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0:00:22 > 0:00:26- The River Severn can change - its colour in a magical way.
0:00:27 > 0:00:29- At the end of the 19th century...
0:00:29 > 0:00:31- ..Alfred Sisley - travelled from Paris...
0:00:32 > 0:00:35- ..to Wales - to search for inspiration.
0:00:37 > 0:00:42- Sisley, like Monet and Pissarro, - was a famous Impressionist.
0:00:43 > 0:00:45- He visited this spot.
0:00:45 > 0:00:51- He painted this scene, in Penarth, - near Cardiff, in 1897.
0:00:53 > 0:00:56- Sisley's painting - was painted late in the day.
0:00:56 > 0:01:01- The sun is setting, people - are walking along the path...
0:01:01 > 0:01:03- ..and the beach.
0:01:04 > 0:01:07- The tide is going out - and the cliffs are exposed.
0:01:08 > 0:01:13- Sisley's painting is similar - to others in the National Museum.
0:01:13 > 0:01:19- It shows the way the Impressionists - used extreme colours...
0:01:19 > 0:01:22- ..like this one, of Rouen Harbour, - by Pissarro.
0:01:23 > 0:01:27- The chocolate box colours weren't - created by the artist's imagination.
0:01:27 > 0:01:30- They were created - by industrial pollution...
0:01:30 > 0:01:33- ..which is apparent - throughout the painting.
0:01:34 > 0:01:38- The smoke and the steam that rises - from the chimneys and ships...
0:01:38 > 0:01:42- ..create strange colours as they - mix with the sky and the light.
0:01:43 > 0:01:46- The Impressionists - took advantage of these effects.
0:01:47 > 0:01:51- Artist Therese Urbanska - is collecting driftwood.
0:01:52 > 0:01:55- Modern pollution inspires - contemporary artists...
0:01:55 > 0:01:56- ..in a different way.
0:01:59 > 0:02:04- Therese's work includes figurative, - landscapes and abstract images.
0:02:15 > 0:02:20- I was mesmerised by the shape - and colours of the pieces she chose.
0:02:26 > 0:02:30- What attracted you - to the objects you've collected?
0:02:30 > 0:02:34- It's all about colour - at the moment...
0:02:34 > 0:02:36- ..and different textures.
0:02:37 > 0:02:40- Especially this. - I do like this shape.
0:02:40 > 0:02:45- I also like the blue in the middle. - I want to use that.
0:02:45 > 0:02:50- I like the way the blue - and the rust colour combine so well.
0:02:50 > 0:02:53- I want to include this colour - in the work.
0:02:54 > 0:02:57- It could be anything. - I've found a dead battery here.
0:02:58 > 0:03:03- Look at its colour. - That combines well with this.
0:03:03 > 0:03:07- It helps me when I'm - choosing objects on the beach...
0:03:07 > 0:03:10- ..instead of looking - at the whole landscape.
0:03:10 > 0:03:13- I can focus on specific objects.
0:03:13 > 0:03:16- Are you looking for objects - with a history behind them?
0:03:16 > 0:03:20- I like objects that have been - discarded - bottle pieces.
0:03:21 > 0:03:24- I can see the beauty in them.
0:03:24 > 0:03:30- Further down the beach, Mary Lloyd - Jones, like Sisley before her...
0:03:30 > 0:03:34- ..has been attracted - by the colourful cliffs.
0:03:34 > 0:03:38- The striking feature about her - paintings are the vibrant colours.
0:03:38 > 0:03:44- A recent visit to India provided - further inspiration for her.
0:03:48 > 0:03:53- Contrary to Sisley's viewpoint, - Mary's decided to face the cliffs...
0:03:53 > 0:03:55- ..instead of the sea.
0:03:55 > 0:04:00- These cliffs were created when - creatures first roamed the land.
0:04:02 > 0:04:06- This is an excellent subject - for an artist. Observe the colours.
0:04:15 > 0:04:19- Sisley sat up there when he painted - his painting of Penarth.
0:04:19 > 0:04:21- Why have you come down here?
0:04:21 > 0:04:24- Why have you come down here?- - I like the layers in the cliff.
0:04:24 > 0:04:30- Every stripe represents - thousands and thousands of years.
0:04:31 > 0:04:37- There's an abundance of fossils - on the beach and the cliffs.
0:04:37 > 0:04:41- The colours in your drawing - are stronger...
0:04:41 > 0:04:44- ..than the colours in the cliff.
0:04:44 > 0:04:47- These are just notes to remind me.
0:04:47 > 0:04:50- I'll be working in a more...
0:04:50 > 0:04:52- Will you be using your imagination?
0:04:52 > 0:04:56- Well, no. I want the colours - to combine well.
0:04:56 > 0:05:00- I'll use my memory - and the notes I've made.
0:05:01 > 0:05:03- I feel it's important - to make notes...
0:05:03 > 0:05:06- ..with something - as old-fashioned as a pencil.
0:05:06 > 0:05:11- You make marks with a pencil, - you make marks with paint.
0:05:11 > 0:05:14- Markings are the language I use.
0:05:15 > 0:05:18- Art can be deceptive.
0:05:18 > 0:05:21- This looks like a simple seascape.
0:05:21 > 0:05:22- But it's not.
0:05:23 > 0:05:26- Look at the painting's composition.
0:05:26 > 0:05:30- He's broken the painting up - in a very interesting way.
0:05:31 > 0:05:35- There are different areas and - different themes in the painting.
0:05:35 > 0:05:40- Look at his use of colour - the - way he's used small spots of red.
0:05:40 > 0:05:43- They enhance the green colour...
0:05:43 > 0:05:46- ..and help make the image - more powerful.
0:05:47 > 0:05:51- The same is true of the figures. - There's just enough information.
0:05:51 > 0:05:56- The sun reflects on the sea. - Lavernock Point is in the distance.
0:05:56 > 0:06:01- When you look closely at the - painting, the image is very strong.
0:06:01 > 0:06:05- When you stand back, - everything slots into place.
0:06:05 > 0:06:07- It's an incredible painting.
0:06:08 > 0:06:11- It conveys the tranquillity - of the day coming to an end.
0:06:11 > 0:06:15- Everything is calm. The way Sisley - used colours in this painting...
0:06:16 > 0:06:19- ..highlights the main aim - of the Impressionists.
0:06:24 > 0:06:28- Therese uses a combination - of black ink and charcoal...
0:06:28 > 0:06:31- ..to create a version - of Sisley's painting.
0:06:49 > 0:06:51- What are her aims - with this painting?
0:06:53 > 0:06:55- I'm just painting a quick sketch.
0:06:56 > 0:07:01- I'm just trying to get a feel - of the location and the atmosphere.
0:07:01 > 0:07:07- Can you see any connection between - your painting and Sisley's painting?
0:07:07 > 0:07:11- I've copied Sisley in some ways. - I've moved the island.
0:07:11 > 0:07:13- Sisley did exactly the same.
0:07:13 > 0:07:16- It's made the composition - more interesting.
0:07:17 > 0:07:20- The composition - is almost exactly the same.
0:07:21 > 0:07:24- I don't want to use exactly - the same colours in my painting.
0:07:25 > 0:07:27- I've used black and white - to get the tone right.
0:07:28 > 0:07:32- I like the way she's dealt - with the beach in the foreground.
0:07:33 > 0:07:37- Artists today work differently - from the way Sisley worked.
0:07:37 > 0:07:40- Sisley's work was based - on what he could see.
0:07:40 > 0:07:43- Artists today combine - different methods.
0:07:43 > 0:07:46- They work with different objects.
0:07:46 > 0:07:49- What is the importance - of these objects...
0:07:50 > 0:07:52- ..to your process?
0:07:53 > 0:07:58- Some people might not see the - relationship between the objects.
0:07:58 > 0:08:01- I know that when I'm at home - in the studio...
0:08:01 > 0:08:04- ..I'll be using the objects - and adding them to the work.
0:08:05 > 0:08:07- I won't be using - this painting again.
0:08:07 > 0:08:11- I'll make an abstract image - of the landscape...
0:08:11 > 0:08:16- ..and I'll use the colour and shape - of these objects in the painting.
0:08:16 > 0:08:21- I'll be incorporating this shape - in the landscape somewhere.
0:08:21 > 0:08:26- In some ways, I'm returning them to - the landscape after removing them.
0:08:27 > 0:08:29- Will you take them back - to the studio?
0:08:30 > 0:08:33- Yes. I'll feel as if I've taken - a part of Penarth home with me.
0:08:34 > 0:08:40- Before visiting Penarth, Sisley - had exhibited over 100 paintings...
0:08:40 > 0:08:44- ..in Paris. - He failed to sell any of them.
0:08:44 > 0:08:49- Under the instructions - of his loyal sponsor in France...
0:08:49 > 0:08:52- ..Sisley visited south Wales.
0:08:54 > 0:08:58- However, he also had - a personal motive for coming here.
0:09:00 > 0:09:04- Eugene, his partner of 30 years, - travelled with him.
0:09:05 > 0:09:08- His family - had never acknowledged her.
0:09:10 > 0:09:14- When Sisley arrived in Penarth, - this is where he stayed.
0:09:15 > 0:09:18- They stayed in south Wales - for two months.
0:09:18 > 0:09:21- Eugene wasn't well at the time.
0:09:23 > 0:09:27- Art students from the local school - were drawing on the pier...
0:09:27 > 0:09:29- ..when we were there.
0:09:30 > 0:09:34- Wonderful. Observe closely - everything that you draw.
0:09:35 > 0:09:36- Don't make it up.
0:09:37 > 0:09:41- It was a pleasure to see these - budding Sisleys enjoying themselves.
0:09:45 > 0:09:49- There are plenty of subjects - around Penarth.
0:10:01 > 0:10:05- The shapes and colours - of these objects...
0:10:05 > 0:10:08- ..have started appearing - in this painting.
0:10:09 > 0:10:11- The turquoise and the blue...
0:10:12 > 0:10:14- ..and the different shapes.
0:10:14 > 0:10:19- This is the shape of the stone - but it also represents the sea.
0:10:19 > 0:10:23- What do you think of the colours - in your painting...
0:10:24 > 0:10:27- ..when you compare them - to Sisley's painting?
0:10:27 > 0:10:30- I've tried to use similar colours.
0:10:30 > 0:10:33- They are the same colours - we can see out there.
0:10:33 > 0:10:39- The only colour I haven't included - is green - I don't like green!
0:10:40 > 0:10:45- I wanted to concentrate on the - pinks, the blues and the turquoise.
0:10:46 > 0:10:50- When you're painting a landscape, - you rearrange the objects.
0:10:50 > 0:10:54- I like working in a way - where I can move things around.
0:10:54 > 0:10:58- I didn't want to create a painting - like he did.
0:10:58 > 0:11:04- I wanted something more personal - that I could relate to.
0:11:07 > 0:11:10- It's the way I've responded - to the scenery...
0:11:10 > 0:11:13- ..without losing sight - of the original painting.
0:11:13 > 0:11:16- It's a contemporary version.
0:11:16 > 0:11:21- In the meantime, I retraced - Sisley's steps along the cliff top.
0:11:21 > 0:11:25- Do you think Sisley's painting - is a success?
0:11:25 > 0:11:28- I think it's a fresh - and lively painting.
0:11:28 > 0:11:32- What strikes you immediately - when you see that painting...
0:11:32 > 0:11:34- ..is the colour.
0:11:35 > 0:11:37- It's very lively and clear.
0:11:37 > 0:11:45- When the Impressionists - painted in the open air...
0:11:45 > 0:11:50- ..they noted the colours honestly, - as they saw them.
0:11:51 > 0:11:55- There was a lot of theory - involved with colour...
0:11:55 > 0:11:59- ..and how to get colours - to counteract each other.
0:12:00 > 0:12:01- The colours are brighter.
0:12:02 > 0:12:04- In some ways, - the colours are unnatural.
0:12:04 > 0:12:08- What the Impressionists also did - while working in the open air...
0:12:08 > 0:12:10- ..was notice that shadows...
0:12:11 > 0:12:18- During Constable's time, for - example, the shadows were dark.
0:12:18 > 0:12:25- The Impressionists noticed that - the shadows were full of colour.
0:12:25 > 0:12:28- Their shadows were purple and blue.
0:12:28 > 0:12:31- I can see a lot of colour here.
0:12:32 > 0:12:36- The shadows are grey and purple - in this painting.
0:12:39 > 0:12:43- On August 5th, ten days - after arriving in south Wales...
0:12:43 > 0:12:46- ..Alfred and Eugene - were married in Cardiff.
0:12:47 > 0:12:51- To safeguard the inheritance - of their children...
0:12:51 > 0:12:54- ..they married - in a registry office...
0:12:54 > 0:12:58- ..far from the gaze - of the intrusive public in France.
0:13:05 > 0:13:11- After the wedding, Sisley and Eugene - spent their honeymoon on the Gower.
0:13:12 > 0:13:15- This is his painting - of Langland Bay.
0:13:16 > 0:13:22- These paintings are full of light - and reflect his personal happiness.
0:13:22 > 0:13:26- But Sisley was about - to bid farewell to his art.
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0:13:41 > 0:13:45- I was looking forward to seeing - how Mary had dealt with the cliffs.
0:13:54 > 0:13:59- I visited her in her studio in the - attic of her house in Aberystwyth.
0:14:02 > 0:14:06- Has she developed the original - sketches she drew on the beach?
0:14:10 > 0:14:14- These have developed - from looking at the cliff face.
0:14:15 > 0:14:20- The most striking feature - about the cliffs is the red colour.
0:14:21 > 0:14:23- The old Devonian red.
0:14:23 > 0:14:27- That's part - of the location's character.
0:14:27 > 0:14:33- I do like using red in my paintings - - red and purple.
0:14:33 > 0:14:36- I can see a lot of blue - in the rocks.
0:14:37 > 0:14:40- It appears far stronger - when combined with red.
0:14:40 > 0:14:44- There's a contrast between both. - It's very dramatic.
0:14:44 > 0:14:48- The composition of your painting - is very interesting.
0:14:48 > 0:14:52- Sisley painted a normal horizon.
0:14:52 > 0:14:59- In your painting, - the horizon stretches to the top...
0:14:59 > 0:15:01- ..and further beyond the top.
0:15:02 > 0:15:05- That's why I was so interested - in the cliff.
0:15:06 > 0:15:09- I'm so used to looking up.
0:15:09 > 0:15:14- If you live in a valley, - you're constantly looking up.
0:15:14 > 0:15:18- I painted this when I was on top - of the cliff talking to you.
0:15:18 > 0:15:19- That's more traditional.
0:15:20 > 0:15:23- It's the same scenery - that Sisley painted.
0:15:23 > 0:15:27- There were a lot of wild flowers - in the scenery.
0:15:27 > 0:15:29- Tell me more about the colour.
0:15:31 > 0:15:35- You have to respect this colour - - it's Bengal rose.
0:15:35 > 0:15:37- It's a strong colour.
0:15:37 > 0:15:41- When I'm trying to work out - how things are developing...
0:15:41 > 0:15:45- ..I place a frame around it.
0:15:46 > 0:15:50- I can see the rhythm - of the painting developing.
0:15:51 > 0:15:54- The way you move when you paint.
0:15:54 > 0:15:57- The grass was swaying in the wind.
0:15:58 > 0:16:02- It seems to have a creative link - when it comes together.
0:16:02 > 0:16:05- I've done a lot of studies - like this.
0:16:05 > 0:16:09- I like to work towards a point...
0:16:09 > 0:16:14- ..where the painting tells me - what's needed next.
0:16:15 > 0:16:19- You communicate with your paintings. - They're your family!
0:16:19 > 0:16:21- They are my children!
0:16:21 > 0:16:26- What's the next step? Which - painting will you develop further?
0:16:26 > 0:16:30- I think there's - a strong possibility with this one.
0:16:31 > 0:16:33- When I move on...
0:16:33 > 0:16:37- ..I'll pin up some of - the smaller pictures and those two.
0:16:38 > 0:16:40- That will be my starting point.
0:16:41 > 0:16:46- This painting is starting - to adopt its own personality.
0:16:48 > 0:16:50- If you choose to develop this one...
0:16:50 > 0:16:53- ..what kind of scale will you use?
0:16:53 > 0:16:57- I don't like making - small oil paintings.
0:16:57 > 0:17:02- I'll be looking to make something - that's three feet by four feet.
0:17:02 > 0:17:04- That's the smallest scale.
0:17:05 > 0:17:09- I enjoy making large oil paintings.
0:17:09 > 0:17:14- I travelled to Rhydyclafdy, - where Therese's family lives.
0:17:19 > 0:17:21- She paints in the cellar.
0:17:51 > 0:17:57- Sisley painted another painting of - Penarth in the opposite direction.
0:17:57 > 0:17:59- We rarely see this painting.
0:17:59 > 0:18:02- It is currently kept - in a gallery in Hanover...
0:18:03 > 0:18:06- ..under the title - 'The English Coast'.
0:18:08 > 0:18:13- A painting of this scenery hangs in - the Musee des Beaux-Arts in Reims.
0:18:13 > 0:18:17- Sisley painted many versions - of this scenery.
0:18:17 > 0:18:22- His version in pastel colours - is in Ohio, USA.
0:18:23 > 0:18:26- Our picture in Cardiff - has far warmer colours.
0:18:26 > 0:18:29- Sisley didn't finish his paintings - in Wales.
0:18:29 > 0:18:32- He took them back to France - to finish them.
0:18:33 > 0:18:37- That year, - Eugene died at their home in Moret.
0:18:37 > 0:18:39- Sisley died the following year.
0:18:40 > 0:18:43- They both died of cancer. - They were in their 50s.
0:18:52 > 0:18:55- Can you explain your painting?
0:18:55 > 0:18:57- I'll try my best.
0:18:57 > 0:19:02- Many people will look at it - and ask, "Where is Penarth?"
0:19:02 > 0:19:06- Sisley took - a traditional viewpoint...
0:19:06 > 0:19:10- ..and painted - what was in front of him.
0:19:10 > 0:19:13- I've tried to take - a different viewpoint...
0:19:13 > 0:19:16- ..using everything I've found there.
0:19:16 > 0:19:20- There are different elements - of Penarth in the painting.
0:19:20 > 0:19:23- There are objects I found - on the beach.
0:19:23 > 0:19:26- You can see an interpretation - of Steep Holm here.
0:19:27 > 0:19:31- I found a lot of burnt objects - on the beach.
0:19:31 > 0:19:34- There were many different textures.
0:19:35 > 0:19:38- These are the colours I observed - in the sea.
0:19:38 > 0:19:43- I've tried to include the tankers - in the painting.
0:19:43 > 0:19:48- The boats were constantly - sailing past when I was painting.
0:19:48 > 0:19:51- I've included them in the painting.
0:19:51 > 0:19:55- I want to show you some of these.
0:19:55 > 0:20:00- It'll help explain how I've tried - to fit them into the painting.
0:20:00 > 0:20:02- Do you remember this plastic piece?
0:20:03 > 0:20:08- I've tried to incorporate it there - in an abstract way. It is there.
0:20:08 > 0:20:10- I've fitted this shape here.
0:20:13 > 0:20:15- I've included - this plastic piece here.
0:20:16 > 0:20:17- I found a lot of fishing wire.
0:20:17 > 0:20:19- I found a lot of fishing wire.- - Gut.
0:20:19 > 0:20:22- I've included some of it here.
0:20:23 > 0:20:25- Did you cut some of it up?
0:20:26 > 0:20:29- No. When I work, - I rip pieces of the canvas.
0:20:29 > 0:20:33- Bits of the material fall off. - I've used some of it here.
0:20:33 > 0:20:36- I don't like using - the original objects.
0:20:36 > 0:20:38- I don't know why.
0:20:38 > 0:20:41- That's very interesting for me.
0:20:41 > 0:20:45- I thought you were going to use - what you found in the painting.
0:20:45 > 0:20:50- You don't - you create something - different to represent the object.
0:20:51 > 0:20:55- It's important for me to create - everything in the painting.
0:20:55 > 0:20:57- I like the way the painting moves.
0:20:58 > 0:21:01- Parts of the painting - have settled down...
0:21:01 > 0:21:04- ..while other parts - want to move with the tide.
0:21:04 > 0:21:07- It's very different - from Sisley's painting.
0:21:08 > 0:21:10- I think it's been a great success.
0:21:11 > 0:21:14- Mary's in the art college - in Aberystwyth.
0:21:14 > 0:21:18- The college was built - by the Davies sisters...
0:21:18 > 0:21:23- ..who gave their Impressionist - collection to the National Museum.
0:21:30 > 0:21:33- I think the structure - is very successful - it's strong.
0:21:33 > 0:21:35- That's the first thing I noticed.
0:21:36 > 0:21:41- I can see different brush stokes - in different parts of the painting.
0:21:41 > 0:21:45- This section is very different - from this section.
0:21:45 > 0:21:50- This is a far more determined - section - it's a lot wilder.
0:21:50 > 0:21:55- I try and keep - my brush strokes fresh.
0:21:56 > 0:22:01- I want it to look instinctive - and almost accidental.
0:22:01 > 0:22:07- That happens, but then, I want - to include some other features.
0:22:07 > 0:22:12- I've tried to include - the fossils in the painting.
0:22:12 > 0:22:18- The shapes are very similar - to early forms of language.
0:22:18 > 0:22:22- I like the way - some of them are disappearing.
0:22:22 > 0:22:25- They appear and disappear - in the painting.
0:22:25 > 0:22:29- I like the uncertainty, - in some ways.
0:22:29 > 0:22:31- I can see it here, too.
0:22:32 > 0:22:35- It's part - of the painting's geography.
0:22:36 > 0:22:38- That's what I tried to do.
0:22:38 > 0:22:41- I like to include - a sense of mystery...
0:22:41 > 0:22:45- ..where you can't - quite see everything.
0:22:45 > 0:22:50- Did you think about Sisley's work - when you painted this?
0:22:50 > 0:22:55- What stands out in Sisley's painting - is the way he uses colour.
0:22:55 > 0:22:58- That's what I've tried to do - here and there.
0:22:59 > 0:23:02- The colours are dancing around - the painting.
0:23:02 > 0:23:08- There are different notes across - the painting. # Ping, ping... #
0:23:08 > 0:23:10- That's what I've tried to convey.
0:23:10 > 0:23:15- The ping is the rich qualities - you can find in the cliffs.
0:23:15 > 0:23:20- Mary has some lyrical qualities - in her painting.
0:23:26 > 0:23:30- Water lilies are important features - for Impressionists.
0:23:30 > 0:23:32- They have beautiful qualities.
0:23:33 > 0:23:36- Therese has discovered - another source of beauty.
0:23:41 > 0:23:43- During his brief stay in Penarth...
0:23:44 > 0:23:48- ..Sisley reached the climax - of his emotional and creative life.
0:24:00 > 0:24:03- S4C subtitles by Rh Sion Morgan