:00:34. > :00:39.I love this place. This is Liverpool's Walker Art Gallery. I
:00:39. > :00:43.used to spend hours in here as a kid. Hundreds of beautiful pictures.
:00:43. > :00:47.But these are just the tip of the iceberg. The vast majority of
:00:47. > :00:51.public art is hidden from view. It's estimated that eighty per cent
:00:51. > :00:56.of the national collection is either in storage or in places it
:00:56. > :00:59.just can't be seen. Today, I'm going to find out why that is and,
:00:59. > :01:09.at the same time, unearth some fantastic paintings that haven't
:01:09. > :01:27.
:01:27. > :01:37.This is art on the move, works coming out of storage to take their
:01:37. > :01:38.
:01:38. > :01:46.bow in a revamp of a popular The room, which is dedicated to
:01:46. > :01:51.British art, is just days away from For curator Laura MacCulloch, these
:01:51. > :01:57.are nervous times. A lot of preparation has gone into the new
:01:57. > :02:01.look, and it needs to be right. Yeah, that looks good. I'm getting
:02:01. > :02:08.a sneak preview not only of the gallery but also of some paintings
:02:08. > :02:11.which have been hidden for a long, So, Laura, this is a permanent
:02:11. > :02:20.gallery. I remember this. You do? But it looks very different,
:02:20. > :02:23.Yeah. Yeah! About every ten years, we try and redo a permanent gallery.
:02:23. > :02:26.They get tired. We've moved pictures around. There's holes or
:02:26. > :02:30.shadows where one's been and another one's gone in. So we've
:02:30. > :02:33.completely gutted the gallery, took all the paintings out, stripped all
:02:33. > :02:37.the walls, painted. What about the pieces themselves? Some of them I
:02:38. > :02:41.remember, but some of them I don't. Yeah, some haven't seen the light
:02:41. > :02:44.of day for years. So it's really exciting, because as we've
:02:44. > :02:48.refurbished, we've suddenly wanted to get things out that we haven't
:02:48. > :02:52.been able to have out before. And there's more paintings on all the
:02:52. > :02:56.sides. We've got the war artists section. This painting here hasn't
:02:56. > :03:00.ever been on permanent display, as far as I know. It's by Stephen Bone,
:03:00. > :03:05.who was an official war artist. He was mainly with the Navy. It's
:03:05. > :03:09.called The Four-Inch Guns. This is the guns on the boat. It's one of
:03:09. > :03:13.the tiniest pictures going into the gallery, but I love it. Why is that
:03:13. > :03:16.name familiar, Bone? His father was the first ever official war artist.
:03:16. > :03:20.Muirhead Bone was the first official war artist in the First
:03:20. > :03:24.World War. Bone and son. Wow! special. Artists around the globe
:03:24. > :03:27.have always painted war scenes, but in Britain in the Second World War,
:03:27. > :03:32.around thirty were given full-time commissions, while hundreds of
:03:32. > :03:36.others were paid for work they submitted. Between them all, they
:03:36. > :03:45.captured the action on the front line and also showed how Britain
:03:45. > :03:48.I like this. What's this one? Tell me about this one. This is Albert
:03:48. > :03:54.Richards, the Liverpool artist, who was the youngest official war
:03:54. > :03:58.artist and, sadly, died in action aged only 25. A local boy. A really
:03:58. > :04:01.poignant story. And in some ways, he's one of our hidden artists,
:04:01. > :04:06.because we haven't had his works on permanent display before. So this
:04:06. > :04:10.is great. It's really good to be able to tell the story of the
:04:10. > :04:14.Liverpool boy, Liverpool hero - as it turns out. Why has this been
:04:14. > :04:19.hidden? Why have you been hiding this? There's just not been enough
:04:19. > :04:23.space to have it up. So I'm really pleased to be able to have that up
:04:23. > :04:27.now, because I think it will really bring people in. Do people know
:04:27. > :04:30.about Albert Richards? Not really, no. So this is why it's so exciting,
:04:31. > :04:34.because he would have been really good, he would have been a
:04:34. > :04:38.household name, had he lived. I'm pretty certain he would have been
:04:38. > :04:42.as big as, say, Lucian Freud. Are there any more Albert Richards?
:04:42. > :04:48.We've got his self-portrait in the gallery, over here. So this is him!
:04:48. > :04:52.This is him. This is a weird, weird picture, and it's very surreal. But
:04:52. > :04:55.he did actually see surrealist works in the Walker's when he was a
:04:55. > :04:59.student at Wallasey Arts School, and you can definitely see the
:04:59. > :05:03.influence in all these strange things that are going on round the
:05:03. > :05:08.corner. This is him. This is what he looked like. With glasses on,
:05:08. > :05:12.though, and I don't think he did wear glasses. I think those are for
:05:12. > :05:16.effect. So what date will this be? How old is this? 1939. He's twenty
:05:16. > :05:19.in this picture. He's twenty? Wow. And they're all waiting for
:05:19. > :05:22.war. So this strange atmosphere in the picture - actually, an
:05:22. > :05:26.unsettling atmosphere - you can understand it. Well, hence the
:05:26. > :05:30.parachutist - because that was the concern, the worry, that it's going
:05:30. > :05:34.to come from the sky - and the clenched-fist salute. This was the
:05:34. > :05:38.salute of the International Brigade in Spain. This is the anti-fascist
:05:38. > :05:42.salute. And he's lived through all that. So you can see how life and
:05:42. > :05:51.death, which is what this painting conjures up, is very much in his
:05:51. > :05:57.Richards' paintings have got me hooked, and I want to see more,
:05:57. > :06:01.which means a trip to the Walker storeroom. In all my visits, I've
:06:01. > :06:07.never been in here. This is the art you don't see, hidden away, waiting
:06:08. > :06:13.for its moment in the spotlight. this is the art gallery's smaller
:06:13. > :06:16.picture store, and there's just hundreds of hidden gems down here.
:06:16. > :06:23.Concealed on one of the racks is another Albert Richards painting,
:06:23. > :06:28.one which hasn't made it into the This work is Holland, Cold Holland,
:06:28. > :06:32.and this is when Albert is an official war artist. This is June
:06:32. > :06:35.'44. And actually, it's interesting, because it's not a military piece.
:06:35. > :06:39.It's the civilians that he's focusing on here. And it's called
:06:39. > :06:43.Holland, Cold Holland because that winter was incredibly cold. These
:06:43. > :06:46.are the people of Holland, who are absolutely destitute, have been
:06:46. > :06:51.brought to their knees by the war with Germany, and what they're
:06:51. > :06:55.doing is illegally picking up coal. But I love the sense of perspective.
:06:55. > :06:59.A strange perspective. Really strange, that idea of the surreal.
:06:59. > :07:04.And yes, he's recording what's going on, but he's also making an
:07:04. > :07:07.aesthetic picture of it. And so that idea of being a war artist -
:07:07. > :07:10.you could take a photograph to record things, but actually, the
:07:10. > :07:13.Government were interested in having that aesthetic, more
:07:13. > :07:23.emotional response to war. Well, what a shame there's not enough
:07:23. > :07:27.The Walker Art Gallery has a collection of around 12,000 works
:07:27. > :07:34.of art, and we can probably only physically display at any one time
:07:34. > :07:37.around twenty per cent of that Also, watercolours and drawings
:07:37. > :07:45.can't be exposed to light continuously without affecting
:07:45. > :07:50.their condition. So we have to make decisions about what we can show at
:07:50. > :07:58.any one time, both caring for the work of art but also thinking about
:07:59. > :08:03.the space that we have available in Sometimes, works just aren't in
:08:03. > :08:09.good enough condition to go on display. All galleries carry out
:08:09. > :08:11.conservation work to get items looking their best. At the
:08:11. > :08:20.Liverpool Conservation Centre, another Albert Richards painting is
:08:20. > :08:23.The painting itself is a Seacombe ferry in wartime, and the reason
:08:23. > :08:33.why it's come into the studio is because we're cleaning the glass,
:08:33. > :08:35.
:08:35. > :08:40.giving it a Hoover out and making Conservation is such an important
:08:40. > :08:50.part of looking after the work. You know, without the different
:08:50. > :08:54.
:08:54. > :08:59.treatments available, works can And I found another Richards
:08:59. > :09:06.painting not a million miles from the Walker. This is the building
:09:06. > :09:16.next door, Liverpool's World Museum. Not all hidden art is in storage.
:09:16. > :09:22.
:09:22. > :09:27.Some of it's actually on view, just An Albert Richards on an office
:09:27. > :09:37.wall. And here he is, right on the front line, Holland 1944. The
:09:37. > :09:41.
:09:41. > :09:48.Allied advance. This is the flooded It's a wonderful story, the
:09:48. > :09:53.Liverpool lad who painted the war. And it's a story that's come alive
:09:53. > :09:57.for me thanks to a few hidden paintings. Albert was one of a
:09:57. > :10:01.select band of artists in the thick of battle. But others were working
:10:01. > :10:09.closer to home, their mission to illustrate how war shaped lives
:10:09. > :10:13.wherever you are. While Albert Richards was away fighting for king
:10:13. > :10:16.and country, painting everything he saw on the front line, war art of a
:10:17. > :10:22.very different kind was being produced in Manchester, inspired by
:10:22. > :10:27.the man who ran this place, the Manchester Art Gallery. Lawrence
:10:27. > :10:32.Haward was the gallery's first ever director. He ran it from the start
:10:32. > :10:35.of the First World War to the end of the Second, and in that time he
:10:36. > :10:43.completely transformed it. One of the last things he did helped
:10:43. > :10:46.This is the Manchester Gallery, which tells the story of this great
:10:46. > :10:50.city. Pride of place goes to two oil paintings which described the
:10:51. > :10:54.intense war effort that took place here during World War Two. It turns
:10:54. > :10:56.out, though, that they're just a small part of Lawrence Haward's
:10:56. > :10:59.grand plan. NEWSREEL: Despite the worst time
:10:59. > :11:04.Manchester has experienced since the outbreak of war, the people's
:11:04. > :11:09.chins are up. Manchester came under relentless attack during the war
:11:09. > :11:13.because it was such a crucial centre of industrial activity.
:11:13. > :11:20.Firms changed production to help with the war effort. Workers,
:11:20. > :11:27.mainly women, churned out armaments and engines, tanks and aeroplanes.
:11:27. > :11:31.Haward knew that history was being Lawrence Haward rounded up some
:11:31. > :11:34.sixteen artists from Manchester, and his great idea was that he
:11:34. > :11:38.would go round the various factories and research laboratories
:11:38. > :11:45.that were engaged in the war effort and say, "Here's an artist I've
:11:45. > :11:48.found. I would like you to commission this artist to record
:11:48. > :11:53.what you're doing for the war effort. And then, when they've made
:11:53. > :11:56.the work for you, you can donate it back to the gallery." And that's
:11:56. > :12:01.exactly what happened. That's pretty canny! He was a very canny
:12:01. > :12:06.man. This fabulous painting of the Metropolitan-Vickers works in
:12:06. > :12:11.Trafford Park has been on regular display. The artist is Charles
:12:11. > :12:15.Cundall. He was born in Stretford, so he was a local lad, and he was
:12:15. > :12:19.trained at Manchester School of Art. He was particularly adept at crowd
:12:19. > :12:29.scenes, so he was an obvious choice for Lawrence Haward when he was
:12:29. > :12:32.
:12:32. > :12:42.The second oil painting is by another local artist, Harold
:12:42. > :12:42.
:12:42. > :12:46.Workman. He came from Oldham, but his painting is of making
:12:46. > :12:50.camouflage cloth at Simpson & Godlee, who were actually known at
:12:50. > :12:54.the time for their calico printing. But like many of those factories at
:12:55. > :12:59.the time, they had to be turned over to the war effort. Is this all
:12:59. > :13:04.that's left? Where are the rest? Mostly in our stores. Some of them
:13:04. > :13:09.have not been out since they were all shown as a group at the end of
:13:09. > :13:17.the war. Another store, another treasure trove of hidden art. And
:13:17. > :13:25.more oil paintings from Haward's Well, here it is! And here is one
:13:25. > :13:30.of the other paintings by Charles This picture here, Paul, is of the
:13:31. > :13:34.Avro Lancaster bombers being made in the AV Roe works at Woodford.
:13:34. > :13:39.The Lancaster, of course, has become an absolute classic of all
:13:40. > :13:44.time. It's iconic. This is a great painting recording that moment.
:13:44. > :13:50.Without the Lancaster bombers, we probably wouldn't have won the war.
:13:50. > :13:55.It's an extraordinary scene. when was this picture last
:13:55. > :14:05.exhibited? I think the last time this was actually out was in the
:14:05. > :14:17.
:14:17. > :14:23.show that Lawrence Haward did in Oh, look at this. Isn't this an
:14:23. > :14:26.extraordinary scene here? This is a loading gantry for Pluto, which was
:14:26. > :14:31.the pipeline under the ocean. This was an amazingly inventive scheme
:14:31. > :14:38.to take fuel all the way under the Channel to the troops fighting in
:14:38. > :14:41.Normandy. And Glovers was a Trafford firm. It's a tribute to
:14:41. > :14:45.Lawrence Haward's vision in actually getting these artists to
:14:45. > :14:52.go out to these places. They wouldn't normally have gone down to
:14:52. > :14:56.Trafford Park. So, what do we know of Keith Henderson? He was quite a
:14:56. > :15:00.popular painter in the 1930s. Not very well known now. He was a great
:15:00. > :15:03.friend of the director, Lawrence Haward, as you can tell from all
:15:03. > :15:09.the correspondence in the file. But unfortunately, there's no
:15:09. > :15:17.correspondence about this As well as the oils, Haward's
:15:17. > :15:20.collection also included sketches, Perhaps the most stunning is this
:15:20. > :15:23.drawing of the Dunlop barrage balloon factory by Sir Muirhead
:15:23. > :15:33.Bone, Britain's first ever official war artist and father of Stephen
:15:33. > :15:49.
:15:49. > :15:53.Bone, whose work we'd seen in the Our next stop was the gallery's
:15:53. > :16:01.weird and wonderful out-of-town store. There's still one oil
:16:01. > :16:05.painting from Haward's collection Here's the other missing and
:16:05. > :16:11.forgotten war work, and this is by AS Finlayson at the Ford motor
:16:11. > :16:17.works. So this is when Ford's went over from making car parts to
:16:17. > :16:20.making aero engines. Yeah, turned over to the war effort. I love the
:16:20. > :16:26.little details, like the little lights here, like little library
:16:26. > :16:30.lights, the little glow. So it could be a night scene. Yeah. He
:16:30. > :16:35.must have had very good access in the factory to actually study all
:16:35. > :16:39.of these pieces. Yeah, he's right in amongst it, look. Yeah, yeah.
:16:39. > :16:42.And what about Finlayson himself? What do we know of him? We know
:16:42. > :16:45.almost nothing at all about Finlayson. There's nothing in the
:16:45. > :16:49.artist files, there's no correspondence. We've only got one
:16:49. > :16:52.letter, written in 1976, to the Ford Motor Company, saying, "Do you
:16:52. > :16:56.know anything about AS Finlayson? Because we don't." And there's no
:16:56. > :17:00.reply. Well, this ain't bad for a storage room. How many pictures are
:17:00. > :17:10.in here? Looking around, I think there's about two hundred paintings
:17:10. > :17:20.
:17:20. > :17:27.This place is a real eclectic Aladdin's cave - all kinds of eras,
:17:27. > :17:37.all kinds of styles side by side. And look what I've found. Our old
:17:37. > :17:37.
:17:37. > :17:41.All of these hidden paintings intrigue me. On the surface, they
:17:41. > :17:44.illustrate one of the biggest stories of the twentieth century.
:17:45. > :17:54.But underneath, they all hold their own secrets, the lives of the
:17:55. > :17:55.
:17:55. > :17:59.Some of the Manchester painters remain, sadly, forgotten figures,
:17:59. > :18:07.and all we're left with is their brilliant depictions of the war
:18:07. > :18:12.But something draws me to the work of Albert Richards. What was his
:18:12. > :18:20.story? How did he get to be Britain's youngest war artist? And
:18:20. > :18:26.was he really a hero? Time for a At Birkenhead's Williamson Art
:18:26. > :18:36.Gallery, they claim Richards as their own. It turns out that Albert
:18:36. > :18:36.
:18:36. > :18:40.was born in Liverpool but spent At the age of fifteen, he went to
:18:40. > :18:44.Wallasey Art School, because that was his major talent. So he stayed
:18:44. > :18:48.at Wallasey Art School until shortly before the beginning of the
:18:48. > :18:52.war, when he got a scholarship to the Royal College of Art and went
:18:52. > :18:55.to London. Within three months, Albert was called up. He joined the
:18:55. > :19:00.Royal Engineers and began painting his experience of war. Some of that
:19:00. > :19:03.art has found its way back to Birkenhead. We've got a couple of
:19:03. > :19:07.oil paintings, a large collection of student work that was done
:19:07. > :19:14.mostly at Wallasey School of Art and a small group of watercolours,
:19:14. > :19:17.including a couple of wartime ones. The art school in Wallasey and what
:19:17. > :19:26.was then Wallasey Technical School each received a large watercolour
:19:26. > :19:30.by Albert Richards as a token of We've got an oil painting called
:19:30. > :19:40.The Process Of Time, which is one of the surrealist oil paintings
:19:40. > :19:43.
:19:43. > :19:49.that he did shortly before he went This painting, of a searchlight
:19:49. > :19:55.battery on the River Mersey, is on loan from the Imperial War Museum.
:19:55. > :19:59.Albert painted it while he was home on leave in 1942. Because he died
:19:59. > :20:03.so young, his reputation was never as remarkable as it ought to have
:20:03. > :20:08.been, really, for a person of his talents. But I do think that he is
:20:08. > :20:18.acknowledged by local people as a major figure, and a major figure of
:20:18. > :20:19.
:20:19. > :20:22.TV REPORTER: This is the work of an unknown student who achieved
:20:22. > :20:26.national recognition as a war artist but in all that time
:20:26. > :20:30.remained a soldier as well. There's only ever been one national
:20:30. > :20:34.exhibition of Albert Richards' work, and that was held at the Imperial
:20:34. > :20:40.War Museum back in 1978. Fortunately, the BBC produced a
:20:40. > :20:43.brief report. The remarkable thing is that in a very brief space of
:20:43. > :20:53.time, Richards managed to assimilate so many influences and
:20:53. > :20:59.made them his own. The man speaking is Allen Freer, probably our only
:20:59. > :21:02.Albert Richards expert. Now in his eighties, he lives in Manchester.
:21:02. > :21:05.He's the proud owner of several watercolours as well as Richards'
:21:05. > :21:08.personal scrapbook, containing rare photographs. It has to be said,
:21:08. > :21:16.Albert doesn't bear much resemblance to his surreal self-
:21:16. > :21:26.Allen bought the album and the paintings from Albert's mother,
:21:26. > :21:30.
:21:30. > :21:33.Hannah, shortly before she died. She knew that he was a boy, or a
:21:33. > :21:38.man, with exceptional talents. I think it was Graham Sutherland who
:21:38. > :21:42.said he was the discovery of the war. Well, he had the true instinct
:21:42. > :21:46.of the artist. He was a good colourist. His use of colour was
:21:46. > :21:50.very striking. It was full-bodied. So that arrested you. You felt that
:21:50. > :21:54.he was clinched into his subject matter. Allen explained that Albert
:21:54. > :21:57.- or Bertie, as his mother preferred to call him - had
:21:57. > :22:02.switched from the Engineers to the Paratroops in 1943 before becoming
:22:02. > :22:07.Britain's youngest official war artist the following year. It has
:22:07. > :22:14.to be remembered that Albert Richards was primarily a soldier.
:22:14. > :22:18.And that's how he saw himself, a soldier who could paint. He was
:22:18. > :22:23.also a soldier who became a hero when he parachuted into France in
:22:23. > :22:31.June 1944. He took full responsibility when he went over to
:22:31. > :22:37.France on D-Day. I mean, he saw the fighting at first hand. When his
:22:37. > :22:42.commanding officers were killed, he was the man in charge. But his
:22:42. > :22:46.courage and love of painting ultimately led to his death.
:22:46. > :22:55.told his mates that he wanted to paint the greatest picture of the
:22:55. > :23:03.war, which was a night scene of the retreating German forces. So he
:23:03. > :23:13.went out, and he just lost his way and drove his jeep into a minefield.
:23:13. > :23:15.
:23:15. > :23:20.It was blown up instantly and him I head back to the Walker, which
:23:20. > :23:23.keeps a file on every artist and every artwork. Some, including
:23:23. > :23:33.Albert's, are housed in the wonderful old county sessions court,
:23:33. > :23:41.and they confirm his remarkable A life in three folders. Here he is,
:23:41. > :23:49.Albert Richards. Must be 21, 22. And these letters that he was
:23:49. > :23:54.sending to the war artists' committee are so revealing. He's
:23:54. > :23:58.obviously desperate to become a war artist. He says, "This set of
:23:58. > :24:02.paintings I know are not brilliant and, I feel, are not a true
:24:02. > :24:07.statement of myself or my feelings." Then he goes on to say,
:24:07. > :24:11."The only subject I see around me is boredom. I do hope that one day
:24:11. > :24:16.I shall get a chance to become a war artist. Maybe this summer I'll
:24:16. > :24:22.send proof of my capabilities. Yours faithfully, A Richards." And
:24:22. > :24:27.it's also obvious that he was a bit of a hero. This is by a Daily Mail
:24:27. > :24:32.reporter. It says, "Back to paint his war. Artist-paratroop leapt on
:24:32. > :24:36.guns. Albert Richards, spearhead paratrooper on D-Day, has taken up
:24:36. > :24:40.his brushes again and is portraying in paint the night battle on which
:24:40. > :24:50.our invasion depended, and which his gun helped to win." That's the
:24:50. > :24:54.
:24:54. > :24:58.And lastly, this is the saddest of all. "Parachute War Artist is
:24:58. > :25:04.Killed. Captain Albert Richards, of Wallasey, Cheshire, official war
:25:04. > :25:14.artist with the 2nd Army, has been killed in action in Western Europe.
:25:14. > :25:22.
:25:22. > :25:27.And so it's time to reveal some of our hidden paintings to the people
:25:27. > :25:31.who own them, the Great British public. We invite Maisie Dwyer and
:25:31. > :25:35.Joan Hibberd to the Manchester Art Gallery stores to see for the first
:25:35. > :25:40.time the painting of the Ford factory where they used to work.
:25:40. > :25:45.Absolutely unbelievable! It just looked like that. It was all grey,
:25:45. > :25:49.wasn't it? All those machines were all grey. I like that painting,
:25:49. > :25:57.because I like the way the colour of those machines and the light
:25:57. > :26:07.just coming over it like that... That, to me, is exactly what it
:26:07. > :26:08.
:26:08. > :26:12.looked like when you walked in. But I can't just remember seeing
:26:12. > :26:17.anything like that at the factory. You know? Not all these men. I mean,
:26:17. > :26:21.they were very scarce! They were all away fighting. The men that
:26:21. > :26:25.were there were all over forty, which seemed very old to us at
:26:26. > :26:30.eighteen, nineteen. Those were the men that were in charge - foremen,
:26:30. > :26:34.setters, those kind of people. # ..the oil that oils the ring that
:26:34. > :26:37.makes the thingumabob that's going to win the war! # It would be
:26:38. > :26:46.interesting to see those other paintings, because we probably all
:26:46. > :26:50.knew someone that worked in those other factories. AS Finlayson's
:26:50. > :26:55.painting has already been moved back to the city centre in
:26:55. > :27:00.readiness to go on long-overdue display. One of the things we try
:27:00. > :27:03.to do is tell new stories about our works of art, take art that hasn't
:27:03. > :27:08.been seen for many years, perhaps, that perhaps the previous
:27:08. > :27:11.generation has neglected. And that's what we're going to do with
:27:11. > :27:19.Lawrence Haward's collection of paintings of the war effort in
:27:19. > :27:26.Back in Liverpool, the revamped gallery re-opens to the public, who
:27:26. > :27:30.are delighted that hidden paintings are now there to be enjoyed.
:27:30. > :27:34.think the more paintings that are on view, the better, really. I mean,
:27:34. > :27:39.the idea that all this stuff is stashed away in warehouses and
:27:39. > :27:41.vaults and so on is quite depressing. You can understand the
:27:41. > :27:46.need to conserve them and perhaps protect them, particularly
:27:46. > :27:54.watercolours. But it's also important to share what is part of
:27:54. > :27:58.our heritage. I'm really quite excited to get an opportunity to
:27:58. > :28:03.see something coming out of storage, seen for the first time. If it
:28:03. > :28:07.belongs to the nation, it should be seen by the nation, really. I love
:28:07. > :28:15.the Albert Richards, who died when he was 26 in the war. It's
:28:15. > :28:19.It would be great, wouldn't it, if the work of Albert Richards as well
:28:19. > :28:23.as the artists that painted the Manchester war effort was always
:28:23. > :28:27.hanging somewhere, for us all to see it? After all, we own it. As
:28:27. > :28:31.we've seen, this hidden art's full of surprises, so it's good that our
:28:31. > :28:34.galleries are working hard to let us in on their secrets. Exhibitions
:28:35. > :28:41.are constantly changing, because there's so much to show. Good art