1 00:00:06,680 --> 00:00:10,840 In the 19th century, the world was transformed by a powerful idea. 2 00:00:12,800 --> 00:00:17,160 A belief amongst Europeans that their civilisation alone represented 3 00:00:17,160 --> 00:00:19,520 the pinnacle of human progress. 4 00:00:21,440 --> 00:00:25,080 It was an idea driven by the modernising forces of science 5 00:00:25,080 --> 00:00:26,960 and industry. 6 00:00:26,960 --> 00:00:29,400 Artists tried to make sense of it all. 7 00:00:30,960 --> 00:00:33,280 The exhilarating dreams of a brighter world... 8 00:00:35,000 --> 00:00:38,520 ..the nightmares about where it might lead, 9 00:00:38,520 --> 00:00:42,840 and the real impact of progress on ordinary human beings. 10 00:00:45,080 --> 00:00:48,560 As the frontiers of European civilisation advanced, 11 00:00:48,560 --> 00:00:51,720 cultures across the world were either decimated... 12 00:00:53,080 --> 00:00:55,200 ..or learned to adapt and survive. 13 00:00:56,960 --> 00:01:00,560 Some artists fled the forces of modernisation by turning 14 00:01:00,560 --> 00:01:02,960 to so-called primitive cultures. 15 00:01:04,440 --> 00:01:07,600 Others sought a primal energy that they believed was lacking 16 00:01:07,600 --> 00:01:09,440 in the industrial world. 17 00:01:11,240 --> 00:01:13,560 For me, as a historian of empire, 18 00:01:13,560 --> 00:01:18,920 art is key to help us understand these profound tensions between 19 00:01:18,920 --> 00:01:23,560 the idea of inevitable progress and the fear of what it might cost. 20 00:01:25,240 --> 00:01:28,920 Tensions that helped shape the world of the 19th century 21 00:01:28,920 --> 00:01:31,600 and foreshadowed the catastrophe to come. 22 00:02:17,880 --> 00:02:22,160 In the 18th century man learned to harness the power of nature 23 00:02:22,160 --> 00:02:24,320 in radical new ways. 24 00:02:27,240 --> 00:02:30,240 In the end, virtually no civilisation on Earth 25 00:02:30,240 --> 00:02:33,400 would remain untouched by the changes. 26 00:02:35,960 --> 00:02:40,000 The Industrial Revolution first emerged in the English Midlands. 27 00:02:43,920 --> 00:02:47,520 Its most potent symbol was a new kind of architecture... 28 00:02:49,480 --> 00:02:50,520 ..the factory. 29 00:02:54,440 --> 00:02:57,760 This cotton mill, hidden away in the Derbyshire countryside, 30 00:02:57,760 --> 00:03:01,360 was the world's very first fully fledged modern factory. 31 00:03:01,360 --> 00:03:05,040 It was built in the 1770s by the entrepreneur Richard Arkwright 32 00:03:05,040 --> 00:03:08,240 and it was designed around his greatest invention - 33 00:03:08,240 --> 00:03:09,720 the water frame. 34 00:03:09,720 --> 00:03:13,480 A machine that used the power of flowing water to drive looms 35 00:03:13,480 --> 00:03:17,400 that produced cotton yarn cheaper and faster than anybody ever had. 36 00:03:19,360 --> 00:03:22,920 That makes this factory the birthplace of mass production. 37 00:03:23,960 --> 00:03:28,720 Here, industry forced nature to bow before the ambitions of mankind. 38 00:03:32,000 --> 00:03:36,560 But from now on, industry would also demand that human beings submit 39 00:03:36,560 --> 00:03:38,320 to the needs of the machine... 40 00:03:40,920 --> 00:03:43,040 ..working in shifts around the clock. 41 00:03:47,680 --> 00:03:51,120 Arkwright was so proud of his cotton mill he had it painted 42 00:03:51,120 --> 00:03:54,080 by the artist Joseph Wright of Derby, 43 00:03:54,080 --> 00:03:57,240 in an apparently idyllic, deceptively peaceful landscape. 44 00:03:59,240 --> 00:04:01,320 There's no hint here of the whirling, 45 00:04:01,320 --> 00:04:05,840 clanking machines and the sheer relentless energy of the coming age. 46 00:04:08,840 --> 00:04:13,520 Yet Wright the artist was intrigued by the changing world around him, 47 00:04:13,520 --> 00:04:16,280 though as much by the new science and technology 48 00:04:16,280 --> 00:04:18,320 as their effects on humanity. 49 00:04:20,680 --> 00:04:24,400 What really fascinated Wright of Derby was not all the machinery 50 00:04:24,400 --> 00:04:26,960 and the hard labour of the Industrial Revolution, 51 00:04:26,960 --> 00:04:28,960 but the ideas that drove it. 52 00:04:28,960 --> 00:04:31,640 And these were the great ideas of the Enlightenment - 53 00:04:31,640 --> 00:04:34,160 a faith in reason and in scientific method, 54 00:04:34,160 --> 00:04:35,800 an unquenchable thirst for knowledge 55 00:04:35,800 --> 00:04:38,600 and an unshakeable belief in progress. 56 00:04:41,920 --> 00:04:45,800 It was this idea - that science believed it was creating 57 00:04:45,800 --> 00:04:47,080 a brave new world - 58 00:04:47,080 --> 00:04:50,800 that lay at the heart of one of Wright's most celebrated paintings. 59 00:04:53,040 --> 00:04:56,920 A travelling scientist has placed a bird in a glass bell jar 60 00:04:56,920 --> 00:04:58,800 and begun to pump out the air. 61 00:05:00,640 --> 00:05:04,720 Deprived of oxygen, the bird begins to suffocate. 62 00:05:04,720 --> 00:05:08,920 The onlookers respond with a mix of fascination and horror. 63 00:05:09,960 --> 00:05:12,800 This is science as the new religion, 64 00:05:12,800 --> 00:05:15,200 with the power over life itself. 65 00:05:17,440 --> 00:05:20,880 But Wright also hints at the great fear of the age - 66 00:05:20,880 --> 00:05:26,120 that science, the machine, and progress all come at a cost. 67 00:05:29,000 --> 00:05:33,360 Would those who dared to stand in the way of progress be sacrificed, 68 00:05:33,360 --> 00:05:35,320 like the bird in the air pump? 69 00:05:38,840 --> 00:05:41,160 As the 18th century drew to a close, 70 00:05:41,160 --> 00:05:46,320 one momentous event would mark the start of a new zealous export of 71 00:05:46,320 --> 00:05:49,040 Enlightenment ideas to other cultures. 72 00:05:59,440 --> 00:06:02,760 In the summer of 1798, a French army, 73 00:06:02,760 --> 00:06:05,840 led by Napoleon Bonaparte, invaded Egypt. 74 00:06:07,120 --> 00:06:10,600 In military terms, Napoleon's objectives were clear - 75 00:06:10,600 --> 00:06:13,640 to gain strategic advantage over the British 76 00:06:13,640 --> 00:06:17,040 and expand France's imperial ambitions. 77 00:06:19,640 --> 00:06:22,880 But the invasion of this ancient land was about much more 78 00:06:22,880 --> 00:06:24,920 than just military strategy. 79 00:06:24,920 --> 00:06:30,400 Many Europeans regarded Egypt as the birthplace of civilisation. 80 00:06:30,400 --> 00:06:33,800 They believed that ideas that had first been nurtured here under 81 00:06:33,800 --> 00:06:37,240 the pharaohs had been passed down, through ancient Greece, 82 00:06:37,240 --> 00:06:39,960 through the Roman Empire, through the Renaissance, 83 00:06:39,960 --> 00:06:43,360 all the way down to modern Enlightenment France. 84 00:06:43,360 --> 00:06:45,240 So by invading Egypt, 85 00:06:45,240 --> 00:06:50,000 Napoleon was leading France back to the source of civilisation. 86 00:06:55,000 --> 00:06:57,680 To uncover the secrets of ancient Egypt, 87 00:06:57,680 --> 00:07:03,200 Napoleon brought with him 167 of France's most brilliant scientists, 88 00:07:03,200 --> 00:07:06,360 mathematicians, engineers and artists. 89 00:07:08,720 --> 00:07:12,720 They set about studying every aspect of the country they'd conquered, 90 00:07:12,720 --> 00:07:17,320 especially the ancient ruins that lay half-buried beneath the sand. 91 00:07:18,920 --> 00:07:23,600 They would publish their findings in a monumental multivolume work - 92 00:07:23,600 --> 00:07:26,160 The Description Of Egypt. 93 00:07:26,160 --> 00:07:28,240 It documented this lost world 94 00:07:28,240 --> 00:07:31,520 and its as-yet-undeciphered hieroglyphics 95 00:07:31,520 --> 00:07:33,880 for the tantalisation of the West. 96 00:07:35,760 --> 00:07:40,240 Napoleon's team of experts also fuelled an archaeological race 97 00:07:40,240 --> 00:07:42,960 to unearth the treasures of the ancient world. 98 00:07:51,000 --> 00:07:54,880 Many of those treasures ended up in the new museums of Europe 99 00:07:54,880 --> 00:07:57,240 and North America. 100 00:07:57,240 --> 00:08:00,160 Displayed in the Enlightenment spirit of learning, 101 00:08:00,160 --> 00:08:02,440 for the betterment of a wider public. 102 00:08:05,600 --> 00:08:07,080 In the capitals of Europe, 103 00:08:07,080 --> 00:08:10,000 Napoleon's mission spawned a new fascination 104 00:08:10,000 --> 00:08:12,760 with the art of ancient Egypt. 105 00:08:20,280 --> 00:08:24,160 But Napoleon's invasion had had another purpose - 106 00:08:24,160 --> 00:08:28,800 not only to uncover the secrets of ancient Egypt, but also to impose 107 00:08:28,800 --> 00:08:32,440 European civilisation on the living, contemporary Egypt. 108 00:08:33,880 --> 00:08:36,880 Armed with a library of books and a printing press, 109 00:08:36,880 --> 00:08:41,200 Napoleon wanted to re-educate an Islamic world that Europeans 110 00:08:41,200 --> 00:08:43,200 had long seen as the enemy, 111 00:08:43,200 --> 00:08:46,840 a civilisation they considered to have lost its way. 112 00:08:48,160 --> 00:08:51,240 Ultimately, Napoleon's occupation would fail 113 00:08:51,240 --> 00:08:52,840 at the hands of the British. 114 00:09:00,280 --> 00:09:02,000 But, in a curious twist, 115 00:09:02,000 --> 00:09:05,360 Europeans became increasingly obsessed with the very culture 116 00:09:05,360 --> 00:09:07,800 Napoleon had tried to change. 117 00:09:10,200 --> 00:09:14,480 Or more accurately, their imagined fantasy of what that culture was. 118 00:09:16,040 --> 00:09:20,120 Soon artists began to travel throughout the Islamic world 119 00:09:20,120 --> 00:09:24,040 to paint the exotic places and people they encountered. 120 00:09:32,000 --> 00:09:35,800 This is the painting that inspired an entire genre of 19th century 121 00:09:35,800 --> 00:09:38,360 European art - Orientalism. 122 00:09:38,360 --> 00:09:41,360 It's the work of the French artist Eugene Delacroix 123 00:09:41,360 --> 00:09:43,280 who painted it in the 1830s, 124 00:09:43,280 --> 00:09:46,200 after he'd actually gone on a visit to Algeria, 125 00:09:46,200 --> 00:09:50,040 which had recently been conquered and colonised by France. 126 00:09:50,040 --> 00:09:53,680 And this is the first real serious attempt 127 00:09:53,680 --> 00:09:57,120 to portray ordinary life in the Islamic world. 128 00:09:58,440 --> 00:10:01,400 But like many of the Orientalist paintings that were to follow, 129 00:10:01,400 --> 00:10:05,520 not everything about this is what it seems. 130 00:10:05,520 --> 00:10:08,680 Now, Delacroix claimed to have based the composition 131 00:10:08,680 --> 00:10:11,880 on a visit he'd made to an Arab household in Algeria, 132 00:10:11,880 --> 00:10:15,880 but it would've been extremely unusual for a male stranger 133 00:10:15,880 --> 00:10:18,840 to given access to the women of an Arab household, 134 00:10:18,840 --> 00:10:22,640 so there's every chance that these women are in fact Jewish. 135 00:10:23,760 --> 00:10:25,680 And there are other elements of this painting 136 00:10:25,680 --> 00:10:29,600 which were either fabricated or embroidered by Delacroix. 137 00:10:29,600 --> 00:10:33,400 So the painting was completed in Paris using exotic costumes, 138 00:10:33,400 --> 00:10:36,440 and the models are Parisian models. 139 00:10:36,440 --> 00:10:40,240 And this figure of the black servant or perhaps black slave 140 00:10:40,240 --> 00:10:42,480 was of Delacroix's invention. 141 00:10:48,160 --> 00:10:52,800 So what seems like a real scene is in fact a Parisian revelry 142 00:10:52,800 --> 00:10:57,000 of a supposed exotic sensuous world that didn't exist in Europe. 143 00:10:59,920 --> 00:11:02,040 Yet in Delacroix's gifted hands, 144 00:11:02,040 --> 00:11:05,960 there is a subtlety of shade and colour that was rarely achieved 145 00:11:05,960 --> 00:11:09,880 by the generation of Orientalist painters he inspired. 146 00:11:12,560 --> 00:11:16,680 Many Orientalists invented scenes that revelled in the decadence 147 00:11:16,680 --> 00:11:21,640 and despotism that Europeans considered to be oriental qualities. 148 00:11:23,080 --> 00:11:27,360 Concubines languishing in hidden harems, 149 00:11:27,360 --> 00:11:31,040 naked female slaves for sale in busy markets. 150 00:11:33,080 --> 00:11:36,520 Orientalist themes became so popular that Ingres, 151 00:11:36,520 --> 00:11:38,640 master of the classical nude, 152 00:11:38,640 --> 00:11:43,760 set one of his greatest works in an imagined women's bathhouse, 153 00:11:43,760 --> 00:11:46,240 even though he'd never been to the Middle East. 154 00:11:52,240 --> 00:11:54,760 These were European fantasies, 155 00:11:54,760 --> 00:11:58,880 and they suggest a desire to escape the turmoil of life 156 00:11:58,880 --> 00:12:00,480 in industrial Europe. 157 00:12:06,920 --> 00:12:09,640 As the Industrial Revolution gathered pace, 158 00:12:09,640 --> 00:12:13,320 Europe's cities began to change beyond all recognition. 159 00:12:15,000 --> 00:12:16,320 To begin with, 160 00:12:16,320 --> 00:12:19,200 few saw the emerging factory landscapes 161 00:12:19,200 --> 00:12:22,520 as a worthy subject for art. 162 00:12:22,520 --> 00:12:24,360 But the British painter Turner did. 163 00:12:25,920 --> 00:12:29,320 In his view of Dudley, in England's industrial heartland, 164 00:12:29,320 --> 00:12:32,160 he juxtaposed the old town on the hill, 165 00:12:32,160 --> 00:12:34,480 its ruined castle and church steeple, 166 00:12:34,480 --> 00:12:36,480 symbols of tradition and faith... 167 00:12:38,000 --> 00:12:42,160 ..with the blazing furnaces and busy canals of the modern age. 168 00:12:45,040 --> 00:12:48,640 The great thinker and art critic John Ruskin saw in the picture 169 00:12:48,640 --> 00:12:52,560 an indictment of how the old way of life was being destroyed 170 00:12:52,560 --> 00:12:55,000 by the factory and the machine. 171 00:12:56,480 --> 00:12:59,960 Because as manufacturing cities mushroomed in size, 172 00:12:59,960 --> 00:13:02,360 they became a social disaster... 173 00:13:04,120 --> 00:13:07,840 ..overcrowded and rife with poverty and disease. 174 00:13:07,840 --> 00:13:11,280 This was the human cost of mechanisation. 175 00:13:13,400 --> 00:13:16,400 STEAM WHISTLE BLOWS 176 00:13:26,160 --> 00:13:28,480 In America, the frontiers of progress 177 00:13:28,480 --> 00:13:30,480 pushed inexorably westwards, 178 00:13:30,480 --> 00:13:33,920 into territory as yet unspoiled by industry. 179 00:13:38,760 --> 00:13:41,200 The United States was a young country, 180 00:13:41,200 --> 00:13:44,000 forged, like France, out of revolutionary 181 00:13:44,000 --> 00:13:45,760 and Enlightenment idealism. 182 00:13:50,240 --> 00:13:55,200 To its pioneers, the entire American wilderness, from East to West, 183 00:13:55,200 --> 00:13:57,000 seemed like virgin territory. 184 00:13:58,960 --> 00:14:02,600 Artists translated these vast landscapes onto canvas 185 00:14:02,600 --> 00:14:05,000 and filled them with divine light. 186 00:14:06,080 --> 00:14:11,160 They conveyed the idea that God himself blessed not only the land 187 00:14:11,160 --> 00:14:14,600 but also the new nation being forged from it. 188 00:14:17,640 --> 00:14:22,000 The great pioneer of American landscape art was the British-born 189 00:14:22,000 --> 00:14:23,480 Thomas Cole. 190 00:14:31,120 --> 00:14:34,960 Thomas Cole regarded the American landscape as being what he himself 191 00:14:34,960 --> 00:14:38,000 called "The undefiled work of gods". 192 00:14:38,000 --> 00:14:41,720 In this young country that just didn't have what Europeans 193 00:14:41,720 --> 00:14:43,720 recognised as a history, 194 00:14:43,720 --> 00:14:47,760 mountains and canyons and waterfalls were to replace 195 00:14:47,760 --> 00:14:53,280 the classical ruins so beloved of European landscape artists. 196 00:14:53,280 --> 00:14:57,880 In America, natural history was to stand in for history itself. 197 00:15:06,040 --> 00:15:07,400 In his landscapes, 198 00:15:07,400 --> 00:15:10,640 Cole often included America's indigenous peoples. 199 00:15:16,680 --> 00:15:20,520 But they are invariably dwarfed by the vastness of the scene, 200 00:15:20,520 --> 00:15:24,320 as though they themselves are merely features of the natural world. 201 00:15:30,040 --> 00:15:34,120 The embodiment of the Enlightenment idea of the noble savage - 202 00:15:34,120 --> 00:15:36,480 an idealised, uncorrupted people, 203 00:15:36,480 --> 00:15:39,680 living a pure life, connected to nature. 204 00:15:43,320 --> 00:15:45,080 But underpinning Cole's work 205 00:15:45,080 --> 00:15:47,480 was a fear that the American wilderness and 206 00:15:47,480 --> 00:15:52,240 its inhabitants would inevitably be tamed, even destroyed, 207 00:15:52,240 --> 00:15:54,880 in the process of creating a new nation. 208 00:15:59,760 --> 00:16:05,280 In his masterpiece, an allegory of civilisation in five paintings, 209 00:16:05,280 --> 00:16:08,920 Cole fused landscape with an imagined history, 210 00:16:08,920 --> 00:16:12,520 to challenge mainstream ideas about America's future. 211 00:16:15,640 --> 00:16:18,720 These five paintings tell an epic story, 212 00:16:18,720 --> 00:16:22,600 the story of the rise and fall of a great civilisation. 213 00:16:22,600 --> 00:16:25,320 And they're influenced by a historical theory 214 00:16:25,320 --> 00:16:29,320 that saw the past as an endless cycle of rises and falls, 215 00:16:29,320 --> 00:16:32,240 and that was popular in the 19th century. 216 00:16:32,240 --> 00:16:37,280 It begins with what Thomas Cole called The Savage State. 217 00:16:37,280 --> 00:16:40,000 This is a primordial Earth. 218 00:16:41,240 --> 00:16:45,360 There's a hunter chasing a stag across the landscape. 219 00:16:45,360 --> 00:16:47,800 In the background is his village, 220 00:16:47,800 --> 00:16:51,040 which is a cluster of animal-skin tents, 221 00:16:51,040 --> 00:16:55,400 which look almost exactly like the tepees of the Plain's Indians. 222 00:16:55,400 --> 00:17:00,200 And this supposedly savage state was the level of civilisation that many 223 00:17:00,200 --> 00:17:02,880 Americans thought that the Native Americans have reached before 224 00:17:02,880 --> 00:17:05,080 the arrival of Europeans. 225 00:17:05,080 --> 00:17:08,920 But it's the next stage, The Arcadian, The Pastoral State, 226 00:17:08,920 --> 00:17:11,520 that in many ways is Thomas Cole's ideal. 227 00:17:13,280 --> 00:17:16,880 In this painting, mankind has discovered agriculture. 228 00:17:18,080 --> 00:17:20,240 There's a farmer ploughing his field, 229 00:17:20,240 --> 00:17:22,480 there's a shepherd with his flock. 230 00:17:22,480 --> 00:17:24,840 And because food is now plentiful, 231 00:17:24,840 --> 00:17:27,120 the men and the women of this society 232 00:17:27,120 --> 00:17:29,600 have the chance to discover the arts. 233 00:17:29,600 --> 00:17:33,880 There's music and there's dancing, there's poetry. 234 00:17:33,880 --> 00:17:36,800 But there's also a hint of the direction of travel 235 00:17:36,800 --> 00:17:38,640 in which this society is moving, 236 00:17:38,640 --> 00:17:42,320 because on the beach is a longboat being constructed, 237 00:17:42,320 --> 00:17:44,960 and the hint there is the men of this society 238 00:17:44,960 --> 00:17:48,640 are going to go out into the world and forge an empire. 239 00:17:50,360 --> 00:17:52,760 And centuries later, in the centrepiece, 240 00:17:52,760 --> 00:17:56,360 literally the centrepiece of this series of paintings, 241 00:17:56,360 --> 00:17:59,040 is The Consummation Of Empire. 242 00:17:59,040 --> 00:18:02,120 This is mankind's greatest achievements. 243 00:18:02,120 --> 00:18:05,720 There's classical architecture, there's great civic statues. 244 00:18:05,720 --> 00:18:09,840 This is a society with fleets of ships engaged in trade and in war. 245 00:18:11,600 --> 00:18:15,680 It's also a civilisation that has given birth to democracy. 246 00:18:15,680 --> 00:18:19,400 And that's not led to a flowering of Republican values, 247 00:18:19,400 --> 00:18:22,720 that democracy has been corrupted, Thomas Cole is telling us, 248 00:18:22,720 --> 00:18:24,040 by the emperor, 249 00:18:24,040 --> 00:18:26,440 the figure who's marching into his great city 250 00:18:26,440 --> 00:18:29,080 ahead of a column of horses and elephants. 251 00:18:29,080 --> 00:18:34,600 This is a demagogue who has sowed the seeds of the fall 252 00:18:34,600 --> 00:18:36,400 of his civilisation. 253 00:18:36,400 --> 00:18:38,240 The fourth painting, Destruction, 254 00:18:38,240 --> 00:18:41,600 is the moment of the fall of an empire. 255 00:18:41,600 --> 00:18:43,760 The city is being invaded. 256 00:18:43,760 --> 00:18:45,200 We don't know who this army is, 257 00:18:45,200 --> 00:18:47,800 they could be these forces of a stronger, 258 00:18:47,800 --> 00:18:50,360 more morally virile Empire. 259 00:18:50,360 --> 00:18:52,600 They could be the slaves of this empire, 260 00:18:52,600 --> 00:18:54,720 who have risen up in revolution, 261 00:18:54,720 --> 00:18:57,160 or they could be, this could be a civil war. 262 00:18:57,160 --> 00:19:00,880 All of those eventualities are hinted at here. 263 00:19:00,880 --> 00:19:06,120 But what is clear is that this society has brought its fall down 264 00:19:06,120 --> 00:19:10,280 upon its own head, because of its own moral corruption. 265 00:19:10,280 --> 00:19:13,440 What is missing from this city is nature. 266 00:19:13,440 --> 00:19:15,400 All the trees have been expunged. 267 00:19:17,280 --> 00:19:20,080 And in the final painting, centuries have passed. 268 00:19:20,080 --> 00:19:22,440 This is Desolation. 269 00:19:22,440 --> 00:19:23,920 From thousands of people, 270 00:19:23,920 --> 00:19:27,600 we have a scene completely empty of human beings. 271 00:19:28,960 --> 00:19:31,080 Nature has recolonised. 272 00:19:33,080 --> 00:19:36,560 Course Of Empire isn't really about the classical world. 273 00:19:36,560 --> 00:19:39,960 These paintings aren't about Rome in the fifth century. 274 00:19:39,960 --> 00:19:41,920 They're about the United States of America 275 00:19:41,920 --> 00:19:43,440 in the middle of the 19th. 276 00:19:43,440 --> 00:19:45,800 Because Thomas Cole was one of many figures who believed 277 00:19:45,800 --> 00:19:48,560 his society stood at the crossroads. 278 00:19:48,560 --> 00:19:52,160 It would either stay true to its original founding principles 279 00:19:52,160 --> 00:19:56,000 or become a commercial, industrial, urbanised society, 280 00:19:56,000 --> 00:20:00,120 and one that would expand on a continental scale. 281 00:20:00,120 --> 00:20:01,600 And perhaps not surprisingly, 282 00:20:01,600 --> 00:20:03,720 Thomas Cole, the painter of landscapes, 283 00:20:03,720 --> 00:20:04,920 the painter of nature, 284 00:20:04,920 --> 00:20:10,240 also profoundly believed that any society that lost touch with nature 285 00:20:10,240 --> 00:20:12,480 also lost its moral compass. 286 00:20:20,240 --> 00:20:24,720 But many did not believe, like Cole, in the cyclical nature of history. 287 00:20:26,920 --> 00:20:29,280 In fact, by the mid 19th century, 288 00:20:29,280 --> 00:20:32,320 most white Americans believed they had what became known 289 00:20:32,320 --> 00:20:34,120 as a "manifest destiny..." 290 00:20:36,360 --> 00:20:39,800 ..to take what they saw as their superior civilisation 291 00:20:39,800 --> 00:20:42,440 to the furthest edge of the continent. 292 00:20:45,360 --> 00:20:50,360 From the 1830s it became official US policy to drive Native Americans 293 00:20:50,360 --> 00:20:54,880 from their traditional lands and into poorer, harsher environments. 294 00:20:56,640 --> 00:21:01,600 Those who resisted were deliberately starved, hounded out or massacred. 295 00:21:03,720 --> 00:21:08,400 One artist more than any other made it his life's work to record those 296 00:21:08,400 --> 00:21:09,840 disappearing cultures... 297 00:21:11,960 --> 00:21:13,240 ..George Catlin. 298 00:21:15,840 --> 00:21:20,120 Over the course of five trips to what was then the western frontier, 299 00:21:20,120 --> 00:21:22,320 Catlin met and painted the portraits 300 00:21:22,320 --> 00:21:25,560 of hundreds of Native American men and women. 301 00:21:34,440 --> 00:21:38,280 Together they formed a unique collection that Catlin called 302 00:21:38,280 --> 00:21:39,960 The Indian Gallery. 303 00:21:41,280 --> 00:21:45,200 He would tour them around the country and later around the world. 304 00:21:48,520 --> 00:21:52,400 George Catlin was by no means indifferent to the sufferings of 305 00:21:52,400 --> 00:21:55,880 the people whose faces appear in these paintings. 306 00:21:55,880 --> 00:21:57,440 And unlike some artists, 307 00:21:57,440 --> 00:22:00,800 he went out of his way to accurately name his sitters. 308 00:22:00,800 --> 00:22:04,360 These are individuals, they're not types. 309 00:22:04,360 --> 00:22:07,520 And through his art, Catlin demonstrated to anyone 310 00:22:07,520 --> 00:22:10,360 who cared to look that there were numerous 311 00:22:10,360 --> 00:22:13,120 different distinct Native American nations, 312 00:22:13,120 --> 00:22:16,160 all of them with their own traditions and cultures 313 00:22:16,160 --> 00:22:18,160 and all of them under threat, 314 00:22:18,160 --> 00:22:21,280 as the United States pushed ever westwards. 315 00:22:21,280 --> 00:22:25,080 But Catlin didn't produce these paintings in order to take part 316 00:22:25,080 --> 00:22:27,880 in some campaign to save the Native Americans, 317 00:22:27,880 --> 00:22:30,680 as we might like to think. 318 00:22:30,680 --> 00:22:34,720 Catlin accepted that these people were, as he said, 319 00:22:34,720 --> 00:22:36,960 "Doomed and must perish". 320 00:22:41,160 --> 00:22:45,560 Catlin's portraits have undoubtedly preserved a rich cultural record 321 00:22:45,560 --> 00:22:49,120 for posterity. Yet for many Native Americans, 322 00:22:49,120 --> 00:22:53,680 they are troubling, romanticised images of the vanishing Indian, 323 00:22:53,680 --> 00:22:57,840 that Catlin put on display for white fee-paying audiences. 324 00:22:59,520 --> 00:23:02,800 After all, there is another perspective - 325 00:23:02,800 --> 00:23:05,960 the art of the Native Americans themselves. 326 00:23:05,960 --> 00:23:10,320 Because even the nomadic Plains Indians recorded key events 327 00:23:10,320 --> 00:23:12,240 on their portable belongings. 328 00:23:14,920 --> 00:23:17,480 It was a traditional art form that began to show 329 00:23:17,480 --> 00:23:20,400 the influence of European contact. 330 00:23:27,560 --> 00:23:30,440 This image, painted onto an animal hide, 331 00:23:30,440 --> 00:23:33,120 was produced by people of the Cheyenne nation. 332 00:23:33,120 --> 00:23:37,400 It's a depiction of the Battle of Little Bighorn in 1876 - 333 00:23:37,400 --> 00:23:40,280 one of the few major Native American victories 334 00:23:40,280 --> 00:23:42,320 in the so-called Indian Wars. 335 00:23:42,320 --> 00:23:44,720 And through artefacts like this, 336 00:23:44,720 --> 00:23:47,560 the Native Americans recorded their plight 337 00:23:47,560 --> 00:23:49,400 in their own artistic traditions, 338 00:23:49,400 --> 00:23:55,840 and there are, inevitably, many more images of defeat than victory. 339 00:23:55,840 --> 00:23:59,040 This is the work of people who were the victims, 340 00:23:59,040 --> 00:24:01,960 not the beneficiaries, of manifest destiny. 341 00:24:01,960 --> 00:24:04,680 This is art from the other side of the frontier, 342 00:24:04,680 --> 00:24:07,640 art that records how the west was lost. 343 00:24:21,760 --> 00:24:24,480 While George Catlin was trying to preserve the culture 344 00:24:24,480 --> 00:24:26,880 of Native Americans on canvas, 345 00:24:26,880 --> 00:24:29,280 on the far side of the world 346 00:24:29,280 --> 00:24:32,080 another artist would take a very different view 347 00:24:32,080 --> 00:24:35,640 of the indigenous people he met on the frontiers of empire. 348 00:24:38,000 --> 00:24:40,720 In 1874, Gottfried Lindauer, 349 00:24:40,720 --> 00:24:44,120 a Czech artist from the Austro-Hungarian Empire, 350 00:24:44,120 --> 00:24:49,000 arrived in New Zealand, known to its original inhabitants as Aotearoa. 351 00:24:51,320 --> 00:24:54,640 Lindauer arrived after decades of warfare, 352 00:24:54,640 --> 00:24:58,120 in which the Maori had lost much of their land to the British. 353 00:25:00,040 --> 00:25:04,160 The Czech painter suddenly found his skills much in demand, 354 00:25:04,160 --> 00:25:07,240 producing portraits of Maori men and women. 355 00:25:14,320 --> 00:25:18,760 To begin with, the portraits were commissioned by European settlers 356 00:25:18,760 --> 00:25:22,320 eager to preserve a record of Maori culture for posterity. 357 00:25:25,840 --> 00:25:29,160 They believed that the Maori, like the Native Americans, 358 00:25:29,160 --> 00:25:30,520 were a dying race. 359 00:25:32,800 --> 00:25:36,360 But the Maori didn't regard themselves as a doomed people, 360 00:25:36,360 --> 00:25:39,760 and by the 1890s their population was on the increase 361 00:25:39,760 --> 00:25:41,920 after decades of decline. 362 00:25:41,920 --> 00:25:46,760 And they were absolutely determined to forge a new future in which 363 00:25:46,760 --> 00:25:48,720 their culture, their traditions, 364 00:25:48,720 --> 00:25:52,920 their language and the memories of their ancestors were all to be kept 365 00:25:52,920 --> 00:25:55,120 alive and kept vibrant. 366 00:25:55,120 --> 00:25:59,240 And one of the ways they did this was by co-opting the talents 367 00:25:59,240 --> 00:26:02,480 of Gottfried Lindauer and commissioning him to paint 368 00:26:02,480 --> 00:26:07,680 their portraits, but on terms dictated by them, to their tastes, 369 00:26:07,680 --> 00:26:12,280 and according to how they wanted to be seen and to be remembered. 370 00:26:17,840 --> 00:26:21,240 For Lindauer it didn't matter whether his commissions came from 371 00:26:21,240 --> 00:26:23,880 Europeans or from the Maori elite. 372 00:26:23,880 --> 00:26:26,840 He treated both as he would any paying customer. 373 00:26:28,840 --> 00:26:32,800 Artistically, the style was always resolutely European. 374 00:26:34,200 --> 00:26:36,920 But for his Maori patrons and their families, 375 00:26:36,920 --> 00:26:41,040 Lindauer's paintings began to assume an entirely new level of meaning. 376 00:26:44,520 --> 00:26:47,720 As a people who had always venerated their ancestors, 377 00:26:47,720 --> 00:26:51,200 many Maori came to regard the portraits of Lindauer 378 00:26:51,200 --> 00:26:54,400 not just as memorials to their ancestors, 379 00:26:54,400 --> 00:26:59,800 but as almost living icons that kept their spirit alive in the present. 380 00:26:59,800 --> 00:27:02,960 Now, today, Lindauer's portraits are scattered all over the world, 381 00:27:02,960 --> 00:27:07,240 in museums and galleries, but some, including this one, 382 00:27:07,240 --> 00:27:09,560 have remained within a single family, 383 00:27:09,560 --> 00:27:12,240 passed down through the generations. 384 00:27:12,240 --> 00:27:16,160 This is Te Rangiotu, a Maori chieftain 385 00:27:16,160 --> 00:27:17,880 but also a successful businessman 386 00:27:17,880 --> 00:27:20,680 who had the wealth and the foresight to commission 387 00:27:20,680 --> 00:27:24,240 this portrait from Lindauer in 1884. 388 00:27:24,240 --> 00:27:25,960 Now, what's really significant 389 00:27:25,960 --> 00:27:28,200 is that when Lindauer was painting portraits 390 00:27:28,200 --> 00:27:30,760 of Maori for European customers, 391 00:27:30,760 --> 00:27:34,000 he tended to paint them in traditional costume, 392 00:27:34,000 --> 00:27:37,800 but many Maori patrons who had their portrait painted by Lindauer 393 00:27:37,800 --> 00:27:42,240 demanded that they be shown in a hybrid mixture of European 394 00:27:42,240 --> 00:27:43,720 and traditional dress, 395 00:27:43,720 --> 00:27:46,760 to show that they were people who could freely move 396 00:27:46,760 --> 00:27:48,760 between the two cultures. 397 00:27:51,120 --> 00:27:54,160 It's through this of Te Rangiotu, 398 00:27:54,160 --> 00:27:56,760 adorned with the symbols of his status, 399 00:27:56,760 --> 00:28:00,440 that his descendants feel they are still able to connect with their 400 00:28:00,440 --> 00:28:02,040 illustrious ancestor. 401 00:28:04,680 --> 00:28:09,040 His picture is given pride of place in the clan's meeting house, 402 00:28:09,040 --> 00:28:11,640 a sacred space in Maori culture. 403 00:28:20,120 --> 00:28:24,000 The traditional Maori meeting house is itself designed to embody 404 00:28:24,000 --> 00:28:27,400 an ancestor, both spiritually and physically... 405 00:28:29,440 --> 00:28:32,280 ..from the head and the outstretched arms 406 00:28:32,280 --> 00:28:34,240 to the backbone and the ribs. 407 00:28:37,760 --> 00:28:42,000 Each of the semi-abstract designs and swirling patterns represents 408 00:28:42,000 --> 00:28:44,440 specific qualities, 409 00:28:44,440 --> 00:28:46,600 from courage and strength 410 00:28:46,600 --> 00:28:48,400 to health and prosperity. 411 00:28:51,440 --> 00:28:54,840 These patterns are mirrored in the most dynamic of all 412 00:28:54,840 --> 00:28:56,200 the Maori art forms. 413 00:28:57,720 --> 00:29:00,360 Ta Moko - the art of the tattoo. 414 00:29:06,640 --> 00:29:11,280 Face and body tattoos link Maori not only with their ancestors, 415 00:29:11,280 --> 00:29:13,840 but also with other cultures across the Pacific, 416 00:29:13,840 --> 00:29:16,760 who practice it in different forms. 417 00:29:18,240 --> 00:29:20,920 The Maori almost certainly brought it with them 418 00:29:20,920 --> 00:29:22,440 when they first settled in 419 00:29:22,440 --> 00:29:25,320 Aotearoa, New Zealand, over 700 years ago. 420 00:29:28,520 --> 00:29:32,200 For centuries, Ta Moko carried specific cultural meanings. 421 00:29:32,200 --> 00:29:35,240 They denoted social status or family connections, 422 00:29:35,240 --> 00:29:39,080 and it's said that no two designs are ever alike. 423 00:29:39,080 --> 00:29:41,240 While today, perhaps inevitably, 424 00:29:41,240 --> 00:29:46,560 the designs of Ta Moko have been appropriated as a global fashion accessory, 425 00:29:46,560 --> 00:29:49,520 for many Maori they've been re-claimed 426 00:29:49,520 --> 00:29:54,520 as a highly visible symbol of cultural pride and identity. 427 00:29:57,360 --> 00:29:59,080 Throughout the 19th century, 428 00:29:59,080 --> 00:30:02,080 art in many forms was changed by the spreading 429 00:30:02,080 --> 00:30:04,800 European cult of progress. 430 00:30:04,800 --> 00:30:07,400 Not only on the furthest edges of Empire... 431 00:30:09,360 --> 00:30:11,520 ..but also in the capitals of Europe. 432 00:30:14,200 --> 00:30:19,120 Here too, artists were being challenged by rapid social change 433 00:30:19,120 --> 00:30:21,560 and by the emergence of new technology. 434 00:30:23,240 --> 00:30:24,880 Like Lindauer's portraits, 435 00:30:24,880 --> 00:30:28,480 it would transform the way human beings perceived themselves. 436 00:30:31,280 --> 00:30:33,920 The age of the camera and the age of the photograph 437 00:30:33,920 --> 00:30:36,960 began on the day Louis-Jacques Daguerre made an image 438 00:30:36,960 --> 00:30:41,320 using his new daguerreotype process of a Parisian street. 439 00:30:41,320 --> 00:30:45,000 Now, the exposure time for those early primitive cameras 440 00:30:45,000 --> 00:30:46,880 was ten minutes, 441 00:30:46,880 --> 00:30:49,560 far too slow to capture images of the people 442 00:30:49,560 --> 00:30:52,720 and the horses and carriages rushing up and down the street. 443 00:31:01,000 --> 00:31:05,400 But one man who stayed still long enough to have his shoes shined 444 00:31:05,400 --> 00:31:07,400 became, as far as we know, 445 00:31:07,400 --> 00:31:10,960 the first person ever to appear in a photograph. 446 00:31:13,080 --> 00:31:16,360 What this picture doesn't reveal is the disastrous effects 447 00:31:16,360 --> 00:31:20,320 of rapid industrialisation on the city - 448 00:31:20,320 --> 00:31:23,080 the overcrowding, dirt and disease. 449 00:31:24,920 --> 00:31:29,080 But thanks to an ambitious urban planner called Eugene Haussmann, 450 00:31:29,080 --> 00:31:33,080 Paris was about to be transformed out of all recognition - 451 00:31:33,080 --> 00:31:36,720 and the evolving art of photography would be there to capture it. 452 00:31:40,200 --> 00:31:41,600 From the 1850s, 453 00:31:41,600 --> 00:31:46,000 Charles Marville photographed the city's narrow medieval streets, 454 00:31:46,000 --> 00:31:50,320 just as they and the communities who lived in them were being swept away. 455 00:31:51,880 --> 00:31:55,840 They were replaced by Haussmann's grand, spacious boulevards 456 00:31:55,840 --> 00:31:59,240 and lined with uniform terraced apartments. 457 00:32:01,120 --> 00:32:05,200 The reborn city was Europe's acknowledged capital of culture 458 00:32:05,200 --> 00:32:08,560 and it was the genius of another pioneer photographer, 459 00:32:08,560 --> 00:32:10,600 known simply as Nadar, 460 00:32:10,600 --> 00:32:15,320 to capture the celebrated figures of Parisian high society. 461 00:32:19,680 --> 00:32:23,960 These were the world's first great portrait photographs, 462 00:32:23,960 --> 00:32:28,600 each one documented with a realism no painter could ever achieve. 463 00:32:31,520 --> 00:32:34,080 For a younger generation of Parisian artists, 464 00:32:34,080 --> 00:32:37,560 the camera was both a challenge and an inspiration. 465 00:32:37,560 --> 00:32:40,280 They'd turned their backs on the art establishment 466 00:32:40,280 --> 00:32:43,000 and its obsessions with grand historical themes 467 00:32:43,000 --> 00:32:44,920 and classical mythology. 468 00:32:44,920 --> 00:32:48,360 What they wanted to paint was everyday modern life, 469 00:32:48,360 --> 00:32:50,360 and rather than compete with the camera, 470 00:32:50,360 --> 00:32:53,400 they set out to explore what the camera couldn't - 471 00:32:53,400 --> 00:32:57,440 our human subjective experiences of the world 472 00:32:57,440 --> 00:33:00,920 and how they're affected by light, colour and emotion. 473 00:33:14,480 --> 00:33:18,040 The work of the artists who became known as the Impressionists 474 00:33:18,040 --> 00:33:23,920 is so familiar to us today that we forget its original power to shock. 475 00:33:27,240 --> 00:33:29,880 When Renoir painted a popular outdoor dance 476 00:33:29,880 --> 00:33:32,400 that attracted crowds every Sunday, 477 00:33:32,400 --> 00:33:34,560 he was celebrating modern life 478 00:33:34,560 --> 00:33:37,600 and the new leisure time it made possible. 479 00:33:37,600 --> 00:33:40,760 Compared with traditional Academy paintings, 480 00:33:40,760 --> 00:33:43,880 his style would've seemed rough and incomplete. 481 00:33:47,080 --> 00:33:50,120 But it is this impression of the effects of light 482 00:33:50,120 --> 00:33:53,960 that has helped define our image of 19th century Paris. 483 00:33:57,720 --> 00:34:01,720 Monet is best remembered for his natural landscapes. 484 00:34:01,720 --> 00:34:05,480 But he was also fascinated by the modern city. 485 00:34:08,200 --> 00:34:12,720 He painted Paris's first train station, the Gare Saint-Lazare, 486 00:34:12,720 --> 00:34:14,280 filled with clouds of smoke. 487 00:34:17,360 --> 00:34:19,400 Barely visible through the haze, 488 00:34:19,400 --> 00:34:23,280 we glimpse the terraces of Haussmann's reinvented Paris. 489 00:34:26,560 --> 00:34:29,400 The art of the Impressionists is today regarded 490 00:34:29,400 --> 00:34:32,320 as endlessly and effortlessly optimistic, 491 00:34:32,320 --> 00:34:36,880 a portrayal of France in a golden age of success and self-confidence. 492 00:34:36,880 --> 00:34:40,200 And it is true that the Impressionists did love to paint 493 00:34:40,200 --> 00:34:42,920 the Paris middle-class at play, 494 00:34:42,920 --> 00:34:46,160 picnicking in the parks and boating on the lakes, 495 00:34:46,160 --> 00:34:50,960 but they also sometimes did try to capture that strange sense of 496 00:34:50,960 --> 00:34:52,800 dislocation, of isolation, 497 00:34:52,800 --> 00:34:56,680 that was a new and a troubling feature of the modern city. 498 00:35:03,840 --> 00:35:08,080 In Caillebotte's vision of a rain-soaked Paris, 499 00:35:08,080 --> 00:35:12,480 Haussmann's grand boulevards loom oppressively, as though distorted 500 00:35:12,480 --> 00:35:14,880 by a camera's wide-angle lens. 501 00:35:18,480 --> 00:35:21,760 Pedestrians hurry privately about their business. 502 00:35:21,760 --> 00:35:24,840 Nobody makes eye contact with anybody else, 503 00:35:24,840 --> 00:35:27,440 not even the couple walking towards us. 504 00:35:27,440 --> 00:35:30,280 People are cocooned from each other, 505 00:35:30,280 --> 00:35:34,680 not only by their umbrellas but by the anonymity of city life. 506 00:35:36,760 --> 00:35:41,240 Even the bourgeois world of Paris at play had its shadowy side. 507 00:35:44,200 --> 00:35:47,640 Mary Cassatt, an American artist living in Paris, 508 00:35:47,640 --> 00:35:51,080 painted an elegantly dressed woman at the opera, 509 00:35:51,080 --> 00:35:52,720 peering at the performance. 510 00:35:54,680 --> 00:35:59,040 Yet she herself does not escape the attention of a distant male viewer, 511 00:35:59,040 --> 00:36:02,880 as he stares through his opera glasses and studies her, 512 00:36:02,880 --> 00:36:05,000 just as we, the viewer, study her. 513 00:36:06,440 --> 00:36:08,560 It's a sly comment, perhaps, 514 00:36:08,560 --> 00:36:13,200 on the objectifying male gaze that produced so many of 19th-century 515 00:36:13,200 --> 00:36:14,960 art's female nudes. 516 00:36:19,240 --> 00:36:22,240 Although Edgar Degas came from a bourgeois background, 517 00:36:22,240 --> 00:36:24,360 the son of a middle-class banker, 518 00:36:24,360 --> 00:36:28,440 he focused increasingly on those alienated by modern society. 519 00:36:30,880 --> 00:36:35,680 In Absinthe, he paints two dishevelled figures in a cafe, 520 00:36:35,680 --> 00:36:40,320 their lives apparently destroyed by the infamous drink of the title. 521 00:36:40,320 --> 00:36:42,280 They sit side by side, 522 00:36:42,280 --> 00:36:44,960 yet are utterly disengaged from one another 523 00:36:44,960 --> 00:36:47,760 and from the world that has rejected them. 524 00:36:51,000 --> 00:36:54,120 But it is one of Impressionism's most enigmatic works 525 00:36:54,120 --> 00:36:56,280 that most powerfully encapsulates 526 00:36:56,280 --> 00:36:59,480 the paradox at the heart of the city. 527 00:37:03,400 --> 00:37:07,840 A Bar At The Folies-Bergere by Edouard Manet from 1882. 528 00:37:07,840 --> 00:37:11,720 This is a glimpse into the glamorous, glittering world 529 00:37:11,720 --> 00:37:13,240 of Parisian high society, 530 00:37:13,240 --> 00:37:16,800 but it's not a world that we get to see directly. 531 00:37:16,800 --> 00:37:22,320 We only see it in reflection on a mirror behind a bar. 532 00:37:22,320 --> 00:37:24,560 And from the moment this painting was put on display, 533 00:37:24,560 --> 00:37:26,720 it was seen as controversial. 534 00:37:26,720 --> 00:37:31,160 And at the centre of the controversy is the figure at the centre of 535 00:37:31,160 --> 00:37:33,280 the painting, the barmaid. 536 00:37:33,280 --> 00:37:36,440 Because there she is in the Folies-Bergere, 537 00:37:36,440 --> 00:37:39,160 the most decadent, the most glamorous, 538 00:37:39,160 --> 00:37:42,400 the most joyous cabaret nightclub in Paris, 539 00:37:42,400 --> 00:37:48,640 and yet she has an expression that is anything but joyous. 540 00:37:48,640 --> 00:37:52,800 It's said to be the face of indifference 541 00:37:52,800 --> 00:37:56,320 or an expression of alienation. 542 00:37:58,160 --> 00:38:01,480 And the fact that Manet has included in the painting 543 00:38:01,480 --> 00:38:03,840 all of these luxury goods - the champagne, 544 00:38:03,840 --> 00:38:08,800 the very expensive imported beer, and this bowl of oranges - 545 00:38:08,800 --> 00:38:11,600 might have been his way of hinting 546 00:38:11,600 --> 00:38:16,520 that she herself might be a commodity that's for sale. 547 00:38:16,520 --> 00:38:20,360 That this is a young woman who works as a prostitute 548 00:38:20,360 --> 00:38:21,920 as well as selling drinks. 549 00:38:22,920 --> 00:38:25,520 And the reflection adds to the confusion 550 00:38:25,520 --> 00:38:29,120 because her reflection isn't where we think it should be, 551 00:38:29,120 --> 00:38:30,680 it's off to the right. 552 00:38:30,680 --> 00:38:33,440 And in her reflection she's not looking at us, 553 00:38:33,440 --> 00:38:38,760 she's talking and leaning into this man in a top hat. 554 00:38:38,760 --> 00:38:40,720 He is a customer. 555 00:38:40,720 --> 00:38:43,760 But I think everything in this painting is telling us 556 00:38:43,760 --> 00:38:49,040 that he's a man who's after more than just a round of drinks. 557 00:38:49,040 --> 00:38:53,040 This is a masterclass in ambiguity. 558 00:38:53,040 --> 00:38:56,200 This is a painting that is a reflection, 559 00:38:56,200 --> 00:38:58,160 in more than just one sense, 560 00:38:58,160 --> 00:39:00,800 of a Paris that is both real and unreal, 561 00:39:00,800 --> 00:39:03,840 a consumer society in which everything is for sale, 562 00:39:03,840 --> 00:39:09,280 a city that is a constructed reality that doesn't bear close scrutiny. 563 00:39:17,480 --> 00:39:21,480 In 1889, on the centenary of the French Revolution, 564 00:39:21,480 --> 00:39:24,920 Paris staged the Exposition Universelle, 565 00:39:24,920 --> 00:39:28,520 a celebration of French culture and civilisation. 566 00:39:30,720 --> 00:39:34,480 The centrepiece of the exposition was an enormous new monument 567 00:39:34,480 --> 00:39:36,160 to industrial power. 568 00:39:41,840 --> 00:39:44,240 Designed to showcase French engineering... 569 00:39:46,080 --> 00:39:51,600 ..it was the tallest structure ever created by the hand of man, 570 00:39:51,600 --> 00:39:54,000 and would be for another 40 years. 571 00:39:59,640 --> 00:40:03,600 The exposition also celebrated France's expanding empire 572 00:40:03,600 --> 00:40:06,280 with a number of colonial pavilions. 573 00:40:08,040 --> 00:40:11,000 People from Asia and Africa were displayed to the public 574 00:40:11,000 --> 00:40:12,320 in mock villages... 575 00:40:15,680 --> 00:40:17,040 ..along with their art... 576 00:40:18,080 --> 00:40:19,320 ..and their architecture. 577 00:40:21,640 --> 00:40:23,480 In the heart of the capital, 578 00:40:23,480 --> 00:40:27,400 the cultures of colonial peoples were here being contrasted 579 00:40:27,400 --> 00:40:30,600 with the assumed superiority of France. 580 00:40:34,320 --> 00:40:37,360 In the view of the time, it was the sophistication 581 00:40:37,360 --> 00:40:38,720 of French civilisation, 582 00:40:38,720 --> 00:40:41,320 with its links back through the Enlightenment, 583 00:40:41,320 --> 00:40:43,960 the Renaissance and to the classical world, 584 00:40:43,960 --> 00:40:45,600 that gave France the right 585 00:40:45,600 --> 00:40:49,080 to rule over the supposedly primitive peoples of her empire. 586 00:40:49,080 --> 00:40:52,160 And so the organisers of the Exposition Universelle 587 00:40:52,160 --> 00:40:54,240 imagined that visitors who came here 588 00:40:54,240 --> 00:40:57,120 would revel at the sight of members of these supposedly 589 00:40:57,120 --> 00:40:59,240 lower races on display, 590 00:40:59,240 --> 00:41:01,880 and that they'd do so confident in the belief 591 00:41:01,880 --> 00:41:05,920 that they were be guided by France and her civilising mission. 592 00:41:05,920 --> 00:41:09,760 What visitors were not supposed to do was to see in the art 593 00:41:09,760 --> 00:41:13,960 and the culture of Africa and Asia the potential for an escape 594 00:41:13,960 --> 00:41:17,640 FROM Europe and FROM Western civilisation. 595 00:41:17,640 --> 00:41:20,920 And yet that is exactly the view taken by an artist 596 00:41:20,920 --> 00:41:23,280 who was one of the 28 million people 597 00:41:23,280 --> 00:41:25,880 who passed under the Eiffel Tower and entered 598 00:41:25,880 --> 00:41:28,640 the exposition in the summer of 1889. 599 00:41:31,320 --> 00:41:33,560 His name was Paul Gauguin, 600 00:41:33,560 --> 00:41:39,120 a former city trader who had lost it all in the financial crash of 1882. 601 00:41:40,440 --> 00:41:45,840 He'd grown to hate the stifling conventions of bourgeois society. 602 00:41:45,840 --> 00:41:47,920 He wanted to leave it all behind 603 00:41:47,920 --> 00:41:50,840 and find somewhere not yet tainted by 604 00:41:50,840 --> 00:41:53,440 the artificiality of modern life. 605 00:41:56,000 --> 00:41:58,840 The restless Gauguin had already sought escape 606 00:41:58,840 --> 00:42:02,720 in the quiet backwaters of France and Martinique. 607 00:42:02,720 --> 00:42:05,320 But each time he had returned to Paris. 608 00:42:07,080 --> 00:42:11,480 Now, after visiting the exposition and seeing its colonial villages, 609 00:42:11,480 --> 00:42:14,560 Gauguin decided that in order to find paradise, 610 00:42:14,560 --> 00:42:16,800 he should head for the South Pacific, 611 00:42:16,800 --> 00:42:18,680 for the island of Tahiti. 612 00:42:26,680 --> 00:42:29,520 As Gauguin left, he wrote to a friend, 613 00:42:29,520 --> 00:42:32,240 "The European Gauguin has ceased to exist." 614 00:42:35,720 --> 00:42:39,360 To him, Tahiti represented an almost mythical Eden. 615 00:42:43,160 --> 00:42:47,360 The first French explorers who had arrived in the 1760s regarded 616 00:42:47,360 --> 00:42:51,520 the people they found there as the most content on earth. 617 00:42:51,520 --> 00:42:54,120 They seemed, to the European imagination, 618 00:42:54,120 --> 00:42:57,920 to be living proof of the idea of the noble savage - 619 00:42:57,920 --> 00:43:01,360 a simple people with an unspoiled way of life. 620 00:43:03,000 --> 00:43:06,040 But that is not the Tahiti Gauguin found. 621 00:43:08,200 --> 00:43:11,600 By the time Gauguin arrived in Tahiti in 1891, 622 00:43:11,600 --> 00:43:15,200 this was one of the most tragic places in the world. 623 00:43:15,200 --> 00:43:18,440 Because while a tiny local elite had done rather well 624 00:43:18,440 --> 00:43:20,320 from the arrival of Europeans, 625 00:43:20,320 --> 00:43:22,960 the Tahitian people had been devastated 626 00:43:22,960 --> 00:43:25,600 by war, disease and alcohol. 627 00:43:25,600 --> 00:43:28,120 The population was a fraction of what it had been 628 00:43:28,120 --> 00:43:30,800 and the missionaries had done their absolute best 629 00:43:30,800 --> 00:43:34,000 to stamp out the local culture and religion. 630 00:43:34,000 --> 00:43:37,360 Tahiti was no longer a romanticised alternative 631 00:43:37,360 --> 00:43:39,560 to European civilisation, 632 00:43:39,560 --> 00:43:43,520 it was a classic case study of what European civilisation could do 633 00:43:43,520 --> 00:43:45,880 to other societies. 634 00:43:51,080 --> 00:43:53,760 Once he got away from the capital, Papeete, 635 00:43:53,760 --> 00:43:57,720 Gauguin discovered that some parts of the old legend still survived. 636 00:43:59,080 --> 00:44:00,880 He found beauty in the landscape... 637 00:44:05,640 --> 00:44:07,160 ..and in the villages, 638 00:44:07,160 --> 00:44:11,720 proof of the island's reputation for the easy availability of women. 639 00:44:13,520 --> 00:44:16,560 Gauguin quickly found himself a local mistress, 640 00:44:16,560 --> 00:44:21,040 a girl of around 13, called Teha'amana, 641 00:44:21,040 --> 00:44:23,880 who became his model and his muse. 642 00:44:26,720 --> 00:44:29,720 There are many reasons to not like Paul Gauguin. 643 00:44:29,720 --> 00:44:33,000 He was a man who spent much of his life wallowing in self pity 644 00:44:33,000 --> 00:44:36,600 or else engaged in an endless campaign of self-promotion. 645 00:44:36,600 --> 00:44:40,160 And the relationships that he had with young Tahitian girls 646 00:44:40,160 --> 00:44:43,840 is something that we today find deeply disturbing. 647 00:44:43,840 --> 00:44:45,280 And yet, for all his faults, 648 00:44:45,280 --> 00:44:50,400 the art that he produced here on the islands of the Pacific was radical, 649 00:44:50,400 --> 00:44:53,000 vivid and stunningly beautiful. 650 00:45:01,400 --> 00:45:05,800 The way Gauguin used solid blocks of colour was something new in art. 651 00:45:11,080 --> 00:45:14,320 And these images were no mere European fantasy version 652 00:45:14,320 --> 00:45:16,480 of a carefree paradise. 653 00:45:18,360 --> 00:45:20,640 There is melancholy and loss here. 654 00:45:23,720 --> 00:45:27,400 Gauguin's paintings of the Tahitians were, in one sense, 655 00:45:27,400 --> 00:45:30,680 an honest account of the condition in which he found them... 656 00:45:32,040 --> 00:45:35,520 ..a people in the latter stages of contamination 657 00:45:35,520 --> 00:45:37,520 by the civilising mission, 658 00:45:37,520 --> 00:45:41,360 a people consumed by the European society Gauguin 659 00:45:41,360 --> 00:45:43,440 thought he had left behind. 660 00:45:45,720 --> 00:45:48,920 We should not forget that Gauguin was a vocal critic 661 00:45:48,920 --> 00:45:52,200 of French colonialism in Tahiti, 662 00:45:52,200 --> 00:45:56,320 and that one particular aspect of the way he saw himself 663 00:45:56,320 --> 00:45:59,600 made his view of civilisation more complex 664 00:45:59,600 --> 00:46:01,760 than he's normally given credit for. 665 00:46:04,360 --> 00:46:07,520 Like most Europeans, he saw the world as being divided 666 00:46:07,520 --> 00:46:10,880 between those who lived civilised, somewhat artificial lives 667 00:46:10,880 --> 00:46:14,360 and those who had remained in a natural, savage state. 668 00:46:15,760 --> 00:46:18,520 But he believed he himself was mixed race - 669 00:46:18,520 --> 00:46:21,560 French-Peruvian but also partly Incan. 670 00:46:21,560 --> 00:46:24,720 And those two states, the natural and the savage, 671 00:46:24,720 --> 00:46:28,800 existed within him, literally in his blood. 672 00:46:28,800 --> 00:46:32,480 So in Tahiti he wasn't just looking for a lost island paradise, 673 00:46:32,480 --> 00:46:35,600 he was searching for a lost part of himself. 674 00:46:39,480 --> 00:46:43,080 But Gauguin's last great work suggests that his search 675 00:46:43,080 --> 00:46:46,720 for identity and meaning was never resolved. 676 00:46:52,160 --> 00:46:54,040 On a vast canvas, 677 00:46:54,040 --> 00:46:59,920 a row of Polynesian women represent the universal cycle of life, 678 00:46:59,920 --> 00:47:02,160 from birth to old age. 679 00:47:04,560 --> 00:47:08,520 Death and the beyond are represented by a blue idol. 680 00:47:08,520 --> 00:47:10,280 It's a Gauguin invention, 681 00:47:10,280 --> 00:47:14,960 though based on his fascination with the myths of the lost Tahitian past. 682 00:47:21,480 --> 00:47:24,680 In trying to find an antidote to modern life, 683 00:47:24,680 --> 00:47:27,320 Gauguin had turned to the art and culture 684 00:47:27,320 --> 00:47:29,720 of a civilisation most Europeans 685 00:47:29,720 --> 00:47:31,680 would have labelled primitive. 686 00:47:33,200 --> 00:47:36,920 Yet, in the end, perhaps he concluded that there are no answers 687 00:47:36,920 --> 00:47:41,560 to the universal questions about the meaning of life and death. 688 00:47:51,920 --> 00:47:53,840 At the turn of the 20th century, 689 00:47:53,840 --> 00:47:57,600 Europeans did not generally consider the cultural artefacts of the 690 00:47:57,600 --> 00:48:00,680 so-called primitive peoples to be art. 691 00:48:02,320 --> 00:48:06,680 Yet they were fascinated by these objects and by the fashionable ideas 692 00:48:06,680 --> 00:48:09,720 about race and savagery that were projected onto them. 693 00:48:12,600 --> 00:48:16,120 Pablo Picasso deeply admired Gauguin's explorations 694 00:48:16,120 --> 00:48:17,560 of non-European art. 695 00:48:18,720 --> 00:48:20,000 But, unlike Gauguin, 696 00:48:20,000 --> 00:48:23,880 Picasso was never interested in escaping from the modern world. 697 00:48:24,960 --> 00:48:28,320 For him, primitive art would be a catalyst, 698 00:48:28,320 --> 00:48:31,680 inspiring him to shatter the conventions of the past. 699 00:48:34,400 --> 00:48:38,120 In 1907, Picasso visited the Trocadero in Paris, 700 00:48:38,120 --> 00:48:42,360 where he came face-to-face with a display of objects and masks 701 00:48:42,360 --> 00:48:45,040 from the Pacific Islands and Africa. 702 00:48:47,280 --> 00:48:50,680 The exact date of that visit to the Trocadero is unknown, 703 00:48:50,680 --> 00:48:54,160 but then the whole affair has become shrouded in mythology, 704 00:48:54,160 --> 00:48:57,080 most of it of Picasso's own making. 705 00:48:57,080 --> 00:49:01,800 But it is thought that this mask might have been one of the ones 706 00:49:01,800 --> 00:49:03,440 that Picasso saw. 707 00:49:03,440 --> 00:49:06,000 It was made by the Fang people of Gabon, 708 00:49:06,000 --> 00:49:09,080 but it seems that Picasso had no real deep interest 709 00:49:09,080 --> 00:49:12,200 in its cultural meaning or its ritual function. 710 00:49:12,200 --> 00:49:15,960 What he was interested in was their potential for his art. 711 00:49:15,960 --> 00:49:17,640 And that visit to the Trocadero 712 00:49:17,640 --> 00:49:19,960 has become one of the most famous moments 713 00:49:19,960 --> 00:49:21,720 in the story of modern art, 714 00:49:21,720 --> 00:49:24,360 because it was at that moment that Picasso found - 715 00:49:24,360 --> 00:49:26,080 and from outside of Europe - 716 00:49:26,080 --> 00:49:29,160 the inspiration and the expressive power that would transform 717 00:49:29,160 --> 00:49:32,280 his paintings and revolutionise modern art. 718 00:49:36,400 --> 00:49:40,920 Picasso described the masks he'd seen as weapons. 719 00:49:40,920 --> 00:49:44,720 They had the power, whether supernatural or psychological, 720 00:49:44,720 --> 00:49:48,000 to exorcise unwanted spirits. 721 00:49:48,000 --> 00:49:52,520 Picasso tried to incorporate this new power into his work, 722 00:49:52,520 --> 00:49:56,120 and created one of art's masterpieces. 723 00:50:00,120 --> 00:50:03,400 The curtain is drawn back on a brothel scene. 724 00:50:03,400 --> 00:50:07,160 We see five naked prostitutes waiting for clients. 725 00:50:08,400 --> 00:50:11,400 And though there was a long-established tradition of female 726 00:50:11,400 --> 00:50:17,200 nudes in Western art, these are unlike any nudes ever seen before. 727 00:50:18,360 --> 00:50:22,360 What made this picture particularly shocking and revolutionary 728 00:50:22,360 --> 00:50:25,160 were the images Picasso combined within it. 729 00:50:28,840 --> 00:50:32,760 The faces of the three women to the left are believed to be derived 730 00:50:32,760 --> 00:50:36,120 from archaic Iberian sculpture. 731 00:50:36,120 --> 00:50:40,400 But the two women on the right, their fractured, irregular, 732 00:50:40,400 --> 00:50:44,560 distorted faces are based on the art of Africa, 733 00:50:44,560 --> 00:50:49,200 on tribal African masks that Picasso had encountered in Paris. 734 00:50:50,360 --> 00:50:54,080 Now, there's a long debate about the extent to which Picasso 735 00:50:54,080 --> 00:50:56,000 was influenced by African art, 736 00:50:56,000 --> 00:50:59,440 and he muddied the waters considerably by making a series 737 00:50:59,440 --> 00:51:02,720 of completely contradictory statements. 738 00:51:02,720 --> 00:51:07,720 But you can see that Picasso, consciously and subconsciously, 739 00:51:07,720 --> 00:51:09,680 by using African art, 740 00:51:09,680 --> 00:51:13,520 was bringing into his paintings ideas about Africa 741 00:51:13,520 --> 00:51:16,240 that were current in Europe at the time. 742 00:51:16,240 --> 00:51:19,440 He was a product of his time, like anybody else, 743 00:51:19,440 --> 00:51:23,640 and he lived in an age when Africa was the focus 744 00:51:23,640 --> 00:51:26,680 of huge amounts of speculation and debate 745 00:51:26,680 --> 00:51:30,520 about the meaning of savagery and civilisation, 746 00:51:30,520 --> 00:51:35,040 of us and them, ideas about race, ideas about exoticism, 747 00:51:35,040 --> 00:51:37,840 ideas about eroticism. 748 00:51:37,840 --> 00:51:43,440 So by placing the faces of African masks onto prostitutes, 749 00:51:43,440 --> 00:51:47,200 Picasso was detonating two powerful sets of ideas 750 00:51:47,200 --> 00:51:49,520 about race and savagery, 751 00:51:49,520 --> 00:51:52,280 civilisation, empire, 752 00:51:52,280 --> 00:51:56,680 with older ideas about female sexuality and prostitution. 753 00:52:01,640 --> 00:52:05,480 In one painting, Picasso had turned Western ideas about art 754 00:52:05,480 --> 00:52:07,240 on their head. 755 00:52:07,240 --> 00:52:12,080 He sought to express not simply aesthetic beauty, but frightening, 756 00:52:12,080 --> 00:52:16,080 primal feelings about sex, violence and even death. 757 00:52:17,680 --> 00:52:21,680 And that worked partly because of the masks' associations 758 00:52:21,680 --> 00:52:24,760 in the minds of those who first saw this painting 759 00:52:24,760 --> 00:52:28,240 with civilisations they considered primitive. 760 00:52:29,200 --> 00:52:33,440 It was the apparent threat of these objects that made them so shocking, 761 00:52:33,440 --> 00:52:37,000 and the perceived barbarism of the cultures that produced them, 762 00:52:37,000 --> 00:52:41,720 which reinforced the assumed superiority of European culture. 763 00:52:46,560 --> 00:52:51,000 And so, when Europe went to war in July in 1914, 764 00:52:51,000 --> 00:52:52,880 few ordinary people questioned 765 00:52:52,880 --> 00:52:55,640 the prevailing view of Western civilisation 766 00:52:55,640 --> 00:52:58,880 as sophisticated, rational and humane. 767 00:53:07,120 --> 00:53:10,960 Yet the horror that was unleashed by new weapons that could slaughter 768 00:53:10,960 --> 00:53:15,560 human beings on an unprecedented scale was a product of the same 769 00:53:15,560 --> 00:53:18,720 Industrial Revolution that had forged the railways 770 00:53:18,720 --> 00:53:21,240 and built the Eiffel Tower. 771 00:53:25,560 --> 00:53:28,200 Now it seemed Europeans were reduced to the same 772 00:53:28,200 --> 00:53:29,720 irrational barbarism... 773 00:53:32,040 --> 00:53:35,640 ..that they'd convinced themselves was the hallmark of other, 774 00:53:35,640 --> 00:53:38,000 supposedly primitive, peoples. 775 00:53:41,760 --> 00:53:44,160 In the German trenches of the First World War 776 00:53:44,160 --> 00:53:46,680 was an artist who perhaps more than any other 777 00:53:46,680 --> 00:53:50,640 created a graphic visual record of the new barbarism. 778 00:53:54,040 --> 00:53:57,520 Otto Dix was one of the millions of young European men who 779 00:53:57,520 --> 00:54:02,960 enthusiastically rushed to enlist at the outbreak of fighting in 1914, 780 00:54:02,960 --> 00:54:07,040 and he went on to spend three years in the mud and the slime of the 781 00:54:07,040 --> 00:54:11,160 trenches, serving on both the Western and the Eastern fronts. 782 00:54:11,160 --> 00:54:13,600 At one point, he served in a machine gun unit, 783 00:54:13,600 --> 00:54:16,640 wielding the ultimate industrial weapon, 784 00:54:16,640 --> 00:54:20,120 the literal fusion of the gun and the machine. 785 00:54:20,120 --> 00:54:24,760 And throughout all of this, Otto Dix produced sketches, hundreds of them, 786 00:54:24,760 --> 00:54:27,760 that graphically recorded what these new weapons did 787 00:54:27,760 --> 00:54:31,120 to the flesh and the bone of his doomed generation. 788 00:54:36,320 --> 00:54:40,160 Dix drew the broken faces, the mud and the misery. 789 00:54:41,640 --> 00:54:46,200 He chronicled how industrial warfare had transformed the soldier 790 00:54:46,200 --> 00:54:48,400 from warrior to victim. 791 00:54:56,120 --> 00:55:00,520 It is perhaps fitting that it was a German artist who most clearly 792 00:55:00,520 --> 00:55:03,480 captured the horror of industrial warfare. 793 00:55:06,080 --> 00:55:09,600 After all, Germany did not have the consolation of victory 794 00:55:09,600 --> 00:55:13,800 behind which to conceal the inhumanity that had been unleashed. 795 00:55:17,200 --> 00:55:20,560 Her war cemeteries, like the art of Otto Dix, 796 00:55:20,560 --> 00:55:23,520 are austere, frank and bleak. 797 00:55:28,920 --> 00:55:35,040 In Dix's work, a new type of mask took root in European art - 798 00:55:35,040 --> 00:55:36,080 the gas mask... 799 00:55:37,360 --> 00:55:39,520 ..the icon of total war, 800 00:55:39,520 --> 00:55:42,320 otherworldly, hypermodern. 801 00:55:42,320 --> 00:55:46,880 This was the face of Europe's own home-grown barbarism. 802 00:55:51,400 --> 00:55:55,560 But these masked faces, haunting and visceral though they are, 803 00:55:55,560 --> 00:56:00,800 were in a sense merely preparatory sketches for Otto Dix's definitive 804 00:56:00,800 --> 00:56:05,600 statement on war and on where European progress had led. 805 00:56:07,480 --> 00:56:11,040 It's a work that turns another European artistic tradition, 806 00:56:11,040 --> 00:56:14,280 the religious triptych, completely on its head. 807 00:56:19,080 --> 00:56:23,600 In the far panel, the soldiers are marching onto the battlefield, 808 00:56:23,600 --> 00:56:24,720 through the smoke. 809 00:56:26,160 --> 00:56:29,920 And in the panel opposite it, we can see the results of that battle. 810 00:56:31,200 --> 00:56:35,520 A soldier is dragging a wounded comrade off the battlefield 811 00:56:35,520 --> 00:56:37,240 through the broken bodies. 812 00:56:37,240 --> 00:56:39,960 But that soldier is Otto Dix himself, 813 00:56:39,960 --> 00:56:42,880 his face utterly traumatised. 814 00:56:44,720 --> 00:56:47,440 But it's the central panel that's the most powerful 815 00:56:47,440 --> 00:56:49,000 and the most shocking. 816 00:56:49,000 --> 00:56:52,280 This is the wasteland of the Western Front. 817 00:56:56,280 --> 00:57:01,360 It is the great putrid scar of mud and decaying, 818 00:57:01,360 --> 00:57:05,000 rotting flesh that's been cut across the face of Europe. 819 00:57:05,000 --> 00:57:08,320 This skeletal figure leering over the battlefield 820 00:57:08,320 --> 00:57:11,320 is a reference to the Crucifixion. 821 00:57:12,400 --> 00:57:18,160 This is the work of a man who was trapped inside his own recurring nightmare. 822 00:57:18,160 --> 00:57:22,440 Otto Dix and his generation had borne witness to these horrors, 823 00:57:22,440 --> 00:57:26,520 but they'd also been witness to the death of the 19th century faith 824 00:57:26,520 --> 00:57:29,560 in inevitable, unstoppable progress. 825 00:57:29,560 --> 00:57:33,400 What they'd learned in the trenches was that savagery and barbarism 826 00:57:33,400 --> 00:57:37,120 weren't external, to be found only in the colonies, 827 00:57:37,120 --> 00:57:39,000 but inside all of us. 828 00:57:39,000 --> 00:57:43,960 They had seen that industry and progress and the supposed triumph 829 00:57:43,960 --> 00:57:45,600 of Enlightenment rationalism 830 00:57:45,600 --> 00:57:49,480 did not guarantee the survival of civilisation. 831 00:57:49,480 --> 00:57:51,200 And it was them, 832 00:57:51,200 --> 00:57:54,800 the poets and the artists and the painters of the trenches, 833 00:57:54,800 --> 00:57:57,320 who best understood what Europe had been through 834 00:57:57,320 --> 00:58:00,360 and who best foresaw the horrors that lay ahead. 835 00:58:08,040 --> 00:58:10,880 The Open University has produced a free poster 836 00:58:10,880 --> 00:58:13,440 that explores the history of different civilisations 837 00:58:13,440 --> 00:58:15,160 through artefacts. 838 00:58:15,160 --> 00:58:20,880 To order your free copy, please call 0300 303 3553, 839 00:58:20,880 --> 00:58:23,680 or go to the address on screen and follow the links 840 00:58:23,680 --> 00:58:25,160 for the Open University.