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[Music] we're looking at a painting at the Museum of Modern Art by Ernst Ludwig character it's a street scene Dresden and it dates to 1908 and carefulness known as an expressionist artist right that's his he would become part of the case part of a group called der Brooker yeah bridge the bridge as they call them so what did the bridge mean what was it a bridge to and from from the past to the future well yes in the past of the future but it refers really directly to Nietzsche really well that makes it much more interesting that's right so the bridge from civilization to the ubermensch crossing the bridge it's a journey of self-discovery of individual self-actualization there were so many German artists and craftsmen and they were really interested in nature at this moment yes is it a better word yeah yeah well he was interested in taking apart ideas of morality which constricted cultures so much I think all over Europe but especially in Germany I think the young artists I think character was not even 30 at this point they're all pretty young and they're really interested in sort of renewal and the new and Germany's was late in coming to the Industrial Revolution right so there's a lot of change that's happening in a very compressed sort of time period they in the nineteen later 19th century really tried to catch up to England and France and they worked really hard to do that and then there was a lot of growth really fast but there are all these cultural mores that they worked really hard to break out of and Nietzsche was totally influential and inspirational because he posited all these ways of sort of breaking out of and really very impatient ritual a lower yet accountable yeah yeah so that you wouldn't be proper and contained and even in this painting there is a kind of isolation among those figures doesn't thing even though it's a crowded sort of really dense scene that's I mean this is a pretty wild painting really I have to say I know that you like this painting I Jerry loves me and I have always really not I love this all right so I want to hear from both of you then why do I do not like this painting you know I I feel it feels very like a man looking at women on the street and I know that they're I don't know it's I guess for me it doesn't build all that much more on the 19th century I'm like moose street scene Karl Johan's Strasse right I mean so you know that kind of interest in psychological angst and alienation in the modern world and I kind of you know using color to describe those things and brushwork you know this I really as a symbolist artist I really I really like this and so did the Germans by the way yeah I really get to this and the colors become more garish and more difficult at the composition a little bit more disjointed the brushwork more open I'm not sure how much this adds and there I guess there's something uncomfortable to me about the way that he's looking at the women here for me that the color and the garishness is what attracted me to it I I love the distortion I love the green I love the orange I love the orange tracing around the woman's hat it's glowing I just love looking at that I feel like it's neon if you look again at the entire composition I love things that kind of pop out at different moments I think it is about looking and it is about voyeurism and it is about the male gaze if you look on the right side of the painting I love that he's cut halfway out of the composition this is just dick I did that in 1872 I think for me this sort of feels very much about isolation and German angst you know that the point you were making about a guy I thought was an interesting one yes in some ways France is going through those issues you know at when digging I was painting and and Germany's a little bit later but that doesn't make this not authentic right in an authentic expression at that moment I'm not saying that they're the same thing but the issue of sort of industrial alienation and and the the issue of urban alienation I think are both very important issues in both of those payments work but this is clearly a 20th century work there are lessons that have learned and freedoms that have been generated from from post-impressionism and from other artists exactly like just the coloration I think for me is something makes it extremely like early 20th century but it's not these sort of the beauty of Fauvism no it's not this is this is really a kind of sort of aggressive it's very I like so so van Gogh's you know the nightmare face he wanted to you know give this the cat for the ninth cafe a sense of darkness and misery by means of red and green you know that's what van Gogh said thirty twenty or thirty years before this and you know he's got that horrible pink color in that painting so so maybe the power here is the very thing that you don't like which is the women as subject right well I know that he's doing images of prostitutes on the street right and I guess that knowing that informs my looking at this painting I mean it starts to make me really worried about the way that modern historians look at these images I think that his because I think of this prostitute the streetwalker scenes as five years later in Berlin Berlin and they're in like Potsdamer Platz and Friedrichstrasse oh there's main city centers and where the women are very that's a lot more strident and the women are definitely the focus of the male gaze and there are a lot of men kind of circling around the women those are less interesting to me also I think just even in terms of looking at the color and the composition for some reason and I know that a lot of people like those more and his style is more developed and he's more mature as an artist I like that this is more raw you know he's really focusing on that authentic kind of direct engagement with like the experience of the city the electric the movement a kind of constant shift and change here as if all of those voids that sort of wonderful sort of pink air yeah is is constantly changing and should as that as the figures that define that space movement I feel like he's experimenting with something could we see the women here is sympathetic in some way maybe if I wasn't reading it through the guise of those later images of processes on the street I mean she is you know she does look out at us you know she's lit by the lights of the city when you said neon I could sort of feel that those kinds of lights maybe in the city and she looks at us and well they don't look to me on aesthetic prostitutes right well I'm saying that they're bushwa women but maybe there's is something sympathetic about her if we don't look at her through the lens of those later images I think that there is I mean I think I guess to me that just seems like these isolated figures and that's what attracts them she made it like it's a theater well if you look at this side there was almost like a pillar figure of that male figure kind of holding the picture together and it pulls your eye in and he's right there and he's sort of between you and the female figures and then everything kind of recedes behind that diagonally to the left in the back so you see the girl kind of in the center stage and then the woman Suzie act away just like the lighting and the way that the figures are arranged that could almost be limelight coming from below you know what I love about it is although it's a city you know when you have the slightest trace of the of the trolley track um there's no architecture the entire space is defined by the occupation of these figures and or the their occupation in space and and and you know in a sense it's it's the city defined by these people um defined by in space itself shaped by by the sort of changing crowd which i think is really an interesting idea he's not using buildings he's not really even using intersections he's using people to define space and in a sense to build a city out of the people who are masses that says Koenig Strasse in Dresden which is a main thoroughfare of shopping so there's a lot of traffic and movement and this is definitely part of a very well known street and a very well known area and it's very populated in the in the late 2000 in the second half of the 19th century when artists painted street scenes like to God because this looks to me like he's looking at the guy but you know that there is more of a sense of architecture in place there's nothing here that's stable everything here will be different in a moment and there's something sort of wonderful about yeah I think I like looking also it's just that little girl and her big hat yeah her ugly kind of claw-like hand I think she's holding some kind of toy what flowers muddy flowers or something but in the painting it really looks scary there's also the way that she's the way that her legs are was slightly late and there's something very gamely my hair is kind of dripping down the sides of her face that's kind of inelegant yeah and actually throughout the entire painting there's this really interesting tension between the sort of the effort and elegance in the dress but then the ungainly Nisour the sort of the aggression of the representation so this is sort of wonderful sort of back and forth [Music]