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Video transcript

we're in the Museum of Modern Art's and we're looking at ed bard monks the storm from 1893 and this is just an amazing representation of something both psychic and naturalist yeah external and internal simultaneously and the one thing that has really struck me about this painting is how dark it is compared to the screen which is the same here yeah there's such contrast it's interesting a thing about dark and light and internal and external if you look at the house the lights inside are really the only source of bright warmth I'm then drawn to the woman who's standing right in the front so this is called the storm they must be in the midst of a storm which we can tell if we look around and see the tree bending and their hair flying behind them so they're standing right near Harvard right or on the water's edge the painting was made in a small Norwegian seaside resort that monk frequented in the summer so all these women gathered together in this mob scene they all sort of look really frantic just worried about their fisherman husband's out at sea and they're not sure if than men are going to come back because of the storm what do you make of the town skate it's such an overwhelming presence the women are human anchors in the picture but there is something really animate about those houses I mean those windows with like eyes kind of staring back at us a distance between those women and the house is somehow psychologically really far the houses on the sides kind of blur into the background and it almost looks like Twilight know what it is it's Northern Line Northern Light the Northern Line looks in the upper left there's that bit of green and it blends in in the corner but it also calls your eye back to the center green of the trees but I've seen pictures of the Northern Lights and those would be really green in the sky and they look really otherworldly so here it really looks like monk is working on the emotion of the women and proto expressionist - the expressionist painter de burqa and der blaue reiter both really looked a monk for guidance in terms of how brushstrokes how mark-making become an index of emotion and you see that especially in the sky can actually feel kind of how his paintbrush should have moved back and forth and back and forth you can see that also in the women the gestural stroke that represents their hair flying off the woman in the center really does anchor that picture now that I look at it more if you just put your hand up to the image and you take her form out the composition becomes unmoored she's a central figure in terms of the painted composition everything kind of swirls around that then psychologically who knows how is she linked to these other women all angst-ridden and worried and globe similarly to mongst The Scream they're bringing their arms out to their faces new end gasping and really with expressions of fear and anxiety and the woman in the center as the most easily readable bodily features so that you can really see some sort of anxiety externalize and in an abstract way too you can see the gesture more in the white-clad solitary woman whereas this clutch their arms or facial features are really an indistinct it almost becomes an abstract picture like if you just take out that piece it's an abstract painting the rocks are all kind of gathered up at the bottom of the painting on the right side on the right corner and then look behind the wall that bears down the lane you can sort of see the woman in the middle with the blue dress like there's something that feels very kind of claustrophobic but also very open at the same time in the way that the composition is mapped out a monk is also really pulling you in to the space and he's using a very Renaissance technique of using the orthogonal to bring us into that vanishing point it's amazing painting