Gwen John Mamwlad
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Transcript
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-Subtitles - -Subtitles | 0:00:00 | 0:00:02 | |
-The world's best paintings are -displayed at London's Tate Gallery. | 0:00:03 | 0:00:08 | |
-In their midst, there's a collection -of works by a Welsh artist. | 0:00:08 | 0:00:13 | |
-In the past, we thought of Gwen John -as Augustus John's sister. | 0:00:13 | 0:00:18 | |
-However, Gwen John -was an important artist. | 0:00:19 | 0:00:22 | |
-Her work was put on display -following her death... | 0:00:25 | 0:00:29 | |
-..and it was an eye-opener -for the art world in London. | 0:00:29 | 0:00:33 | |
-Since then, the value of her work -has kept going up. | 0:00:33 | 0:00:37 | |
-Life wasn't always easy for Gwen. | 0:00:38 | 0:00:41 | |
-She once earned a living by -modelling for the sculptor, Rodin. | 0:00:41 | 0:00:46 | |
-When she met Rodin -for the first time... | 0:00:46 | 0:00:50 | |
-..she would have been drawn into -a very strange world. | 0:00:50 | 0:00:55 | |
-I'd say that it was a little erotic. | 0:00:55 | 0:00:58 | |
-Her later life is a mystery. | 0:00:59 | 0:01:02 | |
-Her family don't even know -where she was buried. | 0:01:02 | 0:01:06 | |
-I'd feel very grateful if we could -finalize her resting place... | 0:01:06 | 0:01:12 | |
-..with a very simple -memorial plaque. | 0:01:12 | 0:01:15 | |
-Even in death, -Gwen John remained an enigma. | 0:01:17 | 0:01:23 | |
-Today, she is considered one of -the 20th century's leading artists. | 0:01:23 | 0:01:28 | |
-Early in September 1939, -this platform in Northern France... | 0:01:57 | 0:02:01 | |
-..was awash with panic -at the start of the war. | 0:02:02 | 0:02:05 | |
-Amidst the frenzy, was a slender, -middle-aged Welsh woman. | 0:02:05 | 0:02:10 | |
-She became a world-famous artist... | 0:02:10 | 0:02:13 | |
-..but on that day in Dieppe, -Gwen John was unknown and alone. | 0:02:13 | 0:02:19 | |
-On that day, we're not sure if Gwen -was escaping from the war in Paris. | 0:02:26 | 0:02:31 | |
-However, she didn't reach -the end of her journey. | 0:02:32 | 0:02:35 | |
-She fell ill at the station... | 0:02:36 | 0:02:38 | |
-..and died a few days later -at a nearby hospital run by nuns. | 0:02:38 | 0:02:42 | |
-Family and friends -didn't attend her funeral... | 0:02:43 | 0:02:46 | |
-..and her final days -are still a mystery. | 0:02:47 | 0:02:50 | |
-This journey to Dieppe is a chance -to discover exactly what happened. | 0:02:51 | 0:02:57 | |
-Gwen John was a Pembrokeshire girl. | 0:03:00 | 0:03:02 | |
-After her mother's sudden death, -when Gwen was only eight... | 0:03:03 | 0:03:08 | |
-..the family moved -from Haverfordwest to Tenby. | 0:03:08 | 0:03:13 | |
-The letters that she received -from her family... | 0:03:13 | 0:03:17 | |
-..and those she wrote to her friend, -Ursula Tyrwhitt... | 0:03:17 | 0:03:21 | |
-..suggest that she had -a difficult childhood. | 0:03:21 | 0:03:25 | |
-The atmosphere and relationship... | 0:03:25 | 0:03:28 | |
-..between Gwen and her father -was rather cold and difficult. | 0:03:28 | 0:03:33 | |
-Gwen wasn't formally educated -like her brother. | 0:03:33 | 0:03:37 | |
-However, she did indulge -in her passion for painting. | 0:03:38 | 0:03:42 | |
-Gwen left Tenby -against her father's wishes. | 0:03:42 | 0:03:47 | |
-She followed her brother, Augustus, -to the Slade School of Fine Art. | 0:03:47 | 0:03:52 | |
-It was the school's golden age. | 0:03:55 | 0:03:57 | |
-The same education -was offered to men and women. | 0:03:57 | 0:04:01 | |
-Gwen was in her element. | 0:04:01 | 0:04:04 | |
-Education at Slade -was quite classic. | 0:04:05 | 0:04:08 | |
-They would draw in the Antique Room. | 0:04:08 | 0:04:10 | |
-At Slade, it was important -to follow life drawing classes. | 0:04:11 | 0:04:16 | |
-Men and women would attend -life drawing classes... | 0:04:16 | 0:04:22 | |
-..in separate classrooms. | 0:04:22 | 0:04:25 | |
-It was also common for students -to work as models. | 0:04:25 | 0:04:29 | |
-With the exception of her study -of Michelangelo's work... | 0:04:30 | 0:04:34 | |
-..we only have one painting -from Gwen's time at Slade. | 0:04:34 | 0:04:38 | |
-It depicts her friends -with her brother, Augustus. | 0:04:39 | 0:04:42 | |
-It was thought that Gwen John -was more talented than Augustus. | 0:04:43 | 0:04:48 | |
-In her final term... | 0:04:48 | 0:04:50 | |
-..Gwen won the Melville Nettleship -Prize for figure composition... | 0:04:50 | 0:04:55 | |
-..thanks to her love -of life drawing. | 0:04:55 | 0:04:58 | |
-Was it difficult for women -to become professional artists? | 0:04:58 | 0:05:03 | |
-At the time, it was unusual to see -a professional female artist... | 0:05:03 | 0:05:08 | |
-..as they often opted -for marriage or teaching. | 0:05:08 | 0:05:12 | |
-However, she was adamant that she -would become a professional artist. | 0:05:12 | 0:05:17 | |
-After graduating from Slade... | 0:05:18 | 0:05:20 | |
-..Gwen came to Paris to study with -Whistler at the Academie Carmen. | 0:05:20 | 0:05:25 | |
-She moved to Montparnasse... | 0:05:26 | 0:05:28 | |
-..with Gwen Salmond -and Ida Nettleship. | 0:05:28 | 0:05:32 | |
-At the time, the city was a Mecca -for young European artists. | 0:05:32 | 0:05:37 | |
-They flocked here to make contacts -and study with the masters. | 0:05:37 | 0:05:42 | |
-In that era, it was unusual -for a small town girl... | 0:05:53 | 0:05:57 | |
-..to escape to somewhere like Paris -and live on her own. | 0:05:57 | 0:06:01 | |
-However, -we must put this into context. | 0:06:01 | 0:06:06 | |
-It was widely known -to women of the era... | 0:06:06 | 0:06:11 | |
-..that Paris was a place where -women could live independently. | 0:06:11 | 0:06:16 | |
-They could progress in their careers -as artists or litterateurs. | 0:06:17 | 0:06:22 | |
-Women flocked to Paris -to live freely. | 0:06:22 | 0:06:26 | |
-Gwen received a fantastic education -at Slade. | 0:06:28 | 0:06:33 | |
-However, -once Gwen had settled in Paris... | 0:06:33 | 0:06:38 | |
-..we started to see -a gradual change in her work. | 0:06:38 | 0:06:42 | |
-She started to respond -to the works of other artists... | 0:06:43 | 0:06:47 | |
-..such as Chagall -and Le Douanier Rousseau... | 0:06:47 | 0:06:51 | |
-..who were very influential in Paris -between the two wars. | 0:06:51 | 0:06:56 | |
-Gwen's self portrait from the era -gives us a glimpse of her character. | 0:06:56 | 0:07:01 | |
-It shows her eagerness -to be taken seriously as an artist. | 0:07:02 | 0:07:06 | |
-We see a character -that's quite deep and serious. | 0:07:06 | 0:07:10 | |
-There's a focus on the face -whilst the background is plain. | 0:07:10 | 0:07:15 | |
-There's a strong light -illuminating the face. | 0:07:15 | 0:07:19 | |
-It's important to look -at her presentation. | 0:07:19 | 0:07:23 | |
-She's wearing clothes -that were decades out of fashion. | 0:07:23 | 0:07:27 | |
-She was eccentric and artistic and -would dress herself in this way... | 0:07:27 | 0:07:33 | |
-..to display herself -as an educated individual. | 0:07:34 | 0:07:38 | |
-She was a new woman -or a thinking woman. | 0:07:38 | 0:07:42 | |
-In Paris, Gwen met artistic greats -including Picasso and Matisse. | 0:07:42 | 0:07:47 | |
-It was an exciting place -for young artists... | 0:07:47 | 0:07:50 | |
-..but a meeting with a famous -European artist changed her life. | 0:07:51 | 0:07:56 | |
-Gwen had to sustain herself -financially... | 0:08:01 | 0:08:04 | |
-..and it was common practice -to model for the era's artists. | 0:08:04 | 0:08:09 | |
-Her brother, Augustus, -suggested that she approached... | 0:08:09 | 0:08:13 | |
-..the world-famous sculptor, -Auguste Rodin. | 0:08:13 | 0:08:16 | |
-It is thought that Augustus -encouraged her... | 0:08:17 | 0:08:20 | |
-..to go and meet with the -accomplished sculptor, Rodin. | 0:08:21 | 0:08:25 | |
-She presented herself at his home -as Gwen John, sister of Augustus. | 0:08:25 | 0:08:30 | |
-She explained that she was looking -for modelling work. | 0:08:30 | 0:08:34 | |
-Augustus told her -to consider it an honour... | 0:08:34 | 0:08:38 | |
-..to be of service to Rodin. | 0:08:39 | 0:08:41 | |
-Behind these walls, there were -numerous naked women and men... | 0:08:45 | 0:08:50 | |
-..who modelled for the master. | 0:08:50 | 0:08:53 | |
-Some referred to the place -as a Banquet of Buttocks! | 0:08:53 | 0:08:57 | |
-Gwen John shyly entered that room -on a spring morning in 1904. | 0:08:58 | 0:09:03 | |
-She would have stood in a large room -with dozens of other workers. | 0:09:05 | 0:09:11 | |
-Most of them were naked... | 0:09:11 | 0:09:13 | |
-..as Auguste Rodin specialized -in sculpting the female form. | 0:09:14 | 0:09:19 | |
-I imagine that Gwen -would have been surprised... | 0:09:19 | 0:09:23 | |
-..to see such a place... | 0:09:24 | 0:09:26 | |
-..and the way in which Rodin worked. | 0:09:26 | 0:09:31 | |
-When Gwen met Rodin, -he was almost 40 years her senior... | 0:09:36 | 0:09:41 | |
-..and was one of the world's -most established artists. | 0:09:41 | 0:09:46 | |
-However, did Rodin -enrich Gwen's life as an artist? | 0:09:46 | 0:09:50 | |
-Did he nurture her talent... | 0:09:50 | 0:09:52 | |
-..or was she held back -by her feelings for him? | 0:09:52 | 0:09:55 | |
-Would this relationship -shape her work and legacy? | 0:09:56 | 0:10:00 | |
-. | 0:10:02 | 0:10:02 | |
-Subtitles | 0:10:04 | 0:10:04 | |
-Subtitles - -Subtitles | 0:10:04 | 0:10:06 | |
-The Rodin Museum in Paris is home to -some of his greatest masterpieces. | 0:10:12 | 0:10:18 | |
-His only full sculpture of Gwen John -is prominently displayed here. | 0:10:19 | 0:10:24 | |
-Rodin was 40 years older than Gwen -but he was the love of her life. | 0:10:24 | 0:10:30 | |
-She modelled for Rodin's monument -for Whistler. | 0:10:31 | 0:10:35 | |
-According to Rodin, -Gwen had un corps admirable! | 0:10:35 | 0:10:39 | |
-She was a popular model with -an ideal physique for sculptors. | 0:10:39 | 0:10:44 | |
-Initially, I suspect Gwen -was attracted to the excitement... | 0:10:44 | 0:10:49 | |
-..of being involved with the work -of the legendary sculptor... | 0:10:50 | 0:10:54 | |
-..Auguste Rodin. | 0:10:55 | 0:10:56 | |
-She certainly had a physical -and sexual attraction towards him. | 0:10:56 | 0:11:02 | |
-If we think of Rodin's studio... | 0:11:04 | 0:11:06 | |
-..there would have been -several naked men and women... | 0:11:07 | 0:11:11 | |
-..in a situation that could -be deemed slightly erotic. | 0:11:11 | 0:11:16 | |
-She would have been part of this. | 0:11:16 | 0:11:18 | |
-At Rodin Museum's archive, there's -proof of the pair's relationship. | 0:11:19 | 0:11:25 | |
-Gwen was his mistress -for over a decade. | 0:11:25 | 0:11:29 | |
-Aujourd'hui a ete -le plus miserable jour. | 0:11:30 | 0:11:33 | |
-Dans la nuit je revais. | 0:11:33 | 0:11:36 | |
-Je me sentais si solitaire. | 0:11:36 | 0:11:38 | |
-Votre Marie, qui pleure maintenant. | 0:11:38 | 0:11:41 | |
-In these boxes, there are -2,000 letters from Gwen to Rodin. | 0:11:41 | 0:11:46 | |
-Sometimes, she wrote to him -several times a day. | 0:11:46 | 0:11:50 | |
-She repeatedly wrote -of her love for him. | 0:11:50 | 0:11:53 | |
-We don't know if he read each letter -but he kept them. | 0:11:54 | 0:11:58 | |
-Rodin certainly made -an impression on her. | 0:12:01 | 0:12:05 | |
-He encouraged her to paint -and thought highly of her work. | 0:12:05 | 0:12:11 | |
-I believe that he managed to -persuade her that she could paint... | 0:12:11 | 0:12:16 | |
-..and that she should persevere. | 0:12:17 | 0:12:21 | |
-The great thing -about Rodin's studio... | 0:12:21 | 0:12:24 | |
-..was that everyone -was encouraged to work hard. | 0:12:25 | 0:12:29 | |
-They were expected to continue -with their own work at home. | 0:12:30 | 0:12:34 | |
-He thought that by working hard, -you would reach your potential. | 0:12:35 | 0:12:40 | |
-Gwen did paint at home. | 0:12:40 | 0:12:43 | |
-She created her masterpieces in her -confined Montparnasse attic room. | 0:12:43 | 0:12:49 | |
-Rodin visited Gwen in her room -one morning each week... | 0:12:59 | 0:13:03 | |
-..but she waited every morning, -in case he arrived. | 0:13:03 | 0:13:07 | |
-She'd wash and brush her hair, -place fresh flowers on a table... | 0:13:07 | 0:13:12 | |
-..and wait for the sound -of his footsteps on the stairs... | 0:13:12 | 0:13:16 | |
-..to enjoy the pleasure -of one rare hour in his company. | 0:13:16 | 0:13:21 | |
-The room was her sanctuary and the -subject for many of her paintings. | 0:13:22 | 0:13:27 | |
-Gwen John -painted this scene several times. | 0:13:28 | 0:13:31 | |
-We tend to study these paintings... | 0:13:31 | 0:13:34 | |
-..and read too much -into Gwen John's life. | 0:13:34 | 0:13:37 | |
-We think of her as a hermit who was -confined to painting in her room. | 0:13:37 | 0:13:43 | |
-However, an empty room was a popular -theme in French art during the time. | 0:13:44 | 0:13:49 | |
-It's important that we study -Gwen John's work... | 0:13:50 | 0:13:54 | |
-..in the context -of early 20th century French art. | 0:13:54 | 0:13:59 | |
-Whilst Gwen lived in a small room... | 0:14:02 | 0:14:04 | |
-..Rodin lived in Meudon, three miles -from the centre of Paris... | 0:14:05 | 0:14:10 | |
-..in a luxurious home with a studio -at the bottom of the garden. | 0:14:10 | 0:14:14 | |
-There's no doubt that Gwen was -head over heels in love with Rodin. | 0:14:15 | 0:14:21 | |
-She was besotted -to the point of obsession. | 0:14:21 | 0:14:24 | |
-She would come to the house -and hide in the bushes... | 0:14:24 | 0:14:28 | |
-..to see the one love of her life. | 0:14:29 | 0:14:32 | |
-Gwen eventually moved from Paris -to Meudon to be closer to Rodin. | 0:14:36 | 0:14:42 | |
-Rodin wasn't the only man in Paris -to influence Gwen. | 0:14:43 | 0:14:48 | |
-The lawyer, John Quinn, -was a modern art collector... | 0:14:48 | 0:14:52 | |
-..and he became her sponsor. | 0:14:52 | 0:14:54 | |
-Each year, -he paid Gwen a sum of money... | 0:14:55 | 0:14:58 | |
-..and he received -four pieces of work in return. | 0:14:58 | 0:15:02 | |
-This gave Gwen -a sense of security... | 0:15:02 | 0:15:06 | |
-..and introduced her -to new social circles in Paris. | 0:15:06 | 0:15:10 | |
-Gwen John would have attended -dinners with John Quinn in Paris... | 0:15:10 | 0:15:16 | |
-..and she talked -to the likes of Picasso. | 0:15:16 | 0:15:19 | |
-Gwen John exhibited work in many of -the era's important exhibitions... | 0:15:20 | 0:15:25 | |
-..such as an exhibition -in New York in 1913. | 0:15:25 | 0:15:28 | |
-It was one of the most important -exhibitions in 20th century America. | 0:15:29 | 0:15:34 | |
-It was called the Armory Show. | 0:15:34 | 0:15:36 | |
-She also exhibited at Paris's -prestigious, Salon d'Automne. | 0:15:36 | 0:15:41 | |
-She had a public profile in Paris -and on the international stage. | 0:15:41 | 0:15:47 | |
-We challenged the artist, -Mary Lloyd Jones... | 0:15:48 | 0:15:52 | |
-..to recreate one of Gwen's works. | 0:15:52 | 0:15:55 | |
-The Convalescent -is typical of her work. | 0:15:55 | 0:15:59 | |
-It depicts a girl -sitting alone in silence. | 0:15:59 | 0:16:03 | |
-Every detail has been planned... | 0:16:03 | 0:16:06 | |
-..to create unity in the expression. | 0:16:06 | 0:16:11 | |
-I was originally drawn -to the colours in the painting... | 0:16:11 | 0:16:17 | |
-..especially the purple colour -with a tinge of brown. | 0:16:17 | 0:16:22 | |
-These lighter colours are splendid. | 0:16:22 | 0:16:26 | |
-There are warm tones -mixed with colder blue hues. | 0:16:26 | 0:16:31 | |
-I'm mostly intrigued by this pot. | 0:16:32 | 0:16:35 | |
-It stands out -due to its popping colour. | 0:16:36 | 0:16:41 | |
-The technique she developed... | 0:16:47 | 0:16:50 | |
-..doesn't shout out at you. | 0:16:50 | 0:16:53 | |
-It's quiet but people respond to it. | 0:16:54 | 0:16:57 | |
-You won't get tired of her work. | 0:16:57 | 0:17:00 | |
-Augustus John -once claimed that in 50 years... | 0:17:01 | 0:17:07 | |
-..he would be known -as Gwen John's brother. | 0:17:07 | 0:17:12 | |
-I believe that he was correct. | 0:17:12 | 0:17:15 | |
-Over time, -Rodin's romance with Gwen dwindled. | 0:17:17 | 0:17:21 | |
-Rodin grew distant, -so she turned her thoughts to God... | 0:17:21 | 0:17:25 | |
-..and her visits to the Meudon order -became more frequent. | 0:17:26 | 0:17:30 | |
-In 1913, she was accepted as a -full member of the Catholic Church. | 0:17:33 | 0:17:39 | |
-She would often come and sketch -at the back of this church. | 0:17:41 | 0:17:46 | |
-In a letter, she described herself -as "God's little artist". | 0:17:46 | 0:17:51 | |
-She also wanted to be a saint. | 0:17:51 | 0:17:54 | |
-She loved depicting -adults and children at church. | 0:17:55 | 0:18:01 | |
-This caused a few problems... | 0:18:01 | 0:18:03 | |
-..because some people thought it was -inappropriate to draw at church. | 0:18:04 | 0:18:09 | |
-However, she considered drawing... | 0:18:09 | 0:18:12 | |
-..part of the worshiping process. | 0:18:13 | 0:18:16 | |
-She couldn't separate the two things -in her own mind. | 0:18:16 | 0:18:20 | |
-The church was Gwen's solace... | 0:18:23 | 0:18:26 | |
-..when she lost the man who had -consumed her life for 15 years. | 0:18:26 | 0:18:30 | |
-His death broke Gwen's heart and -even made her question her sanity. | 0:18:31 | 0:18:36 | |
-However, she returned to painting. | 0:18:36 | 0:18:39 | |
-After her long courtship -with Rodin... | 0:18:40 | 0:18:43 | |
-..his death released her. | 0:18:43 | 0:18:46 | |
-She painted regularly and staged -a solo exhibition in London... | 0:18:47 | 0:18:52 | |
-..and the National Museum of Wales -bought one of her works. | 0:18:52 | 0:18:57 | |
-By this time, -she'd purchased land in Meudon... | 0:18:57 | 0:19:00 | |
-..and hoped to convert -a garden shed into a home. | 0:19:00 | 0:19:04 | |
-However, her health deteriorated. | 0:19:04 | 0:19:07 | |
-Gwen's final years were lonely. | 0:19:07 | 0:19:10 | |
-She spent increasing amounts of time -meditating and praying. | 0:19:11 | 0:19:15 | |
-This cold, hut in Rue Babie -is where she spent most of her days. | 0:19:15 | 0:19:20 | |
-When workers came to fix the roof... | 0:19:21 | 0:19:24 | |
-..she slept outdoors with -no thought for her fragile health. | 0:19:24 | 0:19:28 | |
-In September 1939, Gwen travelled -by train from Paris to Dieppe. | 0:19:43 | 0:19:48 | |
-She was 63 years old -and had been ill for some time... | 0:19:48 | 0:19:52 | |
-..but wouldn't admit -the severity of her illness. | 0:19:52 | 0:19:56 | |
-She hadn't contacted her friends -for two years. | 0:19:56 | 0:20:00 | |
-We don't know -where she was going and why. | 0:20:00 | 0:20:04 | |
-However, this was her final journey. | 0:20:04 | 0:20:08 | |
-Gwen was seriously ill -when she left the train at Dieppe. | 0:20:13 | 0:20:17 | |
-She had nobody for company. | 0:20:17 | 0:20:19 | |
-She fell on the platform -and was rushed to hospital... | 0:20:20 | 0:20:24 | |
-..where she died a few days later. | 0:20:24 | 0:20:27 | |
-At her London home... | 0:20:29 | 0:20:30 | |
-..Sara John, Gwen's great-niece -and the granddaughter of Augustus... | 0:20:30 | 0:20:36 | |
-..has done some research -about her aunt's final journey. | 0:20:36 | 0:20:41 | |
-She's commissioned -a special memorial... | 0:20:41 | 0:20:44 | |
-..in the hope that it will -be placed on her grave. | 0:20:45 | 0:20:48 | |
-A friend recently commented... | 0:20:48 | 0:20:51 | |
-..on how discreet it was of Gwen... | 0:20:52 | 0:20:55 | |
-..and how typical it was -to die so discreetly... | 0:20:55 | 0:21:00 | |
-..and not have a plaque. | 0:21:00 | 0:21:02 | |
-But because of her -extraordinary contribution... | 0:21:02 | 0:21:08 | |
-..I think that it's very important -for all of us... | 0:21:08 | 0:21:12 | |
-..to have a discreet -little plaque put there. | 0:21:12 | 0:21:16 | |
-People will know and can pay -their respects to that site... | 0:21:16 | 0:21:22 | |
-..and then the whole of her history -now is complete. | 0:21:22 | 0:21:26 | |
-Gwen passed away just after -the outbreak of World War II. | 0:21:30 | 0:21:34 | |
-Cemeteries were full of the bodies -of young soldiers. | 0:21:34 | 0:21:38 | |
-Our research shows that she -was buried in a pauper's grave... | 0:21:38 | 0:21:43 | |
-..but her body was later cremated -to make room for the soldiers. | 0:21:43 | 0:21:49 | |
-However, we did find evidence -that she was buried here... | 0:21:49 | 0:21:54 | |
-..at Jan Val Dieppe cemetery. | 0:21:54 | 0:21:57 | |
-The records clearly show that -Mary John was buried in plot 446. | 0:21:57 | 0:22:03 | |
-There's no age. | 0:22:04 | 0:22:06 | |
-Wow! | 0:22:06 | 0:22:08 | |
-I find Gwen John's work interesting -as she's from Pembrokeshire... | 0:22:13 | 0:22:18 | |
-..but also fitted into -the French arts world. | 0:22:18 | 0:22:22 | |
-She was a Welsh artist -with international attitudes. | 0:22:23 | 0:22:26 | |
-I believe that she excelled -at portraying character... | 0:22:27 | 0:22:31 | |
-..in a very confined space. | 0:22:31 | 0:22:35 | |
-She was one of the most -important artists of her time. | 0:22:36 | 0:22:42 | |
-The quality of her work -is totally incredible. | 0:22:42 | 0:22:47 | |
-She managed to incorporate... | 0:22:47 | 0:22:51 | |
-..many contemporary influences... | 0:22:51 | 0:22:54 | |
-..but always used them -to her own advantage. | 0:22:54 | 0:22:58 | |
-Her work was certainly unique -during the era in which she lived. | 0:22:58 | 0:23:04 | |
-It is very telling... | 0:23:06 | 0:23:09 | |
-..that there isn't a gravestone -or memorial for Gwen John in Dieppe. | 0:23:09 | 0:23:14 | |
-However, Sara hopes -this will be rectified. | 0:23:14 | 0:23:18 | |
-This plaque -will commemorate Gwen John... | 0:23:18 | 0:23:21 | |
-..in the country -where she lived and worked. | 0:23:22 | 0:23:25 | |
-It's the least we can do -for such an exceptional artist... | 0:23:25 | 0:23:29 | |
-..who contributed -to 20th century art. | 0:23:30 | 0:23:33 | |
-S4C Subtitles by Tinopolis | 0:23:55 | 0:23:57 | |
-. | 0:23:57 | 0:23:58 |