0:00:20 > 0:00:23ANNOUNCEMENT: 'Ladies and gentlemen, the gallery is now closed.
0:00:23 > 0:00:26'Please make your way to the nearest exit.'
0:00:28 > 0:00:31BELL RINGS
0:00:31 > 0:00:33Oh, you're still here?
0:00:33 > 0:00:38I was just daydreaming, imagining I was lying on a sunny beach.
0:00:38 > 0:00:40SHE CHUCKLES
0:00:41 > 0:00:43With a great big chocolate ice cream.
0:00:43 > 0:00:47Well, it's tough keeping still all day,
0:00:47 > 0:00:50so your mind starts imagining things...
0:00:50 > 0:00:54like Sir Grumpalot having a bucket of wet fish poured over his head.
0:00:54 > 0:00:57Oh-ho-ho-ho.
0:00:57 > 0:01:00Mind you, if you want to see a really big imagination,
0:01:00 > 0:01:02you should meet Henri Rousseau.
0:01:02 > 0:01:07He was a customs officer - boring! - in Paris, in France.
0:01:09 > 0:01:11But whenever he could get a few hours off,
0:01:11 > 0:01:13he taught himself how to paint.
0:01:13 > 0:01:15And when he was painting,
0:01:15 > 0:01:17Rousseau could imagine he was anywhere in the world.
0:01:17 > 0:01:22And in 1891, his imagination took him here,
0:01:22 > 0:01:26to the middle of a huge storm in a wild tropical jungle,
0:01:26 > 0:01:29with a tiger holding its breath, ready to pounce.
0:01:29 > 0:01:31He called this painting Surprise.
0:01:31 > 0:01:32SHE SCREAMS AT LIGHTNING
0:01:39 > 0:01:41THUNDER CLAPS
0:01:47 > 0:01:50EXOTIC ANIMAL SOUNDS
0:01:51 > 0:01:55I was daydreaming of a beach and an ice cream,
0:01:55 > 0:01:56not a jungle!
0:01:57 > 0:02:00Not furious wind and pouring rain.
0:02:00 > 0:02:01THUNDER CLAPS
0:02:01 > 0:02:06Not lightning shooting through the sky.
0:02:06 > 0:02:08GROWLING
0:02:08 > 0:02:12And definitely not a hungry tiger hunting for dinner.
0:02:12 > 0:02:14Hunting for ME.
0:02:14 > 0:02:18TIGER GROWLS
0:02:18 > 0:02:21Hang on!
0:02:21 > 0:02:23Rousseau never went to the jungle.
0:02:23 > 0:02:25ACCORDION MUSIC PLAYS
0:02:25 > 0:02:28He never got further than Paris.
0:02:31 > 0:02:34He was just using his imagination.
0:02:34 > 0:02:36And he's got a good one.
0:02:36 > 0:02:39A lot of this jungle would have come from Rousseau's visits
0:02:39 > 0:02:42to the botanical gardens down the road from where he worked.
0:02:42 > 0:02:46They had loads of plants there, and Rousseau would paint the ones
0:02:46 > 0:02:49he liked best and put them in his pictures.
0:02:49 > 0:02:51That's why you're more likely to find some of these plants
0:02:51 > 0:02:55in your house than in a tropical jungle.
0:02:55 > 0:02:56And to be honest,
0:02:56 > 0:02:59the only tiger Rousseau would have seen was either in the city zoo
0:02:59 > 0:03:02or stuffed.
0:03:02 > 0:03:04And maybe that's why,
0:03:04 > 0:03:09although this painting is scary and exciting, it also feels like
0:03:09 > 0:03:14a dream storm in a dream jungle, because that's what it is - a dream.
0:03:14 > 0:03:18It's not supposed to look completely real.
0:03:18 > 0:03:22It was dreamt up by a man sat in an office,
0:03:22 > 0:03:24putting the pieces together in his mind.
0:03:26 > 0:03:29The leaves are painted with precise, smooth strokes,
0:03:29 > 0:03:32with layer on layer of different greens.
0:03:32 > 0:03:36If you could dream up perfect leaves, they might look like this.
0:03:36 > 0:03:39And then there's the silver paint,
0:03:39 > 0:03:42running diagonally all the way across the canvas,
0:03:42 > 0:03:46that makes the rain seem magical and mysterious,
0:03:46 > 0:03:50like we're looking through eyes that are half asleep.
0:03:50 > 0:03:52And when you're dreaming,
0:03:52 > 0:03:54you can break the rules of real life, can't you?
0:03:54 > 0:03:56Look at this tiger -
0:03:56 > 0:04:00he could never really be floating above the plants like this.
0:04:00 > 0:04:03And it's because Rousseau keeps breaking these rules
0:04:03 > 0:04:06that the painting feels like a dream.
0:04:06 > 0:04:08Art critics at the time thought
0:04:08 > 0:04:12this style of Rousseau's was too...simple.
0:04:12 > 0:04:15He didn't care, he trusted himself.
0:04:15 > 0:04:20He gave up his office job and he kept painting the way he wanted to.
0:04:20 > 0:04:24Soon, lots of other artists were inspired by his work.
0:04:26 > 0:04:31And so, who is the tiger about to surprise?
0:04:31 > 0:04:34Who's about to become dinner?
0:04:34 > 0:04:36A delicious antelope?
0:04:36 > 0:04:38A tasty wildebeest?
0:04:38 > 0:04:40A group of art critics?
0:04:40 > 0:04:42Just as long as it's not me!
0:04:42 > 0:04:44TIGER ROARS
0:04:46 > 0:04:50In fact, Rousseau leaves the answer up to us.
0:04:50 > 0:04:52He had such a big imagination.
0:04:52 > 0:04:56THUNDER CLAPS
0:04:56 > 0:04:58And he wanted us to use ours, too.
0:05:03 > 0:05:06Rousseau dreamt of the jungle.
0:05:06 > 0:05:09Why not imagine somewhere you've always wanted to go to?
0:05:09 > 0:05:13Then, like him, visit that place by painting it.
0:05:13 > 0:05:16I wonder where you'll end up.
0:05:42 > 0:05:44Oh. It's you.
0:05:44 > 0:05:49For a moment I thought you were just another tourist wanting to take my photograph.
0:05:50 > 0:05:54I'm used to people staring and taking pictures.
0:05:54 > 0:05:58It's part of a statue's job.
0:05:58 > 0:06:01It does get annoying after a while.
0:06:04 > 0:06:08Nowadays, everyone seems to want to be famous, though, don't they?
0:06:08 > 0:06:11Chefs, footballers' wives,
0:06:11 > 0:06:15singers with crazy hair on talent shows, dancing dogs.
0:06:15 > 0:06:18Anyone can be a celebrity.
0:06:19 > 0:06:23But people don't always remember you for very long.
0:06:23 > 0:06:24Just ask Lord Posh-Pants.
0:06:24 > 0:06:29He was very famous, hundreds of years ago.
0:06:29 > 0:06:32There was a time, though, when to be a celebrity,
0:06:32 > 0:06:34you had to work really hard
0:06:34 > 0:06:37to be the very best at something that everybody loved.
0:06:40 > 0:06:42Like the actress Marilyn Monroe.
0:06:42 > 0:06:47In the 1950s, she was one of the most famous and beautiful film stars
0:06:47 > 0:06:52in the whole world, and everyone wanted to know everything about her.
0:06:54 > 0:06:57I fancy going to meet a real celebrity.
0:07:00 > 0:07:03Make a bit of room, will you, Marilyn?
0:07:11 > 0:07:15Marilyn Monroe was a superstar.
0:07:15 > 0:07:19She had platinum blonde hair, deep eyeshadow,
0:07:19 > 0:07:22and thick red lips that everyone wanted to kiss.
0:07:22 > 0:07:25If they'd had the internet then,
0:07:25 > 0:07:28she would have been the top story every day.
0:07:30 > 0:07:34Now, this painting could've just been called "Marilyn",
0:07:34 > 0:07:37but in fact it's called "Marilyn Diptych",
0:07:37 > 0:07:40which means it has two halves.
0:07:42 > 0:07:46Because unfortunately, Marilyn died when she was very young,
0:07:46 > 0:07:50and maybe that's why the second half feels sadder.
0:07:50 > 0:07:53The image is fading away,
0:07:53 > 0:07:57as if it represents both her life and the memory of her.
0:07:57 > 0:08:02And today, these pictures of Marilyn Monroe are as famous as she was.
0:08:06 > 0:08:10They were made by an artist called Andy Warhol,
0:08:10 > 0:08:13who was living in New York and surrounded by celebrities.
0:08:13 > 0:08:18Everyone was already listening to the new popular - or pop - music.
0:08:18 > 0:08:22Now Warhol helped to create pop art.
0:08:22 > 0:08:27He did this by making art from objects that people saw around them every day,
0:08:27 > 0:08:31like cereal boxes,
0:08:31 > 0:08:33or soup tins,
0:08:33 > 0:08:36or pictures of Marilyn Monroe.
0:08:39 > 0:08:42So when Marilyn died, Andy Warhol decided immediately
0:08:42 > 0:08:47to make a portrait of her, using this famous photograph.
0:08:47 > 0:08:50But he didn't just want to make one portrait of her.
0:08:52 > 0:08:53He made another.
0:08:53 > 0:08:55And another.
0:08:55 > 0:08:58And another. And another.
0:08:58 > 0:09:00And another.
0:09:00 > 0:09:03And... Yeah, he made loads.
0:09:03 > 0:09:06It looks more like an advert, doesn't it, on a wall?
0:09:08 > 0:09:11It's not surprising because Warhol used a printing technique
0:09:11 > 0:09:14that was big in advertising.
0:09:14 > 0:09:18He pulled inks through a screen mesh using a rubber squeegee.
0:09:18 > 0:09:22This meant he could quickly produce the same image
0:09:22 > 0:09:27on lots of different canvasses over and over and over again.
0:09:27 > 0:09:31He used big, bright colours to grab our attention
0:09:31 > 0:09:36and to make us look at the colour of the eyes,
0:09:36 > 0:09:38the hair,
0:09:38 > 0:09:40and the lips.
0:09:42 > 0:09:46Soon, Warhol was making so many pictures,
0:09:46 > 0:09:49he had to hire assistants and move to a big, new space
0:09:49 > 0:09:51called The Factory,
0:09:51 > 0:09:56and he did all this to show how Marilyn could start to look like
0:09:56 > 0:09:58anything else made in a factory.
0:09:59 > 0:10:01It's like me.
0:10:01 > 0:10:03I'm a person.
0:10:03 > 0:10:05I've got feelings.
0:10:05 > 0:10:12But if you were to see my face over and over again in block colours,
0:10:12 > 0:10:16I would start to look just like the outside of a cereal packet,
0:10:16 > 0:10:19or a magazine cover.
0:10:19 > 0:10:23Warhol did what artists have been doing for hundreds of years.
0:10:23 > 0:10:27He made us look at things we know in a new way,
0:10:27 > 0:10:32because what I know is there's a real person in this photograph.
0:10:32 > 0:10:38Yet the more I look at it, the less I can seem to find of her.
0:10:38 > 0:10:43So maybe Warhol wanted to show us
0:10:43 > 0:10:46that we don't really know who Marilyn Monroe was after all.
0:10:46 > 0:10:49We only know her as a celebrity.
0:10:49 > 0:10:54And fame and celebrity don't last for ever.
0:10:55 > 0:10:59We're used to seeing celebrities' faces everywhere nowadays.
0:11:04 > 0:11:08On T-shirts, on television, online, on our phones.
0:11:13 > 0:11:18But you can still be famous for being really good at something too.
0:11:19 > 0:11:24So, if you were to become well-known, what would it be for?
0:11:51 > 0:11:57Thanks for staying behind. I've been waiting all day to talk to someone.
0:11:57 > 0:12:00Anyone other than Lord Bellyache over here.
0:12:00 > 0:12:04All day, loads of different people stare at me,
0:12:04 > 0:12:08but none of them say hello - not even a whisper.
0:12:09 > 0:12:14But then, I suppose it can be difficult to get to know people,
0:12:14 > 0:12:16especially in a big crowd.
0:12:19 > 0:12:23Do all the hundreds of people in this picture known each other?
0:12:23 > 0:12:26It's called Britain At Play.
0:12:26 > 0:12:31A man called LS Lowry painted it when, actually, Britain was at war.
0:12:31 > 0:12:35There wasn't always much money about and times were hard for these people,
0:12:35 > 0:12:38who worked in factories and cotton mills.
0:12:38 > 0:12:41Lowry decided to paint them on their day off,
0:12:41 > 0:12:44here in this park called Angel Fields in Manchester.
0:12:47 > 0:12:50I fancy going to say hello to a few of them.
0:13:04 > 0:13:07MUFFLED VOICES IN BACKGROUDN
0:13:07 > 0:13:11It is pretty busy around here, isn't it?
0:13:11 > 0:13:15That's because Lowry tried to cram an entire community into his paintings.
0:13:16 > 0:13:18Sorry!
0:13:18 > 0:13:20HE GRUMBLES UNDER HIS BREATH
0:13:25 > 0:13:27Lowry didn't just paint. He had a job, too,
0:13:27 > 0:13:29which included walking the streets
0:13:29 > 0:13:32and collecting rent from people's houses.
0:13:32 > 0:13:35That must have been a lonely thing to do.
0:13:35 > 0:13:40But while he was out, he would draw all the characters he saw
0:13:40 > 0:13:42on old scraps of paper or envelopes
0:13:42 > 0:13:45and they would end up in his paintings.
0:13:45 > 0:13:47No-one was left out.
0:13:47 > 0:13:51Dogs, children, gossiping housewives,
0:13:51 > 0:13:53families out for a stroll.
0:13:53 > 0:13:54Oh!
0:13:54 > 0:13:58He really needs to look where he's going.
0:13:58 > 0:14:00And you can imagine the noise.
0:14:01 > 0:14:06Church bells, boots clacking on the cobblestones, shouting crowds,
0:14:06 > 0:14:08the whole life of the street.
0:14:08 > 0:14:10BRASS BAND PLAYS
0:14:10 > 0:14:14Lowry understood how important entertainment was
0:14:14 > 0:14:16for bringing people together.
0:14:16 > 0:14:18Look at this huge crowd here!
0:14:18 > 0:14:21It's like a pop concert, but with trumpets and tubas!
0:14:25 > 0:14:28And I've realised why it's so cold here.
0:14:28 > 0:14:33There aren't any shadows, and that means you can't imagine the sun.
0:14:33 > 0:14:37What you can feel everywhere, though, is the smoky air
0:14:37 > 0:14:40and the dark, heavy clouds.
0:14:40 > 0:14:44That's because Lowry had his own style of painting.
0:14:44 > 0:14:47All of his pictures are made using just five colours.
0:14:47 > 0:14:51Ivory black, vermillion red, Prussian blue, yellow ochre,
0:14:51 > 0:14:53and finally, flake white,
0:14:53 > 0:14:57which he would spread in thick layers to make the background.
0:14:57 > 0:15:00He knew the surface would turn creamy as the years went by,
0:15:00 > 0:15:03and the skies would get dirtier.
0:15:03 > 0:15:08Lowry used these simple colours to paint his simple-looking people.
0:15:08 > 0:15:11He wanted just a few quick brushstrokes
0:15:11 > 0:15:13to show us how fragile they are,
0:15:13 > 0:15:18and without shadows, their thin bodies stand out even more.
0:15:18 > 0:15:21And Lowry didn't just work with brushes.
0:15:21 > 0:15:26He used cloths, penknives, fingertips and even nails!
0:15:26 > 0:15:27Oh!
0:15:27 > 0:15:31And all Lowry's people share their world with something else -
0:15:31 > 0:15:32the factories.
0:15:32 > 0:15:35No matter where you look in the painting,
0:15:35 > 0:15:39your eyes always end up rising to the smoking chimneys on the horizon.
0:15:39 > 0:15:42It must've been how the people felt, too.
0:15:42 > 0:15:45Even when they were playing on their days off,
0:15:45 > 0:15:48these big buildings kept towering over them.
0:15:48 > 0:15:52Maybe that's why Lowry makes the people feel so tiny and lost
0:15:52 > 0:15:56underneath them, like helpless little ants.
0:15:57 > 0:16:02Walking the streets, collecting rent, Lowry saw what it was like
0:16:02 > 0:16:06to feel lonely and lost, even when you were in a big crowd.
0:16:06 > 0:16:10That's why it's important to look out for people and say hello.
0:16:13 > 0:16:15Come on. This way.
0:16:22 > 0:16:26Although Lowry's picture shows a little area of Manchester,
0:16:26 > 0:16:28he called the painting Britain At Play.
0:16:32 > 0:16:38Because he wanted us to think about all our towns, communities and high streets.
0:16:38 > 0:16:41I wonder what all the people are doing where you live today.
0:17:05 > 0:17:10Oh! You're just in time. This is my favourite part of the day.
0:17:12 > 0:17:14Everyone's gone.
0:17:14 > 0:17:18They turn out the lights, and I can look up through the windows
0:17:18 > 0:17:21at the stars and planets, moving across the sky.
0:17:35 > 0:17:41It must've been amazing when scientists first started discovering everything up there.
0:17:41 > 0:17:42In space.
0:17:42 > 0:17:46You don't get much of that in older paintings.
0:17:47 > 0:17:52It's probably because for ages, artists were told to stay away from science
0:17:52 > 0:17:58and stick to painting historical stories or landscapes or people,
0:17:58 > 0:18:01like old Sir Winbag here.
0:18:08 > 0:18:12A man called Wright thought this was totally wrong.
0:18:12 > 0:18:16Everyone ended up calling this man Joseph Wright of Derby
0:18:16 > 0:18:19because, guess what, he was from Derby.
0:18:19 > 0:18:23He painted this picture in 1766.
0:18:23 > 0:18:25Wright loved science.
0:18:25 > 0:18:29And he loved giving long names to his paintings.
0:18:29 > 0:18:32This one's called...
0:18:32 > 0:18:37A Philosopher Giving That Lecture On The Orrery In Which A Lamp Is Put In Place Of The Sun.
0:18:37 > 0:18:45I know about lamps and the sun, but I've no idea what an orrery is.
0:18:45 > 0:18:48I reckon I should probably go join in the talk.
0:18:53 > 0:18:55Ooh!
0:18:58 > 0:18:59Ooh! Sorry!
0:18:59 > 0:19:03I think that might have been someone's toes.
0:19:03 > 0:19:05It's a bit dark in here.
0:19:08 > 0:19:10OK.
0:19:10 > 0:19:14I can just about see some bookshelves,
0:19:14 > 0:19:18which makes me think we're in the library of someone's house,
0:19:18 > 0:19:21and that man in the red jacket,
0:19:21 > 0:19:26painted to look so big and impressive, is the scientist.
0:19:28 > 0:19:32And this must be the orrery that he's showing the group.
0:19:32 > 0:19:35Let's see if I can get a closer look.
0:19:37 > 0:19:40Oh! Now I see.
0:19:40 > 0:19:43That golden ball in the middle is the sun,
0:19:43 > 0:19:46and all the other planets have been placed around it.
0:19:46 > 0:19:52There's a handle that sends all the planets on their different orbits.
0:19:52 > 0:19:54Wow!
0:19:54 > 0:20:00There's Earth with our moon, and there's Mercury, closest to the sun,
0:20:00 > 0:20:04which the scientist has decided to show with a burning hot lamp.
0:20:04 > 0:20:07So why did they want to sit around watching this?
0:20:07 > 0:20:10Well, we know lots about the planets now,
0:20:10 > 0:20:14but that's only because people like this clever-clog scientist
0:20:14 > 0:20:16found out about them.
0:20:16 > 0:20:20We've got films and computers to show us all of space,
0:20:20 > 0:20:22but at the time of this painting,
0:20:22 > 0:20:26the orrery was the best way to show the universe in action.
0:20:29 > 0:20:32Perhaps these are the people that Wright saw
0:20:32 > 0:20:35when he went to one of these talks.
0:20:35 > 0:20:37A woman deep in thought,
0:20:37 > 0:20:41a man scribbling loads of notes,
0:20:41 > 0:20:45and children trying to get as close as they can.
0:20:45 > 0:20:49In fact, they're peering at Saturn, the furthest planet from the sun.
0:20:50 > 0:20:57Hang on. What about Uranus and Neptune and Pluto?
0:20:58 > 0:21:00Oh.
0:21:00 > 0:21:03They hadn't been discovered yet in 1766,
0:21:03 > 0:21:07so we are a little bit cleverer than him after all.
0:21:09 > 0:21:13Wright wants us to see how exciting this new science is,
0:21:13 > 0:21:17so he shows us everyone gathered together in the dark.
0:21:17 > 0:21:22Now, a painter... Ooh, done it again!
0:21:22 > 0:21:26Now, a painter uses the lamp just like the flash on a camera,
0:21:26 > 0:21:30with the sun coming in through a window to light up objects in the dark.
0:21:32 > 0:21:36Artists like Wright knew that a face or a scene could look different
0:21:36 > 0:21:38depending on where the light source is coming from.
0:21:38 > 0:21:42The front, the side...
0:21:44 > 0:21:49From underneath. Look how everything's changing.
0:21:51 > 0:21:54Our eyes can only see where the light falls,
0:21:54 > 0:21:57and we have to imagine everything else.
0:21:57 > 0:22:01For this painting, Wright knew exactly where he should put the lamp.
0:22:01 > 0:22:03In the centre.
0:22:03 > 0:22:08Like the sun at the centre of the universe,
0:22:08 > 0:22:13with everyone leaning out of the dark to see the light,
0:22:13 > 0:22:16and the light is science,
0:22:16 > 0:22:22helping people to see and understand new things in the world.
0:22:24 > 0:22:29If I told those two kids that now we're flying robots to Mars,
0:22:29 > 0:22:32I don't think they'd believe me.
0:22:37 > 0:22:41Imagine all the modern discoveries you could put in a picture
0:22:41 > 0:22:43that those kids haven't even dreamed of.
0:22:43 > 0:22:47I wonder which one you'll paint for them first.
0:23:13 > 0:23:15Has everyone else gone?
0:23:15 > 0:23:19I was just getting five minutes' sleep.
0:23:19 > 0:23:23It's hard to get any sleep here in the day. Too noisy.
0:23:25 > 0:23:29There's a story I know about a girl who used to live in Portugal.
0:23:29 > 0:23:32She could never get to sleep. During the day, she was fine.
0:23:32 > 0:23:35All she wanted to do was sit on the floor and draw,
0:23:35 > 0:23:39and she would hum to herself while she made her pictures.
0:23:41 > 0:23:45But at night, she became scared because she was afraid of the dark.
0:23:45 > 0:23:50She would lie awake while a very old woman sat on the edge of her bed,
0:23:50 > 0:23:56and told her stories about magical animals and strange places.
0:23:56 > 0:24:00The girl loved hearing these tales each night,
0:24:00 > 0:24:04and as they finished, she forgot about the dark and fell asleep.
0:24:05 > 0:24:08That little girl's name was Paula Rego,
0:24:08 > 0:24:13and she grew up to be one of the most exciting and important people painting today.
0:24:13 > 0:24:16Often, she still sits on her floor and hums
0:24:16 > 0:24:21while she makes her pictures, like this one, called Sleeping.
0:24:23 > 0:24:26I wonder what story this painting could tell.
0:24:46 > 0:24:49I wonder if this is Paula Rego.
0:24:50 > 0:24:55Asleep on the floor after finishing one of her paintings.
0:24:55 > 0:24:59When Paula was older, she left Portugal to live in England.
0:25:00 > 0:25:04She never forgot how, when she was very young,
0:25:04 > 0:25:06she loved to hear those stories.
0:25:13 > 0:25:16And now she paints stories of her own.
0:25:18 > 0:25:25To do this, Paula Rego collects all sorts of toys and creatures and costumes,
0:25:25 > 0:25:29which she gets her friends to try on in lots of different poses...
0:25:33 > 0:25:35..until...
0:25:35 > 0:25:39she gets a moment, or a feeling...
0:25:42 > 0:25:46..that creates the start of a story.
0:25:47 > 0:25:48I don't think so.
0:25:52 > 0:25:56It's all about getting the right mix of ingredients.
0:25:58 > 0:26:00Sorry.
0:26:00 > 0:26:04Ingredients like a rake, berries, perhaps,
0:26:04 > 0:26:06a turtle,
0:26:06 > 0:26:07and a pelican.
0:26:07 > 0:26:10Why not?
0:26:10 > 0:26:14Paula Rego takes all these ingredients and glues them together
0:26:14 > 0:26:16with her imagination in the painting
0:26:16 > 0:26:21because she's not trying to be a camera, taking an exact picture.
0:26:21 > 0:26:26She wants to show the world more like it was in her childhood stories.
0:26:26 > 0:26:28Larger-than-life, magical.
0:26:28 > 0:26:34So in Paula Rego's world, people come in all shapes and sizes,
0:26:34 > 0:26:39painted with big, solid colours and large shadows.
0:26:39 > 0:26:43If I'm a character that's walked hundreds of miles,
0:26:43 > 0:26:46perhaps my feet and legs will be painted in bright colours.
0:26:46 > 0:26:49They'll be made stronger, larger than usual,
0:26:49 > 0:26:52or perhaps my feet are larger because I'm angry,
0:26:52 > 0:26:55and I'm about to stamp them again and again.
0:26:55 > 0:27:01The story about these people is more important than how real they look,
0:27:01 > 0:27:05so if they're sleeping, we want to see their big faces
0:27:05 > 0:27:11with large, tired eyes, or perhaps a long, heavy neck.
0:27:12 > 0:27:16The paint in this picture makes me feel how tired they really are.
0:27:16 > 0:27:19But why are they sleeping?
0:27:19 > 0:27:23Well, we're the storytellers.
0:27:23 > 0:27:26So, are the berries magic?
0:27:26 > 0:27:30Have they put the two people into a deep sleep?
0:27:30 > 0:27:34Or perhaps a spell has been put on them? By who?
0:27:34 > 0:27:36The pelican?
0:27:36 > 0:27:40Is this friend begging him to wake the other two up?
0:27:40 > 0:27:43Or perhaps she's just offering him some crumbs?
0:27:43 > 0:27:44He's just a pelican, after all.
0:27:46 > 0:27:50Or maybe they're all tired after a long day in the sun,
0:27:50 > 0:27:54except this last person, turning away,
0:27:54 > 0:27:57coming up with this secret plan,
0:27:57 > 0:28:00to steal the turtle while no-one is looking.
0:28:00 > 0:28:03Run while you can!
0:28:09 > 0:28:12Paula Rego says she loves it
0:28:12 > 0:28:16when people stand in front of one of her paintings and tell a story.
0:28:20 > 0:28:25Well, now I know the story I'd tell about that picture.
0:28:25 > 0:28:27What would yours be?
0:28:44 > 0:28:46Subtitling by Red Bee Media Ltd