1 00:00:46,720 --> 00:00:48,800 THE WORLD'S BIGGEST MUSEUM 2 00:00:48,960 --> 00:00:51,640 When visitors swarm to the capital, 3 00:00:51,800 --> 00:00:54,880 they may prefer to visit the Eiffel Tower, the Grand Palais 4 00:00:55,040 --> 00:00:57,160 or the Arc de Triomphe than the Petit Palais. 5 00:00:57,320 --> 00:00:59,560 It's a shame and even an injustice. Why? 6 00:00:59,720 --> 00:01:04,000 Because this place is, how should I put it, revolutionary! 7 00:01:04,160 --> 00:01:05,480 Why is it revolutionary? 8 00:01:05,640 --> 00:01:08,200 Because back then, it pushed boundaries. 9 00:01:08,360 --> 00:01:11,080 It was a place with huge exhibit halls, 10 00:01:11,240 --> 00:01:15,200 zenithal lighting and huge plate glass windows. 11 00:01:15,360 --> 00:01:19,880 Back in the day, this place was viewed as the Georges Pompidou Center 12 00:01:20,040 --> 00:01:22,960 of Paris in the 80s. It's as revolutionary as that. 13 00:01:23,120 --> 00:01:25,440 Here is the Beaubourg of 1900, 14 00:01:25,600 --> 00:01:28,480 which I would recommend that you visit right away. Let's go. 15 00:01:51,200 --> 00:01:54,080 Hello. Nothing in my hands or pockets. 16 00:01:56,080 --> 00:01:58,560 Oh, there was something in my pocket. 17 00:01:58,720 --> 00:02:01,000 Hello, director. - Welcome. 18 00:02:01,160 --> 00:02:05,040 Is it shocking to call the Petit Palais the 20th century's Beaubourg? 19 00:02:05,760 --> 00:02:10,360 Not at all. Beaubourg consists of floor plates and glass walls around it. \N \N \N 20 00:02:10,520 --> 00:02:14,000 Here, we also have two floor plates and large windows, \N \N \N 21 00:02:14,160 --> 00:02:17,320 whether they're behind you, behind me, or to our left. 22 00:02:17,480 --> 00:02:21,680 I suppose more time was spent building the Petit Palais 23 00:02:21,840 --> 00:02:23,880 than building Beaubourg in the 1970s. 24 00:02:24,040 --> 00:02:25,400 No, it took less time. 25 00:02:25,560 --> 00:02:28,440 It took two and a half years to build it 26 00:02:28,600 --> 00:02:31,960 with concrete, iron and glass 27 00:02:32,120 --> 00:02:33,960 and all the mosaic under our feet. 28 00:02:34,120 --> 00:02:39,800 We're in quite an opulent, bourgeois building with many references, 29 00:02:39,960 --> 00:02:44,840 but it's also modern with metal structures and colossal windows. 30 00:02:45,000 --> 00:02:48,320 This building wouldn't exist without concrete. 31 00:02:48,480 --> 00:02:52,560 The Metro was also created for the 1900 Paris Exposition 32 00:02:52,720 --> 00:02:54,240 using concrete and iron. 33 00:02:54,400 --> 00:02:57,880 And when you look down at the stairs you climbed, 34 00:02:58,040 --> 00:03:02,000 they have a red aisle on the stones, so it's kind of like a red carpet, 35 00:03:02,160 --> 00:03:06,040 which is constantly open for the public to walk on. 36 00:03:06,200 --> 00:03:10,600 Who is Charles Girault, the Father of the Petit Palais? 37 00:03:10,760 --> 00:03:14,520 He was a man whose talent drew great appeal at the time. 38 00:03:14,680 --> 00:03:19,240 This building was a great success for him and led to many projects 39 00:03:19,400 --> 00:03:21,800 in Belgium and Latin America. 40 00:03:21,960 --> 00:03:25,320 What would become of this museum 41 00:03:25,480 --> 00:03:28,400 this new, Parisian museum in the 20th century? 42 00:03:28,560 --> 00:03:33,720 Its contemporary art collections continued to grow around 1900 43 00:03:33,880 --> 00:03:36,800 and the City of Paris continued to acquire works, 44 00:03:36,960 --> 00:03:40,840 including Fauve and Cubist works through donations or purchases. 45 00:03:41,000 --> 00:03:43,200 We have a beautiful icon collection 46 00:03:43,360 --> 00:03:46,040 which was given to the Petit Palais in 1998. 47 00:03:46,200 --> 00:03:49,800 The museum was home to Ancient Greek collections 48 00:03:49,960 --> 00:03:51,800 until the turn of the 21st century. 49 00:03:51,960 --> 00:03:54,160 Anything is possible here. 50 00:03:54,320 --> 00:03:58,600 We can display art through digital screens, 51 00:03:58,760 --> 00:04:01,320 we can use the theater auditorium for music. 52 00:04:02,320 --> 00:04:05,720 So, anything of caliber can be displayed here. 53 00:04:21,640 --> 00:04:23,280 Hi, Patrick Lemasson. - Hello. 54 00:04:23,440 --> 00:04:26,880 You're a curator at the Petit Palais. Let's discuss patronage 55 00:04:27,040 --> 00:04:30,760 because there are some rich, generous people 56 00:04:30,920 --> 00:04:35,400 who have donated a lot, notably the Tucks who are Americans 57 00:04:35,560 --> 00:04:39,120 and who donated objects from the 1600s and 1700s in the 20th century. 58 00:04:39,280 --> 00:04:43,000 Let's take a look at them as we talk. Who were the Tucks? 59 00:04:43,160 --> 00:04:45,200 They were an American couple. 60 00:04:45,360 --> 00:04:47,800 Edward Tuck was a banker for the first half of his life, \N \N \N 61 00:04:47,960 --> 00:04:50,560 HEAD CURATOR IN CHARGE OF 17TH AND 18TH CENTURY ART OBJECTS \N \N \N 62 00:04:50,720 --> 00:04:55,640 before later dedicating himself to collecting important works of art. \N \N \N 63 00:05:03,840 --> 00:05:05,480 What exactly is this? 64 00:05:05,640 --> 00:05:08,560 That is probably a comedy scene 65 00:05:08,720 --> 00:05:13,320 illustrating what one could refer to as old, absurd art. 66 00:05:13,480 --> 00:05:17,280 There are various versions, this one is German Saxe porcelain. 67 00:05:17,440 --> 00:05:20,160 We can see this old fogey 68 00:05:20,320 --> 00:05:23,920 who's in a tight embrace with a young woman. 69 00:05:33,280 --> 00:05:38,240 It used colored backgrounds 70 00:05:38,400 --> 00:05:41,600 which was a Sèvres specialty at the time. 71 00:05:41,760 --> 00:05:44,880 That was made by Sèvres porcelain? Wow. 72 00:05:45,040 --> 00:05:46,240 Absolutely. 73 00:05:52,560 --> 00:05:54,000 This one is earthenware. \N \N \N 74 00:05:54,160 --> 00:05:58,280 You can see the difference between this translucent porcelain material, 75 00:05:58,440 --> 00:06:01,760 whereas earthenware is classically used in pottery 76 00:06:01,920 --> 00:06:04,720 and finished with a shiny glaze. 77 00:06:12,320 --> 00:06:17,240 This hanging was drawn by the painter François Boucher in 1741. 78 00:06:17,400 --> 00:06:22,440 You can see Boucher's name there without the 'r'. 79 00:06:22,600 --> 00:06:27,560 They must have done it quickly or the weaver missed out the 'r'. 80 00:06:27,720 --> 00:06:32,160 This is about the story of Psyche, so it draws from Greek mythology. 81 00:06:33,840 --> 00:06:36,640 This room contains two historical tapestries. 82 00:06:36,800 --> 00:06:38,920 For those of you who are eagle-eyed, 83 00:06:39,080 --> 00:06:42,640 you can see, as this was done very subtly, 84 00:06:42,800 --> 00:06:44,520 along the length of the column, 85 00:06:44,680 --> 00:06:47,200 you can see from the cushion on the stool, 86 00:06:48,080 --> 00:06:51,200 that it is slightly lopsided there. 87 00:06:51,360 --> 00:06:55,480 I told Beauvais's tapestry weavers to be careful. 88 00:06:55,640 --> 00:06:58,280 But it's still visible. - You've aged well. 89 00:06:58,440 --> 00:07:02,440 It's fabulous that an American in the 1900s just made a donation. 90 00:07:02,600 --> 00:07:07,240 He donated his collection, subject to usufruct in 1921, 91 00:07:07,400 --> 00:07:10,840 meaning he kept it during his lifetime. 92 00:07:11,600 --> 00:07:15,480 In reality, when his wife, Julia Stell, died in 1928, 93 00:07:15,640 --> 00:07:17,440 he revoked the usufruct clause 94 00:07:17,600 --> 00:07:20,000 and, in 1930, the collections came here. 95 00:07:20,160 --> 00:07:24,520 The curator at the time, made this space available 96 00:07:24,680 --> 00:07:30,280 in the North Gallery on the first floor of the Petit Palais 97 00:07:30,440 --> 00:07:33,680 so that it would be opposite the Champs-Élysées. 98 00:07:33,840 --> 00:07:36,800 The Tucks had their own hotel on Avenue des Champs-Élysées 99 00:07:36,960 --> 00:07:39,880 so, it was kind of a nod to them. 100 00:07:40,040 --> 00:07:42,040 Thank you, Patrick. - My pleasure. 101 00:07:50,280 --> 00:07:52,360 Since I'm a thorough visitor, 102 00:07:52,520 --> 00:07:57,000 I made a note of five or six objects in particular 103 00:07:57,160 --> 00:07:59,840 which I wanted you to discover. 104 00:08:00,000 --> 00:08:03,880 One of them is this sedan chair from the Tuck collection. 105 00:08:04,040 --> 00:08:08,600 Why is it interesting? It belonged to Élisabeth Charlotte d'Orléans 106 00:08:08,760 --> 00:08:11,920 who is none other than Louis XIV's niece. \N \N \N 107 00:08:12,080 --> 00:08:14,000 So, that's her sedan chair. \N \N \N 108 00:08:14,160 --> 00:08:16,080 The second piece is a painting. 109 00:08:16,240 --> 00:08:19,600 It's a portrait of Sarah Bernhardt. 110 00:08:19,760 --> 00:08:24,800 It was painted by Clairin, who was a painter and her lover for many years. 111 00:08:24,960 --> 00:08:28,760 He featured her several times and this is one of the most interesting 112 00:08:28,920 --> 00:08:32,600 because you can see her in this voluptuous, white, satin dress \N \N \N 113 00:08:32,760 --> 00:08:36,920 and it really is a very sensual Sarah Bernhardt there. \N \N \N 114 00:08:37,080 --> 00:08:40,600 Equally, Woman with Monkey is a captivating work of art. 115 00:08:40,760 --> 00:08:44,480 This mysterious and aloof woman 116 00:08:44,640 --> 00:08:48,920 made from stonework and bronze in 1908 by Camille Alaphilippe. \N \N \N 117 00:08:49,080 --> 00:08:53,760 In my opinion, it's one of the most moving works of art here. 118 00:08:53,920 --> 00:08:57,920 Then there's Organ Pipe Clock with a Monkey Orchestra. 119 00:08:58,080 --> 00:09:02,160 It was around 1760 and you can see all these monkeys playing music. 120 00:09:02,320 --> 00:09:06,840 In the 18th century, this was a truly high-end, well-made piece \N \N \N 121 00:09:07,000 --> 00:09:10,680 which was probably commissioned by a large aristocratic family. 122 00:09:10,840 --> 00:09:13,320 And finally, a painting by Gustave Courbet: 123 00:09:13,480 --> 00:09:15,320 Firemen Running to a Fire. 124 00:09:15,480 --> 00:09:20,720 It's from 1851 and it really evokes the nocturnal atmosphere of these fires \N \N \N 125 00:09:20,880 --> 00:09:24,680 which must have been commonplace in the capital's back alleys. 126 00:09:47,640 --> 00:09:51,960 We're now going to see a grand unveiling. \N \N \N 127 00:09:56,160 --> 00:09:57,880 Dominique, hello. - Hello. 128 00:09:58,040 --> 00:09:59,200 You're a curator. 129 00:09:59,360 --> 00:10:02,480 I'm commissioner for the Giuseppe De Nittis exhibition. \N \N \N 130 00:10:02,640 --> 00:10:04,000 Who is that? \N \N \N 131 00:10:04,160 --> 00:10:07,560 He's an Italian painter who we're lucky to show off in Paris \N \N \N 132 00:10:07,720 --> 00:10:09,760 for the first time since 1886. 133 00:10:09,920 --> 00:10:12,600 A 19th century painter. - Exactly. 134 00:10:12,760 --> 00:10:14,480 So, what's happening here? 135 00:10:14,640 --> 00:10:17,880 We're going to discover one of De Nittis's pastels 136 00:10:18,040 --> 00:10:20,160 featuring Edmond de Goncourt. 137 00:10:20,320 --> 00:10:23,600 This is a piece that was lent to us by the Goncourt Academy 138 00:10:23,760 --> 00:10:25,520 and there's a surprise inside. 139 00:10:25,680 --> 00:10:27,600 You don't know what it is? 140 00:10:27,760 --> 00:10:33,200 I've never seen it. I've seen the copy, but I'm discovering it with you now. 141 00:10:33,360 --> 00:10:35,160 They put tape on it? 142 00:10:35,320 --> 00:10:38,000 We put tape on it 143 00:10:38,160 --> 00:10:42,480 because the work is protected by glass so we want to avoid breaking it. 144 00:10:42,640 --> 00:10:46,040 When unpacking or transporting it, we crisscross tape over it. 145 00:10:46,200 --> 00:10:52,120 Is this moving for you? - Yes, completely. 146 00:10:53,680 --> 00:10:55,440 This is Edmond de Goncourt, 147 00:10:55,600 --> 00:10:58,360 the great literary critic of the 19th century. 148 00:10:58,520 --> 00:11:02,280 There were two brothers. - Yes, they wrote a journal together. 149 00:11:02,440 --> 00:11:04,440 They also set up the Prix Goncourt. 150 00:11:04,600 --> 00:11:08,640 We haven't seen this Italian painter in France... \N \N \N 151 00:11:08,800 --> 00:11:10,600 Since 1886. \N \N \N 152 00:11:10,760 --> 00:11:14,800 There was a small exhibition in a gallery two years after his death \N \N \N 153 00:11:14,960 --> 00:11:19,080 and this is De Nittis's grand return to Paris. 154 00:11:19,240 --> 00:11:22,640 De Nittis exhibited his work in 1874 with the impressionists. 155 00:11:22,800 --> 00:11:24,280 It was his finest hour. 156 00:11:24,800 --> 00:11:29,320 He died aged 38 after barely making a name for himself. 157 00:11:53,600 --> 00:11:58,240 Fans of Tintin will probably remember the first page 158 00:11:58,400 --> 00:11:59,880 of The Broken Ear. 159 00:12:00,040 --> 00:12:04,680 There's a museum attendant who's dusting the artwork here 160 00:12:04,840 --> 00:12:08,480 and he finds out that the Broken Ear statue has been stolen. 161 00:12:08,640 --> 00:12:13,480 Would you believe that dusting artwork is a real job. 162 00:12:13,640 --> 00:12:16,240 You'll find out now, take a look. 163 00:12:25,040 --> 00:12:30,560 There are loads of little folds where the dust gathers 164 00:12:30,720 --> 00:12:32,640 and it doesn't look clean. 165 00:12:32,800 --> 00:12:34,760 I look at the artwork layer by layer \N \N \N 166 00:12:34,920 --> 00:12:35,960 MUSEUM WORKER \N \N \N 167 00:12:36,120 --> 00:12:40,200 and see how it ended up being such an impressive piece. \N \N \N 168 00:12:40,360 --> 00:12:41,840 We soak up a bit of history. \N \N \N 169 00:12:42,000 --> 00:12:43,600 PATINATED PLASTER SCULPTURE \N \N \N 170 00:12:43,760 --> 00:12:46,240 Since I've been at the museum, I've learned a lot. \N \N \N 171 00:12:49,960 --> 00:12:52,920 They're working on Ugolino by Jean-Baptiste Carpeaux, 172 00:12:53,080 --> 00:12:57,360 which is one of his masterpieces that we're lucky to have. 173 00:12:57,960 --> 00:13:00,200 They're cleaning it as it gathers dust quickly. \N \N \N 174 00:13:00,360 --> 00:13:02,440 HERITAGE CUSTODIAN IN CHARGE OF SCULPTURES \N \N \N 175 00:13:02,600 --> 00:13:05,280 You don't notice it on white plaster, but you see it on dark. \N \N \N 176 00:13:05,440 --> 00:13:11,120 If it's dusty, visitors run their finger along it like at home: "Dirty!" 177 00:13:11,280 --> 00:13:13,600 That puts the work in danger. 178 00:13:13,760 --> 00:13:16,200 Shoes gather the most dust. 179 00:13:16,360 --> 00:13:17,600 Can you imagine? 180 00:13:17,760 --> 00:13:21,160 It gathers a bit on the windows and a lot on shoes. 181 00:13:23,840 --> 00:13:25,640 We never use our hands, 182 00:13:25,800 --> 00:13:31,680 we use tools that have been recommended by restorers. \N \N \N 183 00:13:31,840 --> 00:13:32,960 ARTWORK STEWARD \N \N \N 184 00:13:33,120 --> 00:13:35,000 We use soft brushes \N \N \N 185 00:13:35,160 --> 00:13:38,760 because as soon as you touch it with your hands, \N \N \N 186 00:13:38,920 --> 00:13:43,120 you leave a thin layer of grease 187 00:13:43,280 --> 00:13:47,000 which will alter the whole material. 188 00:13:47,160 --> 00:13:49,840 This is what we were talking about before. 189 00:13:50,000 --> 00:13:53,760 Can you see the difference between the original color of the marble 190 00:13:54,520 --> 00:13:58,560 and the color of the worn marble which is yellowish? 191 00:13:58,720 --> 00:14:03,000 We restored it in 2005, but the restorer couldn't get rid of the yellow tone 192 00:14:03,160 --> 00:14:08,520 which has been touched quite a bit by our greasy, little fingers. \N \N \N 193 00:14:08,680 --> 00:14:11,640 It's been in the museum since 1922, so imagine how many fingers. \N \N \N 194 00:14:11,800 --> 00:14:15,920 We had to brainstorm with the design architect 195 00:14:16,080 --> 00:14:20,160 so that it would never be touched again and we decided to create distance. 196 00:14:20,320 --> 00:14:24,400 It has to be awkward for the visitors to touch it, 197 00:14:24,560 --> 00:14:27,600 so that it remains untouched as of 2005. 198 00:14:52,040 --> 00:14:56,680 Can you see it OK? Because sometimes there are reflections on the paintings. 199 00:14:56,840 --> 00:14:59,120 Can I sit with you? - Yes, if you want. 200 00:14:59,280 --> 00:15:01,080 Hi, Damien. - Hi. 201 00:15:01,240 --> 00:15:04,400 Hi, kids. - Hi. 202 00:15:04,560 --> 00:15:06,960 There's something special going on here: 203 00:15:07,120 --> 00:15:12,600 it seems that you're one of few museums in Paris, and maybe even France, 204 00:15:12,760 --> 00:15:16,520 which specializes in educating little children. 205 00:15:16,680 --> 00:15:21,560 It's normally for teenagers, but you're bold enough to include little ones. 206 00:15:21,720 --> 00:15:22,800 PLASTIC ARTIST \N \N 207 00:15:22,960 --> 00:15:24,800 We're open to the whole public, \N \N 208 00:15:24,960 --> 00:15:30,440 but we do have a lot of success with preschoolers. \N \N 209 00:15:30,600 --> 00:15:35,280 I like to get the kids to look at the paintings like cats. 210 00:15:35,440 --> 00:15:38,240 Does anyone have a cat at home? 211 00:15:38,400 --> 00:15:39,960 No. - No? 212 00:15:40,120 --> 00:15:42,600 Have you ever noticed... - I have a cat. 213 00:15:42,760 --> 00:15:47,240 Really? You may have noticed that sometimes cats do this with their eyes. 214 00:15:48,040 --> 00:15:52,000 They squint but that doesn't necessarily mean they're winking. 215 00:15:52,160 --> 00:15:55,600 It means you're closing your eyes slightly, as if they were curtains 216 00:15:55,760 --> 00:15:57,280 and leaving a little gap. 217 00:15:57,440 --> 00:16:00,800 That's it. Great job, you look like a little cat. 218 00:16:00,960 --> 00:16:03,720 And now look at the painting 219 00:16:03,880 --> 00:16:06,080 and tell me what you can see. 220 00:16:06,240 --> 00:16:10,520 By really squinting your eyes, loads of things disappear. 221 00:16:10,680 --> 00:16:14,320 So, what's left, then? - Sheep. 222 00:16:14,480 --> 00:16:15,840 Yes, we can see sheep. 223 00:16:16,000 --> 00:16:19,760 Cloud sheep or real sheep? - Sheep. 224 00:16:19,920 --> 00:16:22,600 Oh, yes, you can see sheep. 225 00:16:22,760 --> 00:16:27,480 Why did you choose this painting? What's interesting about it? 226 00:16:27,640 --> 00:16:30,240 It has a pretty simple composition 227 00:16:30,400 --> 00:16:34,400 with dividing lines between the sky and the land. 228 00:16:34,560 --> 00:16:38,800 The presence of sheep is quite appealing to kids. 229 00:16:38,960 --> 00:16:42,160 What I really wanted was to have a contrasting sky. 230 00:16:52,080 --> 00:16:54,520 There are coloring pencils. 231 00:16:54,680 --> 00:16:56,400 It's going to get dirty. 232 00:16:56,560 --> 00:17:00,840 These are pieces of chalk or they can also be called soft pastels. 233 00:17:01,640 --> 00:17:05,760 Is this paper smooth? 234 00:17:06,920 --> 00:17:08,200 Yes. - No. 235 00:17:08,360 --> 00:17:12,240 It's not completely smooth, there are little strips. 236 00:17:12,400 --> 00:17:16,560 See, Vincent? There are loads of little strips on the paper. 237 00:17:17,640 --> 00:17:21,600 This is a special paper which absorbs the chalk more easily. 238 00:17:21,760 --> 00:17:27,440 What are you doing? - A huge carrot melting into the ground. 239 00:17:27,600 --> 00:17:30,760 A huge carrot melting into the ground. 240 00:17:30,920 --> 00:17:33,480 He doesn't say much, 241 00:17:33,640 --> 00:17:39,120 but he has understood the binary element of landscapes in the 19th century: 242 00:17:39,280 --> 00:17:41,560 the land, the stormy sky. 243 00:17:41,720 --> 00:17:45,800 And what are you doing here? - Trees. 244 00:17:45,960 --> 00:17:50,720 Picasso and Braque didn't draw better than these guys when they were six. 245 00:17:50,880 --> 00:17:54,160 They were no better. - No. Up to here. OK? 246 00:17:54,320 --> 00:18:00,000 Then clean it up like modeling clay. 247 00:18:25,600 --> 00:18:30,400 Brace yourselves to see something truly incredible. 248 00:18:30,560 --> 00:18:34,280 First, I'm going to introduce you to Amélie Simier, hello. 249 00:18:34,440 --> 00:18:39,520 You're a curator here, you deal with sculptures in particular. 250 00:18:39,680 --> 00:18:43,880 We're going to talk about an incredible person who did all this. 251 00:18:44,040 --> 00:18:45,960 Take a look at these frogs. 252 00:18:46,120 --> 00:18:49,720 They're captivating frogs because they look like sketches 253 00:18:49,880 --> 00:18:52,200 for a modern-day Sci-Fi film, 254 00:18:52,360 --> 00:18:54,240 but they're a century old. 255 00:18:54,400 --> 00:18:57,880 They are around a century old. They're full of pus, monstrous... \N \N \N 256 00:18:58,040 --> 00:19:00,120 HERITAGE CUSTODIAN IN CHARGE OF SCULPTURES \N \N \N 257 00:19:00,280 --> 00:19:05,200 … they have bird beaks, clawed feet, rabbit ears, \N \N \N 258 00:19:05,360 --> 00:19:08,600 a surprising surface which looks like a brain. 259 00:19:08,760 --> 00:19:12,640 These are amazing creatures from his imagination in the 1880s. 260 00:19:25,240 --> 00:19:27,960 What are these? Scary masks? 261 00:19:28,120 --> 00:19:29,600 Three from the same mold 262 00:19:29,760 --> 00:19:32,680 and depending on the enameling, it gets scarier. 263 00:19:32,840 --> 00:19:37,400 Look at this one. With its tiny pustules and bulging eyes, it's terrifying. 264 00:19:37,560 --> 00:19:40,120 You talk about pustules with such enthusiasm. 265 00:19:40,280 --> 00:19:42,840 It's nice to share a passion for the artist. 266 00:19:43,000 --> 00:19:47,400 So, there's the artist, his name is Jean Carriès. 267 00:19:48,280 --> 00:19:51,400 He was quite a poor, bohemian artist. 268 00:19:51,560 --> 00:19:53,600 Where did he work? Lyon? Paris? 269 00:19:53,760 --> 00:19:55,240 He was born in Lyon, poor, 270 00:19:55,400 --> 00:19:59,040 and was the son of a shoemaker who died at 39 from tuberculosis. 271 00:20:00,080 --> 00:20:04,840 He was raised by nuns and learned to create church sculptures. 272 00:20:05,000 --> 00:20:08,560 He was one of the inventors of color in sculpture. 273 00:20:08,720 --> 00:20:13,200 Come on over with your camera and look at these extraordinary figures. 274 00:20:13,360 --> 00:20:17,320 You wonder how he came up with them and then sculpted them. 275 00:20:17,480 --> 00:20:21,280 Look, it's a small, terrifying girl. 276 00:20:21,440 --> 00:20:24,760 What is she crushing? A puppet? 277 00:20:24,920 --> 00:20:28,560 I think she's crushing a puppet. It's called L'Infant. 278 00:20:28,720 --> 00:20:32,640 Carriès's biography says that she hears death coming. 279 00:20:32,800 --> 00:20:35,840 This one has sold an absurd amount of copies. 280 00:20:36,000 --> 00:20:38,520 There are other figures like this one 281 00:20:38,680 --> 00:20:42,880 which takes you back into Carriès's imagination. 282 00:20:43,040 --> 00:20:47,520 For example, this tongue is perhaps being devoured by a snake. 283 00:20:48,160 --> 00:20:51,160 This is one of Carriès's most terrifying pieces. 284 00:20:51,320 --> 00:20:53,480 It's hidden on the other side of a door 285 00:20:53,640 --> 00:20:56,560 which he made for a rich American backer. 286 00:20:56,720 --> 00:20:58,680 This woman was Winnaretta Singer, 287 00:20:58,840 --> 00:21:02,000 one of the heirs of Isaac Singer, who invented the sewing machine. 288 00:21:02,160 --> 00:21:06,240 At 24, she commissioned a project for her workshop to be decorated. 289 00:21:06,400 --> 00:21:11,120 It was supposed to evoke a Wagnerian world. She was a musician. 290 00:21:11,280 --> 00:21:16,560 What she pictured was elves, dwarves, mythological creatures. 291 00:21:16,720 --> 00:21:19,560 And when she saw that? - Instead she got a fright. 292 00:21:19,720 --> 00:21:22,400 This was the fruit of Carriès's nightmares 293 00:21:22,560 --> 00:21:25,240 and she found herself taking center stage 294 00:21:25,400 --> 00:21:28,040 as a figure holding a cat and crushing a snake, 295 00:21:28,200 --> 00:21:29,800 a terrifying image of her. 296 00:21:30,760 --> 00:21:34,240 Where did he look for that inspiration? 297 00:21:34,400 --> 00:21:37,320 We don't know. It's good when art has an air of mystery. 298 00:21:37,480 --> 00:21:42,600 In his nightmares and hallucinations... - Did he take any substances? 299 00:21:42,760 --> 00:21:48,440 He probably took opium to relieve his pain at the end of his life. 300 00:21:48,600 --> 00:21:49,800 That explains it! 301 00:21:58,760 --> 00:22:01,960 You can see Le Sommeil by Gustave Courbet. 302 00:22:02,120 --> 00:22:05,720 There are lots of paintings by Gustave Courbet here. 303 00:22:05,880 --> 00:22:09,720 Look how funny this is. There are photos around the Petit Palais 304 00:22:09,880 --> 00:22:14,600 which are a throwback to more classical 19th century works. 305 00:22:14,760 --> 00:22:20,200 Why? Because to commemorate 25 years of Reporters Without Borders, 306 00:22:20,360 --> 00:22:23,920 there are photos taken by photojournalists on display. 307 00:22:24,080 --> 00:22:27,480 This is Pierre and Alexandra Boulat's work, 308 00:22:27,640 --> 00:22:33,520 famous photojournalists who have given us captivating images. 309 00:22:33,680 --> 00:22:38,080 This is scattered all around the Petit Palais. 310 00:22:38,240 --> 00:22:41,160 We're in the large format gallery, 311 00:22:41,320 --> 00:22:46,640 where you can see the great painters of the 19th century and great sculptors. 312 00:22:46,800 --> 00:22:49,800 But it's up to you to discover the little gems 313 00:22:49,960 --> 00:22:55,080 of this temporary exhibition on Pierre and Alexandra Boulat, 314 00:22:55,240 --> 00:22:58,200 which are spread all over the place. \N \N \N 315 00:23:47,000 --> 00:23:51,200 I'm back with Gilles Chazal, the manager of the Petit Palais. 316 00:23:51,360 --> 00:23:54,720 We're on the first floor and we're going to talk about 317 00:23:54,880 --> 00:23:57,560 great stories, and this is a good one. 318 00:23:57,720 --> 00:24:01,760 The Petit Palais came into existence in 1900 and became a museum in 1902. 319 00:24:01,920 --> 00:24:07,280 In this specific year, two rich brothers, the Dutuit brothers, 320 00:24:07,440 --> 00:24:09,920 the second of whom passed away in 1902, 321 00:24:10,080 --> 00:24:12,400 offered their collection to this brand new house. \N \N \N 322 00:24:12,560 --> 00:24:14,880 GENERAL CUSTODIAN AND MANAGER OF THE PETIT PALAIS \N \N \N 323 00:24:15,040 --> 00:24:19,320 This ensured that this modern art museum became an ancient art one, too. \N \N \N 324 00:24:19,480 --> 00:24:21,680 There were some fabulous collections 325 00:24:21,840 --> 00:24:25,000 including, as you see here, Greek and Roman artwork. 326 00:24:25,160 --> 00:24:27,240 If you go into the rooms, 327 00:24:27,400 --> 00:24:31,120 there are Italian Majolica, Renaissance enamels, 328 00:24:31,280 --> 00:24:32,880 Dutch and Flemish paintings. 329 00:24:33,040 --> 00:24:37,720 So, they really wanted to take great delight in their collection, 330 00:24:37,880 --> 00:24:42,360 but to one day donate it so that all young creators \N \N \N 331 00:24:42,520 --> 00:24:47,240 could admire all these objects and make their own creations. \N \N \N 332 00:24:47,400 --> 00:24:52,000 So, there's Eugène and Auguste Dutuit, it's the end of the 19th century \N \N \N 333 00:24:52,160 --> 00:24:58,160 and they've amassed some 15,000 pieces. 334 00:24:58,320 --> 00:25:01,520 The Dutuits are true partners 335 00:25:01,680 --> 00:25:03,920 because they donated art and their fortune. 336 00:25:04,080 --> 00:25:09,640 So, we've also enjoyed their resources which have enriched the collection. 337 00:25:09,800 --> 00:25:14,160 There's always a hint of jealousy when we talk about 338 00:25:14,320 --> 00:25:17,600 great American patrons such as Rockefeller 339 00:25:17,760 --> 00:25:21,400 who gave money away to museums. 340 00:25:21,560 --> 00:25:24,600 French capitalism also existed in the 20th century 341 00:25:24,760 --> 00:25:27,520 and there was a generosity and thirst for knowledge 342 00:25:27,680 --> 00:25:29,960 which resulted in interesting donations. 343 00:25:30,120 --> 00:25:33,320 Rockefeller and the others were just following the example of the Dutuits. 344 00:25:33,480 --> 00:25:37,480 We don't talk enough about the Dutuit brothers, Eugène and Auguste. 345 00:25:37,640 --> 00:25:39,560 Thanks, Eugène and Auguste. 346 00:26:18,000 --> 00:26:20,920 All that's left to say is that the Petit Palais is free to visit. 347 00:26:21,080 --> 00:26:25,000 It's a museum in Paris which is free for the most part, 348 00:26:25,160 --> 00:26:27,600 notably, for the permanent exhibitions. 349 00:26:27,760 --> 00:26:30,520 The Petit Palais is also open six out of seven days a week. \N \N \N 350 00:26:30,680 --> 00:26:34,800 Every day except Mondays, and on Thursdays, it's open until 8 PM. \N \N \N 351 00:26:34,960 --> 00:26:36,200 That's all the info. \N \N \N 352 00:26:36,360 --> 00:26:38,440 See you next week, goodbye. \N \N \N 353 00:26:52,560 --> 00:26:55,560 Subtitles: Babel Subtitling - babelSUB.be