | 0:44:56 | 0:45:00 | |
Like the famous salt cellar made by Benvenuto Cellini in 1543, | 0:45:00 | 0:45:07 | |
which lives these days in a bulletproof box in Vienna. | 0:45:07 | 0:45:12 | |
He's the salt. | 0:45:14 | 0:45:15 | |
She's the pepper. | 0:45:15 | 0:45:17 | |
Everybody loves Cellini's salt cellar of course, | 0:45:33 | 0:45:37 | |
with its exciting mix, skill and surrealism. | 0:45:37 | 0:45:42 | |
But they don't generally love Mannerism. | 0:45:42 | 0:45:44 | |
Purists tend to look down on it as a decline, | 0:45:46 | 0:45:50 | |
a sign of the Renaissance going wrong. | 0:45:50 | 0:45:53 | |
But that's not how I see it. | 0:45:54 | 0:45:56 | |
Not at all. | 0:45:57 | 0:45:59 | |
This is by Pontormo, one of Mannerism's acknowledged giants. | 0:46:02 | 0:46:08 | |
It's his Visitation. | 0:46:10 | 0:46:12 | |
The moment in the Bible | 0:46:12 | 0:46:14 | |
when the pregnant Virgin Mary visits her pregnant cousin, Elizabeth. | 0:46:14 | 0:46:21 | |
Elizabeth, on the right, is pregnant with John the Baptist. | 0:46:24 | 0:46:28 | |
Mary, on the left, is pregnant with Jesus. | 0:46:28 | 0:46:32 | |
So this is a moment of momentous sanctity. | 0:46:33 | 0:46:37 | |
A collision of divine pregnancies. | 0:46:37 | 0:46:41 | |
And Pontormo has imagined it for us so unusually. | 0:46:41 | 0:46:46 | |
There are actually two Marys in the picture and two Elizabeths. | 0:46:48 | 0:46:54 | |
One from the front and one from the side. | 0:46:55 | 0:46:59 | |
And all four of them are floating in a frozen religious dance. | 0:47:00 | 0:47:06 | |
A dance in a distant dimension. | 0:47:07 | 0:47:10 | |
It's true of all his art. | 0:47:13 | 0:47:16 | |
Pontormo's eerie religious pictures tinker with the logic in the world. | 0:47:17 | 0:47:23 | |
Stretch it, recolour it. | 0:47:25 | 0:47:27 | |
It's as if Renaissance art has given up on realism | 0:47:28 | 0:47:34 | |
and embraced the strange, the twisted, the heightened. | 0:47:34 | 0:47:39 | |
These are not everyday moments. | 0:47:41 | 0:47:44 | |
So why should they be painted in an everyday manner? | 0:47:45 | 0:47:50 | |
What we shouldn't do is see Pontormo | 0:47:54 | 0:47:57 | |
as a betrayer of Renaissance values or an aberration. | 0:47:57 | 0:48:02 | |
All the way through this series I've been banging on about how the | 0:48:02 | 0:48:07 | |
Renaissance was never as ordered or as stable as we've been told. | 0:48:07 | 0:48:13 | |
It was always full of passion, idiosyncrasy and darkness. | 0:48:13 | 0:48:19 | |
You just had to look at it the right way. | 0:48:19 | 0:48:22 | |
Walk into the Sistine Chapel, look up at Michelangelo | 0:48:27 | 0:48:33 | |
and you will see Mannerism already happening. | 0:48:33 | 0:48:37 | |
The twisting figures, the Opal Fruit colours. | 0:48:39 | 0:48:43 | |
It's all there in fledgling form. | 0:48:45 | 0:48:48 | |
Or peer into the paintings of Leonardo da Vinci | 0:48:51 | 0:48:56 | |
and you'll find all the weirdness you could ask for. | 0:48:56 | 0:48:59 | |
Spooky smiles, cryptic darknesses, obscure meanings. | 0:49:01 | 0:49:08 | |
Mannerism wasn't a reaction, it was a continuation, an enlargement. | 0:49:13 | 0:49:20 | |
Instead of looking down on it as a decline, | 0:49:20 | 0:49:23 | |
we should be looking up at it as a fabulous climax. | 0:49:23 | 0:49:28 | |
Do you know how many landscape painters | 0:49:46 | 0:49:49 | |
we have looked at so far in this series? | 0:49:49 | 0:49:52 | |
None. Not a single one. | 0:49:55 | 0:49:58 | |
That's partly because landscape painting | 0:50:02 | 0:50:05 | |
was looked down on in the Renaissance, | 0:50:05 | 0:50:08 | |
but also because the Catholic Church banned it at the Council of Trent, | 0:50:08 | 0:50:12 | |
where all profane subjects were deemed unsuitable for art. | 0:50:12 | 0:50:17 | |
So you had to be a real rebel to paint landscapes in the Renaissance | 0:50:17 | 0:50:22 | |
and that's what we've got here in Toledo. | 0:50:22 | 0:50:25 | |
One of the fiercest rebels ever to pick up a paintbrush. | 0:50:25 | 0:50:30 | |
In Spain, they called him El Greco, the Greek. | 0:50:33 | 0:50:38 | |
He looks ordinary, doesn't he? | 0:50:40 | 0:50:42 | |
But he wasn't. | 0:50:42 | 0:50:44 | |
El Greco was actually born in Crete, | 0:50:46 | 0:50:48 | |
which was a colony of Venice at the time, | 0:50:48 | 0:50:51 | |
and the first paintings we know by him are Byzantine icons, | 0:50:51 | 0:50:56 | |
so stylised and orthodox | 0:50:56 | 0:50:58 | |
they could have been painted in the 10th century and not the 16th, | 0:50:58 | 0:51:03 | |
which is when El Greco was actually born, in 1541. | 0:51:03 | 0:51:09 | |
At some point in his 20s, he left Crete | 0:51:13 | 0:51:17 | |
and moved to Venice where he worked briefly in Titian's studio, | 0:51:17 | 0:51:23 | |
absorbing the big colourific lessons of Venetian art | 0:51:23 | 0:51:29 | |
and changing his style into something more Western | 0:51:29 | 0:51:32 | |
with a twist of Byzantium in it. | 0:51:32 | 0:51:36 | |
By 1577 he had fetched up here in Toledo, | 0:51:43 | 0:51:48 | |
which was so far off the beaten track | 0:51:48 | 0:51:51 | |
that the usual Renaissance rules didn't apply. | 0:51:51 | 0:51:55 | |
But, and it was a big but, there was lots of money here. | 0:51:56 | 0:52:01 | |
All that silver and gold that was being shipped over from the Americas | 0:52:01 | 0:52:07 | |
and which the Catholic Church was busily spending on art. | 0:52:07 | 0:52:12 | |
Here, in the cathedral in Toledo, | 0:52:17 | 0:52:20 | |
El Greco painted a sensational disrobing of Christ. | 0:52:20 | 0:52:25 | |
Christ is about to be tortured and crucified. | 0:52:27 | 0:52:31 | |
So the crowd is pressing in around him, | 0:52:32 | 0:52:36 | |
eager to strip off his clothes and expose him fully to the pain. | 0:52:36 | 0:52:43 | |
I think El Greco was one of the most exciting of all the old masters. | 0:52:46 | 0:52:52 | |
When I was a kid, I used to cut out pictures of paintings | 0:52:52 | 0:52:56 | |
from a magazine called Knowledge and hang them on my wall. | 0:52:56 | 0:52:59 | |
One of the first ones I cut out was El Greco's St Martin And The Beggar. | 0:53:00 | 0:53:06 | |
I couldn't stop looking at it. | 0:53:06 | 0:53:08 | |
St Martin, who is rich, meets a beggar while he's out riding. | 0:53:11 | 0:53:17 | |
The beggar is cold so Martin cuts his cloak in two | 0:53:18 | 0:53:24 | |
and shares it with him. | 0:53:24 | 0:53:27 | |
It's such a haunting picture with two figures stretched out, | 0:53:30 | 0:53:35 | |
flickering like candles against the sky. | 0:53:35 | 0:53:38 | |
The Renaissance hadn't seen art like this before. | 0:53:41 | 0:53:46 | |
No-one had. | 0:53:46 | 0:53:48 | |
This is more than Mannerism. | 0:53:49 | 0:53:51 | |
This is Mannerism plus. | 0:53:53 | 0:53:56 | |
Extreme moods. | 0:53:57 | 0:54:00 | |
Unusual colours. | 0:54:00 | 0:54:02 | |
Wired poses. | 0:54:02 | 0:54:04 | |
Here in Toledo they have recently been commemorating | 0:54:09 | 0:54:13 | |
the 400th anniversary of El Greco's death in 1614. | 0:54:13 | 0:54:19 | |
So they cleaned up all his pictures | 0:54:19 | 0:54:23 | |
and we can finally see his colours as they were meant to be seen. | 0:54:23 | 0:54:27 | |
Yellows that sing like canaries. | 0:54:34 | 0:54:38 | |
Greens so vibrant and tangy you can taste them on your tongue. | 0:54:39 | 0:54:45 | |
Purples so vivid, Titian himself would have been proud of them. | 0:54:46 | 0:54:52 | |
This is the Hospital of St John the Baptist, the Hospital Tavera. | 0:54:57 | 0:55:01 | |
And that is El Greco's Baptism Of Christ. | 0:55:02 | 0:55:07 | |
Look at all these figures who have turned up to watch, | 0:55:09 | 0:55:12 | |
twisting, pushing, bending to get a better look. | 0:55:12 | 0:55:17 | |
All except God himself, | 0:55:17 | 0:55:21 | |
who is sitting up there on a cloud with his crystal ball. | 0:55:21 | 0:55:25 | |
So he knows what's going to happen and he's not celebrating. | 0:55:26 | 0:55:31 | |
El Greco was so remarkable and different | 0:55:36 | 0:55:39 | |
that art history took 300 years to understand him. | 0:55:39 | 0:55:44 | |
It wasn't until the beginning of the 20th century that he was plucked out | 0:55:44 | 0:55:49 | |
of obscurity and recognised at last as a fabulously inventive genius. | 0:55:49 | 0:55:55 | |
One of the pioneers of this new understanding of El Greco | 0:55:58 | 0:56:04 | |
was Picasso, who borrowed so much from his distant master. | 0:56:04 | 0:56:11 | |
There is a painting in New York at the Met | 0:56:15 | 0:56:19 | |
called The Opening Of The Fifth Seal | 0:56:19 | 0:56:22 | |
and it shows that moment in St John's Revelations | 0:56:22 | 0:56:26 | |
when the Fifth Seal is opened just before the end of the world. | 0:56:26 | 0:56:30 | |
And the Christian martyrs call up to God | 0:56:32 | 0:56:36 | |
to avenge them for their tortures. | 0:56:36 | 0:56:39 | |
And up in the sky the heavens crack open | 0:56:39 | 0:56:44 | |
as if someone has thrown a brick at them. | 0:56:44 | 0:56:47 | |
The Opening Of The Fifth Seal | 0:56:54 | 0:56:57 | |
used to hang around the corner from Picasso in Paris | 0:56:57 | 0:57:00 | |
and it inspired his most famous painting, The Demoiselles d'Avignon. | 0:57:00 | 0:57:06 | |
The picture that started Cubism. | 0:57:06 | 0:57:09 | |
Fractured planes, thrusting bodies. | 0:57:12 | 0:57:16 | |
El Greco's spiky disruption was such an inspirational gift to the future. | 0:57:18 | 0:57:25 | |
What I've tried to do in this series is challenge the idea | 0:57:29 | 0:57:33 | |
that the Renaissance was neat and ordered. | 0:57:33 | 0:57:36 | |
That the knowledge of the ancients was rediscovered | 0:57:36 | 0:57:39 | |
and the civilisation of the Greeks reborn. | 0:57:39 | 0:57:43 | |
A bit of that went on, | 0:57:43 | 0:57:45 | |
but most of the time in most corners of the Renaissance, | 0:57:45 | 0:57:49 | |
art wasn't pursuing knowledge or remembering the Greeks. | 0:57:49 | 0:57:54 | |
It was doing what art always does. | 0:57:54 | 0:57:58 | |
Imagining the unimaginable. | 0:58:01 | 0:58:04 | |
And inventing things. | 0:58:04 | 0:58:06 | |
Expressing its emotions. | 0:58:08 | 0:58:11 | |
And describing its fears. | 0:58:11 | 0:58:14 | |
Enjoying itself. | 0:58:15 | 0:58:17 | |
And breaking the rules. | 0:58:18 | 0:58:20 | |
So if anyone tells you the Renaissance | 0:58:22 | 0:58:26 | |
was a period of civilised calm, | 0:58:26 | 0:58:29 | |
go out there and argue with them. | 0:58:29 | 0:58:33 |