NYC-ARTS

S2021 E523 | FULL EPISODE

NYC-ARTS Full Episode: July 1, 2021

A visit to the South Street Seaport and the newly-restored Wavertree, the flagship of its collection. Followed by an appreciation of the historic Franklin D. Roosevelt Four Freedoms Park, a tribute to the legacy of FDR. Then a close look at the iconic painting from 1851 by Emanuel Leutze “George Washington Crossing the Delaware,” on view in the Met’s American Wing Galleries.

AIRED: July 01, 2021 | 0:27:45
ABOUT THE PROGRAM
TRANSCRIPT

>>> COMING UP ON "NYC ARTS" A

TRIP TO THE SOUTH STREET SEAPORT

MUSEUM FOR A LOOK AT WAVERTRY.

>> IT IS FOR US THE CONNECTION

BETWEEN NEW YORK AND THE REST OF

THE WORLD.

SO SHE WAS A GLOBETROTTER.

SHE WAS WHAT IS CALLED A TRAMP.

IT WOULD CARRY ANY CARGO

ANYWHERE IN THE WORLD AS LONG AS

IT PAID.

>> THE VISIT TO THE HISTORIC

FOUR FREEDOMS PARK ON ROOSEVELT

ISLAND.

>> YOU HAD WELL OVER 600,000

PEOPLE COME TO THE FOUR FREEDOMS

PARK.

I HAVE SEEN PEOPLE WEEP AS THEY

LOOK AT JOE DAVIDSON'S SCULPTURE

OF FRANKLIN ROOSEVELT.

>> AND THE TIMELY EXPLORATION OF

THE PAINTING GEORGE WASHINGTON

CROSSING THE DELAWARE AT THE

MET.

>> IT WAS PART OF THE SERIES

THAT REALLY EXPLORED THESE GREAT

EVENTS WHICH LED TO THE NEW

REPUBLIC, THE FOUNDATION OF THE

UNITED STATES.

>> FUNDING FOR NYC ARTS IS MADE

POSSIBLE BY -- THE LEWIS SUNNY

TURNER FUND FOR DANCE.

THE AMBROSE MONEL FOUNDATION,

JODY AND JOHN ARNOLD, ELISE

JASMINE, AND JEFFREY BROWN.

THE NANCY SIWATER FOUNDATION.

ELROY AND TERRY CRUMHOLTZ

FOUNDATION.

THE NEWTON AND SALLY AVERY

FOUNDATION, AND ELLEN AND JAMES

S. MARGs.

THIS PROGRAM IS SUPPORTED BY THE

DEPARTMENT OF CULTURAL AFFAIRS.

ADDITIONAL FUNDING PROVIDED BY

MEMBERS OF 13, NYC ARTS IS MADE

POSSIBLE IN PART BY FIRST

REPUBLIC BANK.

>> AND BY SWAN AUCTION

GALLERIES.

>> WE HAVE A DIFFERENT WAY OF

LOOKING AT AUCTIONS.

WORKING TO COMBINE KNOWLEDGE

WITH ACCESSIBILITY, WHETHER

YOU'RE A LIFELONG COLLECTION, A

FIRST TIME BUYER OR LOOKING TO

SELL, INFORMATION AT

SWANGALLERIES.COM.

>> GOOD EVENING.

AND WELCOME TO "NYC ARTS."

I'M ON LOCATION AT GALLERY NEW

YORK, WHICH RECENTLY REOPENED

ITS DOORS TO THE PUBLIC.

HOUSED IN A MANSION AT THE

CORNER OF 86th STREET, THE

MUSEUM IS DEVOTED TO EARLY 18th

CENTURY GERMAN AND MIDCENTURY

ART AND DESIGN.

IT WAS CONCEIVED BY TWO MEN WHO

ENJOYED A CLOSE FRIENDSHIP OVER

A PERIOD OF ALMOST 30 YEARS.

THE GALLERY DEALER AND ART

COLLECTOR RONALD S. LOTTER.

BOTH SHARED A PASSIONATE

COMMITMENT TO GERMAN AND

AUSTRIAN ART OF THIS PERIOD.

AND DREAMED OF OPENING A MUSEUM

TO PRESENT THE FINEST EXAMPLES

OF THIS WORK.

AFTER SABOWSKI PASSED AWAY IN

1996, LOTTER CARRIED ON THE

VISION OF CREATING THE GALLERY

AS A TRIBUTE TO HIS FRIEND.

HERE IN ONE OF THE MUSEUM'S

OPULENT GALLERIES ON THE SECOND

FLOOR, DEDICATED TO ART FROM

VIENNA ABOUT 1900, IS THE WORK

OF GUSTAV KLIMPT.

FOR THE LAST 15 YEARS OF HIS

LIFE, KLIMPT'S PRACTICE WAS

DEVOTED ALMOST EXCLUSIVELY TO

PORTRAITS OF SOCIETY WOMEN,

PREDOMINANTLY MEMBERS OF THE

JEWISH COMMUNITY.

I AM SURROUNDED BY MANY OF THESE

PORTRAITS, INCLUDING HIS FIRST

PAINTING OF ADELE BLOCKBOWER,

COMPLETED IN 1907.

IT IS CONSIDERED TO BE A

MASTERPIECE OF HIS SO-CALLED

GOLDEN STYLE.

HE WAS INSPIRED BY SIXTH CENTURY

BYZANTINE MOSAICS HE HAD SEEN IN

1903.

HE PUTS HIS SITTER BEFORE WHAT

APPEARS TO BE AN ORNATE

JEWEL-ENCRUSTED THRONE.

ONLY THE FACE, SHOULDERS, ARMS,

AND HANDS ARE DEPICTED WITH ANY

NATURALISM.

THE ELABORATE GOWN HUGS

BLOCKBOWER'S SLENDER BODY.

ON THE FABRIC, EYES WITHIN

PERIODS RECALL ANCIENT EGYPTIAN

AMULETS.

HER CLOAK IS EMBELLISHED WITH

GEOMETRIC MOTIFS AND HER

STYLIZED INITIALS, A.B.

HER NECK AND ARMS ARE COVERED

WITH PRECIOUS JEWELRY, EXOTIC

MATERIALS, AND TECHNIQUES

INCLUDING THE APPLICATION OF

REAL GOLD AND SILVER HEIGHTEN

THE EFFECT OF RICHNESS AND

LUXURY.

BLOCKBOWER EMERGES FROM THIS

SPLENDID ENVIRONMENT AS THE

EPITOME OF REFINEMENT AND

NOBILITY.

THE STORY OF NEW YORK CITY

BEGINS AT ITS WATERFRONT.

THE ORIGINAL CENTER OF TRADE.

THE SOUTH STREET SEAPORT MUSEUM

CHRONICLES THE HISTORY OF THE

AREA THROUGH ITS HISTORIC

BUILDINGS AND COLLECTION OF

SHIPS.

THE FLAGSHIP OF THE COLLECTION

IS THE NEWLY RESTORED WAVERTRY.

IT WAS BORN IN 1885.

IT CIRCLED THE WORLD FOUR TIMES

BEFORE THE END OF HER SAILING

CAREER AND REPRESENTS THE TYPE

OF CARGO SHIPS THAT USED TO LINE

SOUTH STREET.

FREE TICKETS ARE NOW AVAILABLE

FOR ENTRY TO BOTH WAVERTRY AND

AN OUTDOOR EXHIBITION ON PIER

16, PROVIDING ANOTHER

OPPORTUNITY TO DISCOVER THIS

CHAPTER OF NEW YORK CITY'S

HISTORY.

THE EXHIBITION DRAWS UPON THE

SEAPORT MUSEUM'S VAST COLLECTION

OF PHOTOGRAPHS, LITH OOGRAPHS,

PAINTINGS, AND HISTORICAL

RECORDS.

IT CELEBRATES THE PEOPLE OF ALL

BACKGROUNDS WHO LIVED AND WORKED

IN THE SEAPORT DISTRICT.

AS WELL AS THE MANY BUSINESSES

ESTABLISHED HERE, WHICH WERE THE

FOUNDATION FOR A THRIVING NEW

YORK CITY.

CAPTAIN JONATHAN BOLWARE, THE

MUSEUM'S DIRECTOR, SPOKE WITH

"NYC ARTS" ABOUT WAVERTRY AND

THE HISTORY OF THE SEAPORT.

>> THE MUSEUM IS A 50-YEAR-OLD

INSTITUTION THAT EXISTS IN THE

ORIGINAL PORT OF NEW YORK.

IT IS LOCATED IN THE BUILDING

AND ADJACENT TO THE PIERS AND

WITH A FLEET OF SHIPS THAT ARE

REPRESENTATIVE OF THE ORIGINAL

PORT OF NEW YORK.

SO NEW YORK WAS A PORT BEFORE IT

WAS A CITY.

FOR US, PLACE REALLY MATTERS.

WHERE WE'RE DOING OUR WORK IS IN

ACTUALLY THE ORIGINAL COUNTING

HOUSES THAT ARE THE FIRST WORLD

TRADE CENTER OF THE CITY OF NEW

YORK.

THE SHIPPING PIERS AND THE SHIPS

AND THEIR CONNECTION TO THE REST

OF THE WORLD IS WHAT BUILT NEW

YORK.

SO WE REALLY TELL THE FIRST

CHAPTER OF THE STORY OF MODERN

NEW YORK.

THE SHIP IS A TERM DESCRIBING

SOUTH STREET.

THE IMAGE IS THAT OF THE BOW

STRIP, THE HEAD RIG, THE SPAR

THAT COMES OFF THE BOW OF THE

SHIP, MEETING WITH THE CITY,

HANGING OVER THE BUILDINGS.

IT'S THAT CONNECTION BETWEEN

WATERBORNE TRANSPORTATION AND

THE GROWING METROPOLIS THAT

REPRESENTS REALLY THE BIRTHPLACE

OF NEW YORK AS WE KNOW IT.

THESE SHIPS WERE IN THE 19th

CENTURY THE ENGINES OF TRADE.

THEY WERE BRINGING RAW MATERIALS

IN AND MANUFACTURED GOODS OUT.

BUT THEY WERE ALSO INSTRUMENTS

OF GLOBALIZATION.

THEY WERE INSTRUMENTS OF

CONNECTION.

THEY WERE THE INSTRUMENTS OF THE

MIGRATION OF PEOPLES OF CULTURAL

EXCHANGE.

WAVERTRY IS OUR FLAGSHIP, SHE IS

AN 1885 IRON SAILING SHIP.

MANY PEOPLE WOULD REFER TO HER

AS A TALL SHIP, A TALL MASTED

SQUARE RIG SAILING SHIP.

SHE IS FOR US THE CONNECTION

BETWEEN NEW YORK AND THE REST OF

THE WORLD.

SO SHE WAS A GLOBETROTTER.

SHE WAS WHAT'S CALLED A TRAMP,

FOR MOST OF HER LIFE.

A TRAMP WAS THE NAME FOR A SHIP

THAT WOULD CARRY ANY CARGO

ANYWHERE IN THE WORLD AS LONG AS

IT PAID.

ON THE DAY THAT WAVERTRY WAS

LAUNCHED IN SOUTHAMPTON,

ENGLAND, IN 1885, SHE WAS A

PROFOUNDLY NORMAL SHIP.

NO MORE SPECIAL THAN A MACK

TRUCK OR A FREIGHT CAR TODAY.

BUT SHE IS THE LAST SURVIVING

SHIP OF HER TYPE IN THE WORLD.

SHE HAS OUTLASTED ALL OF HER

SISTERS.

SHE DID SO ACTUALLY BECAUSE OF

WHAT I THINK YOU COULD CALL A

SERIES OF HAPPY ACCIDENTS, WHICH

MIGHT NOT HAVE SEENED HAPPY AT

ALL AT THE TIME.

IN 1910, DURING HER SECOND

ATTEMPT TO TRY TO ROUND CAPE

HORN, THE CAPE AT THE SOUTHERN

END OF SOUTH AMERICA, AND

PROBABLY THE MOST VIOLENT AND

DANGEROUS BODY OF WATER IN THE

WORLD, SHE WAS DISMASTED, WHICH

MEANS HER TALL SAILING RIG CAME

FALLING DOWN TO THE DECK.

IRON AND WOOD AND STEEL AND

CABLE AND CORDAGE AND CANVAS ALL

CAME CRASHING DOWN, DESTROYING

THE SHIP'S ABILITY TO SAIL.

REMARKABLY, KILLING NO ONE.

SHE WAS DECLARED BY HER OWNERS A

FUNCTIONAL LOSS.

SHE WAS CONVERTED FIRST TO A

FLOATING WAREHOUSE.

SHE WAS THEN CONVERTED BY HAVING

HER DECK CUT OUT INTO A SAND

BARGE.

SHE WAS FOUND BY THE SOUTH

SEAPORT MUSEUM, SO IN 1970, SHE

CAME HERE TO GREAT FANFARE, AND

SHE HAS BEEN LOVINGLY PRESERVED

BY VOLUNTEERS AND STAFF OF THE

MUSEUM EVER SINCE.

WAVERTRY JUST COMPLETED IN 2016

A COMPLETELY UNPRECEDENTED

RESTORATION PROJECT FUNDED BY

THE CITY OF NEW YORK, A

16-MONTH, $13 MILLION

RESTORATION THAT BROUGHT HER

REALLY AS CLOSE TO SAILING

CONDITION AS SHE HAS BEEN SINCE

SHE WAS DISMASTED IN 1910.

LIFE ON A SAILING SHIP IN THE

19th CENTURY WAS A PRETTY GRIM

BUSINESS.

SO LET'S FIRST THINK ABOUT

WHAT'S THE FUNCTION OF THESE

SHIPS?

THE JOB IS TO GET A SMALL PILE

OF COAL, A COUPLE THOUSAND TONS

OF COAL OR ITS EQUIVALENT

HALFWAY AROUND THE WORLD OR DIE

TRYING.

RIGHT?

SO THE INVERSION OF IMPORTANCE

OF MONEY AND HUMAN LIFE BETWEEN

THE 19th CENTURY AND NOW CAN'T

BE OVERSTATED.

CREWS WERE EXPENDABLE.

SAILORS WERE EXPENDABLE.

CARGOES AND SHIPS WERE NOT.

IT WAS A RIGID CLASS HIERARCHY.

YOU CAN SEE A STARK EXAMPLE OF

THAT IN THE CABIN DOOR THAT

LEADS TO THE CAP CAPTAIN'S

SALOON.

POSH AND A PUMP ORGAN AND A

SETTEE AND A TEA SERVICE MADE OF

SILVER.

ON THAT SIDE OF THE DOOR, IT'S

BRIGHTLY FINISHED WITH VARNISH

AND NICE PANELS.

ON THE OTHER SIDE, PAINTED

WHITE, UTILITARIAN, WORKADAY.

AND SO, TOO, WAS THE LIFESTYLE.

ABOARD THE SHIP, THE CAPTAIN

ENJOYED A PRETTY COMFORTABLE

EXISTENCE.

THE SAILORS LIVED FORWARD TOWARD

THE BOW OF THE SHIP.

AND LIVED MANY MEN TO A SMALL

CRAMPED THING, SLEEPING PERHAPS

ON A STRAW MATTRESS, EATING

SALTED MEAT OUT OF WOODEN

BARRELS.

ONE OF THE IMPACTING THINGS

ABOUT WAVERTRY, ABOUT SEEING

HER, IS JUST WALKING DOWN TO THE

PIER AND SEEING THE MAJESTY OF

HER TALL MAST AND THE RIGGING

THAT'S NECESSARY TO MAKE A SHIP

LIKE THAT WORK.

BUT THE REAL GEM IS TO GET INTO

WAVERTRY AND GO DOWN INTO THE

HOLD SPACE, WHICH IS OPEN THIS

YEAR FOR THE FIRST TIME EVER,

AND BE ABLE TO TAKE IN THE SIZE

AND THE SCALE OF A HUGE CARGO

SAILING SHIP IN THE 19th

CENTURY.

IT'S LIKE BEING INSIDE THE BELLY

OF A WHALE OR IN A CATHEDRAL.

AT ONE TURN, INCREDIBLY

BEAUTIFUL.

CONSTRUCTION IS BREATHTAKING,

AND YET ITS FUNCTION WAS TO DO A

VERY MUNDANE AND DIRTY JOB.

AND THIS IS WHERE I WOULD SAY

THAT WAVERTRY IS TRULY UNIQUE.

THERE IS NOT ANOTHER SHIP IN THE

WORLD THAT HAS A SPACE INSIDE

LIKE THE ONE THAT WAVERTRY HAS.

SHE ISN'T THE SHIP THAT BUILT

NEW YORK.

BUT SHE IS OF THE CLASS OF SHIP

THAT MADE NEW YORK WHAT IT IS.

SO FOR US, PARTICULARLY AS THE

LAST OF HER TYPE, SHE REPRESENTS

NEW YORK'S CONNECTION TO THE

REST OF THE WORLD.

THAT IN THE 19th CENTURY FROM

THE EAST RIVER PIER, YOU COULD

GET ON A SHIP LIKE THIS, GO OUT

THE NARROWS, TURN LEFT, GO

RIGHT, GO STRAIGHT, AND END UP

ANYWHERE IN THE WORLD.

>>> FRANKLIN DELANO ROOSEVELT

WAS OUR 32nd PRESIDENT AND THE

ONLY ONE TO BE ELECTED TO THREE

CONSECUTIVE TERMS.

MANY OF THE BENEFITS WE ENJOY AS

AMERICANS WE OWE TO FDR.

SOCIAL SECURITY, OUR LABOR LAWS,

AND THE KNOWLEDGE THAT IF A BANK

FAILS, OUR SAVINGS WILL BE

INTACT.

BUT WHAT MAY BE HIS GREATEST

ACCOMPLISHMENT WAS TO ARTICULATE

FOUR UNIVERSAL HUMAN RIGHTS

KNOWN AS THE FOUR FREEDOMS THEY

ARE.

FREEDOM OF SPEECH, FREEDOM OF

WORSHIP, FREEDOM FROM WANT, AND

FREEDOM FROM FEAR.

IN 2012, THE PARK ON THE SEVENTH

OF ROOSEVELT ISLAND WAS

DEDICATED TO THESE IDEALS.

NYC ARTS SPOKE WITH AMBASSADOR

WILLIAM, THE FOUNDER OF THE FOUR

FREEDOMS PARK, ABOUT FDR'S

LEGACY AND HIS INDELIBLE MARK IN

HISTORY.

>> THIS MASON HAS PLACED ITS

DESTINY IN THE HANDS OF THE

MILLIONS OF FREE MEN AND WOMEN.

>> AFTER PRESIDENT ROOSEVELT'S

DEATH IN 1945, THERE WAS A BROAD

DISCUSSION BY MANY GROUPS ABOUT

WHAT WOULD BE AN APPROPRIATE

MEMORIAL TO OUR 32nd PRESIDENT

WHO ALREADY WAS SEEN AS ONE OF

OUR GREATEST.

MEMORIALS TAKE A LONG TIME TO

WORK OUT.

I REMIND PEOPLE THAT THE LINCOLN

MEMORIAL IN WASHINGTON WAS ONLY

DEDICATED IN 1922.

LINCOLN DIED IN 1865, OF COURSE.

SO THE DEBATE WENT ON FOR A

NUMBER OF YEARS.

A PERSON WHO I WOULD THINK

SHOULD BE DESIGNATED AS THE ONE

WHO WAS DETERMINED TO MAKE IT

HAPPEN WAS NELSON ROCKEFELLER.

AND AS GOVERNOR OF THE STATE, HE

BEGAN AN URBAN DEVELOPMENT

PROJECT ON WHAT WAS THEN CALLED

WELFARE ISLAND IN THE EAST RIVER

RIGHT ACROSS FROM THE UNITED

NATIONS.

HE HAD COME AS PRESIDENT OF THE

UNITED STATES TO A COUNTRY WHERE

THE FINANCIAL SYSTEM HAD BEEN

DESTROYED.

WHERE 25% UNEMPLOYMENT.

THERE WAS NO SOCIAL WELFARE.

THERE WAS NO SOCIAL SECURITY.

I OFTEN THINK WHEN HE CAME TO

OFFICE IN MARCH 1933, THE

BANKING SYSTEM WAS DEMOLISHED.

FIRST THING HE DID WAS CLOSE THE

BANKS, DECLARED A BANK HOLIDAY.

WITHIN TEN DAYS, HE GAVE HIS

FIRST FIRESIDE CHAT, WHICH WAS

HIS WAY OF COMMUNICATING WITH

AMERICA.

>> AFTER ALL, THERE IS AN

ELEMENT IN THE READJUSTMENT OF

OUR FINANCIAL SYSTEM MORE

IMPORTANT THAN CURRENCY, MORE

IMPORTANT THAN GOLD.

AND THAT IS THE CONFIDENCE OF

THE PEOPLE THEMSELVES.

CONFIDENCE AND COURAGE OF THE

ESSENTIALS OF SUCCESS IN

CARRYING OUT OUR PLANS.

TOGETHER, WE CANNOT FAIL.

>> AND ALMOST OVERNIGHT, PEOPLE

HAD CONFIDENCE IN HIM.

HIS VOICE COMMUNICATED THAT.

AND HIS ACTIONS ASSURED IT.

AND ROOSEVELT SAVED THE

CAPITALIST SYSTEM.

THE ENTREPRENEURIAL SYSTEM.

AND WENT ON WITH LABOR, GIVING

LABOR A VOICE THROUGH THE WAGNER

ACT.

AND WENT ON THROUGH THE SOCIAL

SECURITY SYSTEM.

HE ENDED CHILD LABOR IN THE

UNITED STATES.

THE CCC, MY BROTHER WAS IN THAT.

HE PLANNTED OVER 2 BILLION TREE

IN AMERICA.

TO STAFF THE KIND OF STORMS THAT

SWEPT THROUGH THE MIDDLE WEST

AND REMOVE THE TOP SOIL OF THE

COUNTRY.

MORE THAN A HALF OF THE

INFRASTRUCTURE OF THE NATION

TODAY WAS BUILT IN THE NEW DEAL.

WORLD WAR I HAD BEEN A TERRIBLE

DISASTER FOR MANY NATIONS AND

MANY FAMILIES.

AND IT WAS DIFFICULT TO

UNDERSTAND AS YOU LOOK BACK WHAT

THAT WAR HAD BEEN FOUGHT ABOUT.

SO THAT AMERICA IN THE '30s WAS

AN ISOLATIONIST COUNTRY AND WAS

QUITE CONTENT, EVEN THOUGH IT

HAD MAJOR ECONOMIC DISASTERS AND

OTHER THINGS OF ITS OWN TO

CONTEND WITH, IT WAS PREPARED TO

LEAD ITS LIFE WITHOUT BEING

INVOLVED IN THE PROBLEMS OF

EUROPE.

AND THEN THE WAR CAME AND

SEPTEMBER 1939, AND HITLER'S

ARMIES PROVED TO BE THE MOST

POWERFUL ARMIES IN THE WORLD.

AND THE FOUR FREEDOMS SPEECH WAS

GIVEN ON JANUARY 6th, 1941.

THAT WAS A VERY CRITICAL AND

DIFFICULT TIME.

HITLER HAD CONQUERED EUROPE.

ONLY WINSTON CHURCHILL AND THE

BRITISH STOOD AGAINST IT, SO HE

SAID TO THE CONGRESS, AND TO THE

PEOPLE OF THE UNITED STATES, AND

SPECIFICALLY TO THE PEOPLE, THE

WORLD THAT WE NEED TO CREATE TO

PRESERVE PEACE AND SOCIAL

JUSTICE IS A WORLD THAT HAS TO

BE FOUNDED ON FOUR FREEDOMS.

>> THE FIRST IS FREEDOM OF

SPEECH AND EXPRESSION.

EVERYWHERE IN THE WORLD.

THE SECOND IS FREEDOM OF EVERY

PERSON TO WORSHIP GOD IN HIS OWN

WAY, EVERYWHERE IN THE WORLD.

THE THIRD IS FREEDOM FROM WANT.

EVERYWHERE IN THE WORLD.

THE FOURTH IS FREEDOM FROM FEAR,

ANYWHERE IN THE WORLD.

>> YOU HAVE HAD WELL OVER

600,000 PEOPLE COME TO THE FOUR

FREEDOMS PARK.

I HAVE SEEN PEOPLE WEEP AS THEY

LOOK AT JOE DAVIDSON'S SCULPTURE

OF FRANKLIN ROOSEVELT, AS IT'S

THERE.

I CAN'T TELL YOU HOW MANY PEOPLE

HAVE TOLD ME, STOPPED ME EVEN,

TO TALK ABOUT IT.

THE SPIRITUAL DIMENSION OF THE

FOUR FREEDOMS PARK.

I HOPE THAT THOSE WHO ARE THE

AMBASSADORS TO THE UNITED

NATIONS AND THOSE WHO COME TO

THE UNITED NATIONS FROM THE

SECRETARY-GENERAL ON DOWN

UNDERSTAND THEIR OBLIGATION TO

CREATE THE WORLD THAT FRANKLIN

ROOSEVELT WAS TALKING ABOUT.

HE ONCE SAID IN THE SECOND

INAUGURAL, DON'T JUDGE ME BY HOW

MUCH I HAVE DONE THAT HELPS

THOUGH WHO HAVE MIGHT.

JUDGE ME BY HOW MUCH I HAVE

HELPED THOSE WHO HAVE NEED.

>> WITH A NOD TO THE UPCOMING

JULY 4th HOLIDAY, WE LOOK AT AN

ICONIC WORK OF AMERICAN ART, THE

PAINTING THAT IS A CENTERPIECE

OF THE AMERICAN WING GALLERIES

OF THE METROPOLITAN MUSEUM OF

ART.

>> I'M BETSY, THE CURATOR OF

AMERICAN PAINTINGS AT THE

METROPOLITAN MUSEUM OF ART.

WE'RE STANDING IN THE NEW

GALLERIES OF AMERICAN PAINTING

AND SCULPTURE IN THE AMERICAN

WING.

AND BEHIND ME IS ONE OF THE

LARGEST PAINTINGS IN THE MUSEUM,

A WORK BY EMANUEL VOICEA, CALLED

WASHINGTON CROSSING THE

DELAWARE.

HE WAS AN AMERICAN ARTIST WHO

SPENT SOME OF HIS CAREER IN

GERMANY.

IN FACT, THIS GREAT HISTORY

PAINTING WAS PAINTED IN GERMANY

AT A TIME WHEN HE WAS HOPING TO

REALLY INSTILL A DRIVE TO OBTAIN

FREEDOM IN COUNTRIES AROUND THE

WORLD AND USED THE GREAT EXAMPLE

OF OUR LEADER, GEORGE

WASHINGTON, AS THE MEANS OF

FUELING THIS KIND OF PATRIOTISM

AND QUEST FOR FREEDOM IN

GERMANY.

HE PAINTED THE WORK IN 1851,

WITH THE INTENTION OF BRINGING

IT BACK TO THE UNITED STATES,

AND SHORTLY AFTER ITS

COMPLETION, IT WAS ON VIEW TO

THE PUBLIC IN NEW YORK CITY.

AND WAS HAILED AS A GREAT WORK

THAT LOOKED BACK IN TIME TO THIS

VERY IMPORTANT EVENT THAT TOOK

PLACE DURING THIS AMERICAN

REVOLUTION.

THE BRITISH FORCES HAD REALLY

GAINED THE UPPER HAND, AND HE

DECIDED TO FOCUS ON THIS GREAT

TURNING POINT WHEN WASHINGTON

GATHERED HIS TROOPS AND CROSSED

THE DELAWARE RIVER FROM DELAWARE

TOWARD THE NEW JERSEY SHORE ON

CHRISTMAS NIGHT OF DECEMBER

26th, 1776, IN THE HOPES OF

TAKING THE HESHEN SOLDIERS WHO

WERE IN THE EMPLOY OF THE

BRITISH ARMY, TAKING THEM BY

SURPRISE.

AND HE'S IN THIS BOAT THAT IS

FILLED WITH OFFICERS AND MEN

ROWING THROUGH THIS VERY

DIFFICULT ICE COVERED RIVER WITH

EVERYTHING GOING AGAINST THEM,

BUT THERE HE STANDS WITH THE

FLAG BEHIND HIM.

AND THE BOAT IS IN FACT BEING

GUIDED BY THIS NORTH STAR, AS

THEY MOVE TOWARD THIS GLORIOUS

MISSION, AND IN FACT, IT BECOMES

ONE OF THE GREAT TURNING POINTS

THAT HELPED THE COLONISTS TO

OBTAIN FREEDOM AND WIN THE WAR.

IT WAS PART OF A SERIES THAT HE

DID, REALLY EXPLORING THESE

GREAT EVENTS WHICH LED TO THE

NEW REPUBLIC, THE FOUNDATION OF

THE UNITED STATES.

AND HE WAS VERY CAREFUL TO

CREATE A VERY ELABORATE GILT

FRAME THAT HAS ALL KINDS OF

ICONIC CARVING ON IT.

YOU CAN SEE THE EAGLE IN THE

CENTER UP AT THE TOP.

THERE ARE STARS.

THERE'S ACTUALLY A PHRASE CARVED

INTO IT THAT REFERRED TO

WASHINGTON'S HEROISM AS THIS

GREAT MYTHIC FIGURE, AND HE

WANTED IT TO BE A REALLY AWESOME

PAINTING IN EVERY WAY.

YOU MIGHT NOTICE THAT THE BOAT

IS PROBABLY OVER PEOPLE WITH

SOLDIERS, IT PROBABLY WASN'T

REALLY HISTORICALLY ACCURATE,

BUT HIS INTENT WAS REALLY TO

CREATE A THEATRICAL RENDITION OF

THIS HEROIC EVENT, AND SO HE

WANTED YOU TO BE REALLY DAZZLED

BY THE SCENE RATHER THAN

STICKING VERY STRICTLY TO

HISTORICAL ACCURACY.

WE'VE DECIDED IN OUR GALLERY TO

INSTALL IT IN THE WAY IN WHICH

IT WAS HUNG DURING THE HEIGHT OF

THE CIVIL WAR.

IN 1864, HERE IN NEW YORK CITY,

THERE WAS AN EVENT CALLED THE

SANITARY FAIR.

IT WAS ABRAHAM LINCOLN'S EFFORT

TO RAISE MONEY FOR THE UNION

ARMY WOUNDED.

AND DURING THE FAIR, THERE WAS A

GREAT GATHERING OF ART.

THIS PAINTING WAS CENTERED IN A

VERY IMPORTANT FOCAL POINT.

AND IT WAS FLANKED BY WORK BY

MEMBERS OF THE HUDSON RIVER

SCHOOL, TO THE LEFT, FREDERICK

CHURCH'S HEART OF THE ANDYS, AND

TO THE RIGHT, ROCKY MOUNTAIN

LANDER'S PEAK.

IN OUR GALLERY HERE, WE FLANKED

OUR GREAT PAINTING WITH THE WORK

BY CHURCH AND BY ALBERT IN THE

POSITIONS THEY WERE IN DURING

THE SANITARY FAIR.

I'M BETSY CORNHOWER, CURATOR OF

AMERICAN PAINTINGS AT THE

METROPOLITAN MUSEUM OF ART, AND

I INVIOLATE YOU TO COME SEE OUR

NEW GALLERY AND TO VIEW THE

MOITSA IN ITS BRAND-NEW

LOCATION.

>> NEXT WEEK ON "NYC ARTS" A

PROFILE OF JAMES WHITESIDE, WITH

THE AMERICAN BALLET THEATER.

>> I FOUND AN AD FOR A DANCE

STUDIO IN A PHONE BOOK, AND IT

WAS OF A MAN HOLDING A WOMAN

OVER HIS HEAD WITH ONE HAND, AND

IT LOOKED AWESOME, AND I SAID

I'M GOING TO TRY THAT.

>> A LOOK AT THE EXHIBITION, THE

PORTRAITS IN POLITICS NOW ON

VIEW AT THE METROPOLITAN.

IT FEATURES PORTRAITS BY SOME OF

THE MOST CELEBRATED ARTISTS OF

THE ITALIAN RENAISSANCE.

>> THANK YOU FOR JOINING ME THIS

EVENING.

I'M ON LOCATION ATNOIA GALLERY

IN NEW YORK.

GOOD NIGHT AND SEE YOU NEXT

TIME.

>> FUNDING IS MADE POSSIBLE BY

THE LEWIS SUNNY TURNER FUND FOR

DANCE, THE AMBROSE MONEL

FOUNDATION, JODY AND JOHN

ARNHOLTZ, CHARLES AND VALLEY

GEITHNER, THE NANCY SIDEWATER

FOUNDATION.

THE MILTON AND SALLY AVERY ARTS

FOUNDATION.

AND ELLEN AND JAMES S. MARGUS.

THIS PROGRAM IS SUPPORTED IN

PART BY PUBLIC FUNDS FROM THE

NEW YORK CITY DEPARTMENT OF

CULTURE AFFAIRS IN PARTNERSHIP

WITH THE CITY COUNCIL.

ADDITIONAL FUNDED PROVIDED BY

MEMBERS OF 13, NYC ARTS IS MADE

POSSIBLE IN PART BY FIRST

REPUBLIC BANK.

>> FIRST REPUBLIC BANK PRESENTS

FIRST THINGS FIRST.

AT FIRST REPUBLIC BANK, FIRST

REFERS TO OUR FIRST PRIORITY,

THE CLIENTS WHO WALK THROUGH OUR

DOORS.

THE FIRST STEP, RECOGNIZE THAT

EVERY CLIENT IS AN INDIVIDUAL

WITH UNIQUE NEEDS.

BE A BANK WHOSE CURRENCY IS

SERVICE IN THE FORM OF PERSONAL

BANKING.

THIS WAS FIRST REPUBLIC'S

MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON

OUR MINDS.

>> AND BY SWAN AUCTION

GALLERIES.

>> SWAN AUCTION GALLERIES, WE

HAVE A DIFFERENT WAY OF LOOKING

AT AUCTIONS, OFFERING VINTAGE

BOOKS AND FINE ARTS SINCE 1941.

WORKING TO COMBINE KNOWLEDGE

WITH ACCESSIBILITY, WHETHER

YOU'RE A LIFE-LONG COLLECTOR, A

FIRST TIME BUYER OR LOOKING TO

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