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Current time:0:00Total duration:3:44

Video transcript

we're looking at mayonnaise corner of the cafe con ser at National Gallery in London and I'm just looking at all of those brushstrokes on her apron on the laughs on the counter where the man has his elbow the instruments of the musician man is really calling our attention to the brushes look at the wavy white lines that serve as her collar and it's not just the sort of the chaos of the brushwork the energy the velocity of that brushwork but it's also the wild composition and the space that's being depicted it's such a complicated image generally you would think when a single person is taking up two thirds of the canvas I'm looking at the pipe smoker with a blue smock and then the large woman just back of her the waitress with the two beers generally that would sort of settle a painting down compositionally but not at all here she's leaning over he's looking towards the dancers just rather nonchalantly his elbow really quite relaxed she's in a very awkward position which really suggests there's a real movement taking place and then her eye goes back and it's completely confused for a moment right she's doing two things at once and it reminded me of our word of multitasking and so there's something so modern about this of doing multiple things simultaneously although I guess maybe there's nothing specifically modern about that idea catching it visually I think is incredibly modern that idea of the momentary as opposed to the staged and of course this is a painting that's composed to look uncompacted just noticing - as we're talking about the sort of discontinuity of things either he looks in one way she looks in the other her body was one way his body moves the other is the way that all those forms in the background kind of allied with the foreground so it was looking specifically at those white brushstrokes that are right by his left wrist yes that are actually part of her cuff of her dress as she reaches around to pick up more beer because we know we don't see whole bodies I mean these in a way violating it like the basic academic idea of leaving the body hole readable here I think he's actually having fun with it but he's catching little sort of windows of forms for instance look at the little u-shape that the bowl of hit of the man's pipe the stem of the pipe and then his forefinger create and caught in that ball is the ear of the man beside them he seems to be delighting in the absurdity of those kinds of junctures there's no junctures or the way that the gray smoke that rises up as a little plume from the pipe the lines with the gray of the bowler hat or the way in which the instruments frame that bowler hat in the most absurdist way and clearly intentionally and i think that by doing these things MANET is doing something really wonderful that I think is one of the most important things that art can do it just to make us more visually aware of the world that we live in and how unexpected things happen and how interesting they can be had art ever done that before when we think about carefully composed paintings of the old masters that painting is not drawing your attention to the veracity of life or the various form dippity of life that's what I mean this is really anticipating our modern visual culture makes for an image that really still very much speaks us this is still our world yeah walking into a bar this would not be unexpected at all this kind of bustle and chaos it's no surprise that these galleries are among the most popular the national yeah this is our life still you