ぶらぶら美術・博物館 2024年12月19日 復活SP！「モネ 睡蓮のとき」国内最大規模の“睡蓮”が集結！
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TVTranscript
00:00It's been a while since we've seen Blah Blah, and we're bringing it to you from Ueno's National Museum of Western Art.
00:09Blah Blah Museum of Art's special revival!
00:15It's here.
00:17When the show was over, I thought I'd never be able to do this again, so I told everyone.
00:23It's rare to do something like this, isn't it?
00:26It's rare.
00:27It's rare to come back like this, isn't it?
00:29It's only once a year, though.
00:31Don't say that. Let's do more.
00:33I'm really looking forward to it.
00:35You're happy to see everyone, aren't you?
00:37I'm happy that all four of us are here.
00:39That's right, but what we're worried about is Mr. Oroo's health.
00:42He's in bad shape, isn't he?
00:44He's in bad shape. He's got cancer all over his body.
00:47His liver has turned into Kusamayayoi.
00:50It's like a puddle.
00:53I can't laugh at all.
00:55We'll be doing this for about two hours today.
00:58It's okay. This is the fourth episode.
01:02It's okay.
01:03I'm in good shape.
01:05That's good. Let's do our best for now.
01:08It's okay.
01:09Today, we're doing something special.
01:11It's amazing.
01:12It's amazing. Look behind you.
01:15It's full of bones.
01:16It's full of bones.
01:18It's full of bones.
01:20It's a hot topic, isn't it?
01:22It is.
01:23Bones are popular in Japan, so they're often used.
01:27But this time, the bones are a little different.
01:30That's right.
01:31It's probably the most amazing thing I've ever seen.
01:33I feel like you say that every time.
01:35No, it's not like that.
01:36It's not like Bojorenubo.
01:39It's really amazing.
01:40Is it really amazing?
01:41It's really amazing.
01:42Let's ask the commentators about that.
01:45This is researcher Aoi Yamamatsu.
01:48Mr. Yamamatsu, thank you.
01:52There are quite a lot of works from this exhibition.
01:55That's right.
01:56This time, about 50 works, including the first public work in Japan,
01:59including the first public work in Japan,
02:01have been exhibited at the Marumotan Mone Museum in Paris,
02:04which boasts the world's largest collection of Mone.
02:08The way the exhibition room is displayed is also amazing.
02:11I've been to the water lily of the Paris Orangery Museum.
02:16The room of the water lily of the Orangery Museum
02:19displays a huge water lily in a oval room,
02:22and it's a space where people are enveloped in water lilies.
02:28We made an exhibition room that looks like that room
02:31in the Western Museum.
02:33So that's what you made.
02:34This time, we made a special oval exhibition room
02:37that surrounds the wall of the exhibition room
02:40with nine water lily works,
02:42ranging from 2 meters to 4 meters in size.
02:45It's powerful.
02:46That's exactly what Mone was aiming for.
02:49It's like standing on the edge of a pond where water lilies bloom.
02:52It's like you're in the pond.
02:54That's right.
02:55You can experience that.
02:57I'm really looking forward to it.
02:59This is one of the points of reading Mone.
03:02Please look forward to it.
03:04Also, the title of this exhibition is Mone in Japanese,
03:07when it's a water lily,
03:09but the title in French is Le dernier Mone,
03:12which means the last year of Mone.
03:16So the title is about the last year of Mone.
03:18Yes, that's right.
03:21Mone's passion for water lilies
03:25was displayed in the Orangery Museum.
03:31The first world war.
03:33The death of his beloved wife and son.
03:36The last year of Mone.
03:38Why did Mone choose water lilies
03:41even though his vision was impaired?
03:46Let's take a look at where Mone ended up.
03:52I've seen a lot of Mone.
03:54You've seen a lot.
03:55I've seen a lot of him.
03:57But even I can understand
04:00the charm of Mone this time.
04:02Yes, I can.
04:05I'm confident.
04:08If you've seen or if you haven't seen
04:11the exhibition at Oiri the other day,
04:13you'll see a new side of Mone
04:15if you watch it until the end.
04:19Water lilies
04:35Mone is known for his series of water lilies.
04:39He changes the time and season
04:42to draw several of them.
04:45Why does he do that?
04:47Let's take a look at that first.
04:50First of all,
04:51this is my favorite Japanese work.
04:54Isn't it nice?
04:55It's nice.
04:56The color is nice.
04:57Right?
04:58It's a long title
05:00called Senugawa Shiryu Hinode
05:03near Giverny.
05:05It's amazing.
05:06It's a bit blurry,
05:07but the color is amazing.
05:09Mone spent 1896 to 1898
05:13drawing Senugawa,
05:15which is close to Giverny,
05:17where he lives.
05:19There are about 20 water lilies
05:21and this one was drawn in 1897.
05:26Mone is 57 years old.
05:29When Mone was 50,
05:31he bought an atelier in Giverny,
05:34an hour's drive from Paris,
05:37and drew a lot of landscapes
05:40in Senugawa.
05:43This is also a serial?
05:44Yes.
05:45Mone has been drawing water lilies
05:47since the same time
05:48this work was drawn.
05:51I see.
05:52It says Hinode,
05:54but it's quite early.
05:56It's early in the morning.
05:57That's right.
05:58Mone woke up at 3.30 a.m.
06:00every morning to make this serial
06:02and went to Senugawa.
06:04That's early.
06:05He's just like Mr. Otonfuya.
06:09From the darkness.
06:10When the sun comes out,
06:12it's so bright.
06:15I want to see that moment.
06:18It changes in an instant.
06:20That's right.
06:21According to a testimony,
06:23Mone took 14 canvases at the same time
06:26and moved the canvases
06:28as the effect of light,
06:30atmosphere, and nature changed.
06:33He put 14 canvases side by side?
06:35Side by side?
06:36I don't know if he put them side by side.
06:39It's not vertical.
06:41It's not vertical.
06:43It depends on the time.
06:45That's right.
06:46The light changes in an instant.
06:48That's right.
06:49The structure is the same,
06:51so the point of view is fixed.
06:54As the effect changes,
06:55he moved the canvases.
06:57I see.
06:58If it's side by side,
06:59the point of view moves.
07:00I see.
07:01I see.
07:02I see it on the camera.
07:04Yes, that's right.
07:06If Mone's canvases are layered over time,
07:10it looks like a time-lapse video.
07:15The flow of time is sealed in the picture.
07:20When I look at Mone's canvases,
07:22I even think about that.
07:26And around here,
07:28is the London Bridge series.
07:31That's right.
07:32This is also a series.
07:34Speaking of series,
07:35I have an image of Mone.
07:37Did Mone do it first?
07:39I don't think there were many people
07:43who drew many canvases at the same point of view.
07:45I think it's good to say that Mone did it for the first time.
07:48I think so, too.
07:49I'm sorry to say this,
07:51but I don't care about the subject.
07:53Rather than drawing a bridge,
07:55I want to draw the light and colors around it.
08:00In this series of London Bridges,
08:02especially the fog that covers the city of London,
08:05or smoke,
08:07the expression of the atmosphere
08:09is more important than the bridge.
08:12I see.
08:13As I always say,
08:15in 1841,
08:16paint with tubes came out,
08:18and it became easier to draw outside for the first time.
08:22Drawing with outside light
08:24means that the light changes all the time.
08:28It's not just convenient for Mone to draw in the studio.
08:32I think he wanted to draw with a stable light.
08:36Rather than that,
08:38he wanted to draw the reflection of the reflection itself.
08:42I see.
08:43Mone certainly has the image of drawing outside.
08:46Yes.
08:47Outdoor production was a very important element
08:50for the impressionist painters,
08:52including Mone.
08:54However, in this series of London,
08:57as you all know,
08:59the weather is always bad,
09:01and it's easy to catch a cold.
09:03It's very difficult to complete a work at once.
09:07However, Giverny and London are very far apart,
09:11and it's not a distance that can be drawn so easily.
09:15For this reason,
09:16Mone had to draw these works in the studio.
09:21In fact, this series of works
09:23was the first time he drew a series of works in the studio.
09:27Moreover, in the letter,
09:29he said,
09:30there is no reason for others to say that.
09:33I see.
09:34In that sense,
09:36this series of works
09:38is a work that rejuvenated Mone.
09:40It's okay to draw in the studio.
09:42I see.
09:43I think it opened up the possibility
09:47for the subsequent series of works
09:51I see.
09:54Now, we're finally in the water lily part.
09:57It's full of water lilies.
10:00Mone made a garden in Giverny
10:02and drew a water lily.
10:04At first, I rented a house in Giverny,
10:07and then I bought it,
10:09and then I bought a large piece of land,
10:12and there was a water lily pond
10:15and a Japanese bridge.
10:17Did you call it a water garden?
10:19Yes, I did.
10:20He made it.
10:23Mone began to draw water lilies in the garden.
10:27The next water lily he saw
10:29was a work he drew when he was 57 years old.
10:33This is a very precious water lily.
10:36It's cute.
10:37Is this a water lily from the beginning?
10:40Yes, it is.
10:41Mone drew the first water lily
10:44around 1897.
10:47There are eight works
10:49that are considered to be from 1897.
10:53This is one of them.
10:55He drew it well.
10:56He drew a water lily.
10:58He drew a water lily
11:00rather than the light and colors
11:03he drew earlier.
11:05He must be happy
11:07because he just drew a water lily.
11:10The flowers of the water lily
11:12are close-up,
11:14and it's drawn with a very careful touch.
11:17It's beautiful, isn't it?
11:19The interest in the water lily itself
11:21is reflected in the spread of the water
11:24and the reflection and light
11:26reflected in it.
11:28I think you can see the difference
11:30in the water lily.
11:32When did you start
11:34collecting water lilies
11:36with a picture of Durand-Ruel?
11:38It was in 1909.
11:39Already in the 20th century?
11:41Durand-Ruel was a painter,
11:44but he was one of the people
11:46who supported Monet's painting
11:48from the beginning.
11:50In the 1909 series of water lilies,
11:52only the water lily theme
11:54was exhibited in 48 works.
11:58Monet saw a lot of water lilies
12:00lined up in a row.
12:02He might have thought
12:04that this gave people
12:06a feeling as if they were
12:08living in a fairy tale.
12:11Through the experience of displaying
12:13works of the same theme
12:15in a row,
12:17Monet began to create
12:19decorations that covered
12:21the walls of the room
12:23with only works of water lilies.
12:25So it's related to the later
12:27large-scale decorations.
12:29Yes, that's right.
12:31Let's see how Monet's paintings
12:33and water lilies
12:35will change from now on.
12:39In the garden of Giverny,
12:41various kinds of flowers
12:43were blooming.
12:45Before looking at the water lilies,
12:47let's enjoy such flowers
12:49with Monet's works.
12:51Monet made a garden
12:53of water lilies in Giverny.
12:55He loved gardens,
12:57so he planted a lot of flowers
12:59and had a garden of flowers.
13:01He drew flowers like this.
13:03That's nice.
13:05Yellow iris.
13:07That's nice.
13:09Did you like it?
13:11It's very dynamic.
13:13It's powerful, isn't it?
13:15It's a very good organization.
13:17It's more powerful than usual.
13:19When it comes to the flowers of the iris,
13:21Monet planted more than 40 kinds
13:23of flowers of the iris
13:25in his garden.
13:27On the contrary,
13:29there are 40 kinds of flowers of the iris.
13:31That's right.
13:33At that time,
13:35the number of flowers
13:37of the iris was increasing.
13:39Among the 40 kinds of flowers,
13:41there was a new generation
13:43named after Monet's wife.
13:45Which one?
13:47At that time,
13:49it was Madame Claude Monet.
13:51Madame Claude Monet.
13:53The flowers of the iris
13:55are called Ayame in Japan.
13:57Monet,
13:59who was a great collector
14:01of water lilies,
14:03was one of his favorite flowers.
14:05And next to it,
14:07this is from Marmotan.
14:09Yes.
14:11This is also an iris,
14:13isn't it?
14:15It's a bug's point of view.
14:17That's right.
14:19It's looking up from below.
14:21The sky.
14:23Yes, that's right.
14:25At first glance,
14:27it looks like it's looking up
14:29from below
14:31but the blue sky
14:33in the background
14:35is not the sky,
14:37but the sky reflected in the water.
14:39It's a reflection.
14:41Yes, it's a reflection of the water.
14:43Then, where does the iris come from?
14:45Is that so?
14:47Not like this, but like this.
14:49The sky and clouds reflected in the water
14:51are reflected in the water.
14:53I see.
14:55Not like this, but like this.
14:57That's right.
14:59Now that you mention it,
15:01there's no way I'd draw it from here.
15:03It's a bug's point of view.
15:05It's a problem that the viewer
15:07doesn't notice it.
15:09But Monet probably
15:11did it on purpose.
15:13Here, the point of view
15:15of looking up at the water
15:17and the point of view
15:19of capturing the iris
15:21from the side are combined.
15:23In fact,
15:25Monet's early 20th century
15:27was a period
15:29of new art movements
15:31such as chivism.
15:33The combination of these points
15:35of view
15:37reminds me of the chivism
15:39of the same period
15:41and the trend of new art.
15:43It's like Cézanne,
15:45one of his former colleagues.
15:47That's right.
15:49Cézanne's point of view
15:51from the side
15:53and the point of view
15:55of looking up at the water
15:57and the point of view
15:59of capturing the iris
16:01from the side
16:03are combined.
16:05Monet loved Cézanne.
16:07He had a lot of works
16:09by Cézanne.
16:11Maybe he could get
16:13some hints from that.
16:15These people
16:17never stop evolving.
16:19As I mentioned earlier,
16:21in 1909,
16:23Cézanne started
16:25painting from the point of view
16:27of looking up at the water
16:29and the point of view
16:31of capturing the iris
16:33from the side.
16:35But in fact,
16:37he stopped painting
16:39for a few years after that.
16:41Why?
16:43Because of his age,
16:45his physical condition
16:47was not as good as before.
16:49But at that time,
16:51there was a storm
16:53and the garden of his
16:55precious Giverny
16:57became a mess.
16:59In 1911,
17:01his wife, Alice,
17:03passed away.
17:05In 1912,
17:07the most important thing
17:09for a painter
17:11is the eye,
17:13but he was diagnosed
17:15with pulmonary encephalitis.
17:17In 1914,
17:19the First World War
17:21began.
17:23It was the same year, 1914.
17:25That's right.
17:27I'm a little sick of it.
17:29However,
17:31it was the garden
17:33that made him
17:35stand up again.
17:37There are three precious gardens
17:39here.
17:41It's a good arrangement.
17:43These three gardens
17:45are one of my favorite
17:47I like it.
17:49There is a sofa over there.
17:51So you put it here.
17:53I want to see it slowly.
17:55It's an exhibition
17:57of Mr. Yamamatsu's
17:59own work.
18:01I like this height.
18:03I put it on the height
18:05where I can sit and see.
18:07Especially these two on the right
18:09are connected.
18:11The direction is the same.
18:13That's right.
18:15These three gardens
18:17are said
18:19to be
18:21phantasmagorical.
18:23That's right.
18:25The large-scale
18:27decoration project of the gardens
18:29that I mentioned earlier
18:31was originally
18:33a hotel villa
18:35with an Auguste Rodin
18:37museum,
18:39which was originally
18:41a sculpture
18:43and a gallery.
18:45It was a project
18:47to cover the walls of the room
18:49with only water lilies.
18:51However, the project of the hotel villa
18:53was abandoned
18:55for financial reasons,
18:57and was eventually
18:59installed in the Orangery Museum
19:01as it is now.
19:03In the exhibition room of the hotel villa,
19:05four themes of water lilies
19:07will be exhibited.
19:09One is the reflection of trees,
19:11one is clouds,
19:13one is three water lilies,
19:15and the other
19:17is Agapanthus.
19:19The three works
19:21displayed here
19:23are a collection
19:25of three panels
19:27of Agapanthus.
19:29I see.
19:31If the exhibition room
19:33is located in the hotel villa,
19:35will it be exhibited there?
19:37In the end,
19:39the works of Agapanthus
19:41will be excluded.
19:43Why did Agapanthus
19:45disappear?
19:47I don't know the exact reason,
19:49but I think it was
19:51because of the large motif
19:53in the foreground of the screen.
19:55When the water lilies
19:57covered the room,
19:59they prevented the viewer
20:01from feeling
20:03a sense of unity
20:05with the water lilies
20:07in the foreground of the screen.
20:09That's right.
20:11I think that's why
20:13Agapanthus didn't depict
20:15the water lilies in detail.
20:17Is this the same one
20:19as the one
20:21on the left right corner
20:23of the screen
20:25in the middle of the screen?
20:27It's sharp.
20:29The work on the left
20:31depicts Agapanthus,
20:33which is also
20:35in the middle of the screen.
20:37The work in the middle
20:39depicts Agapanthus' leaves
20:41in the left corner.
20:43The water lilies
20:45on the right side
20:47are in the middle of the screen.
20:49I see.
20:51So, the water lilies
20:53are in the middle of the screen.
20:55That's right.
20:57As you pointed out,
20:59the work on the right
21:01depicts the water lilies
21:03in the middle of the screen.
21:05The water lilies
21:07are in the upper right corner.
21:09I see.
21:11The work in the middle
21:13is very symmetrical.
21:15The water lilies
21:17are placed
21:19diagonally on the edge
21:21of the screen.
21:23The water lilies
21:25are placed
21:27diagonally on the edge
21:29of the screen.
21:31I wonder
21:33whether Monet
21:35actually placed
21:37such a large canvas
21:39on the edge
21:41of the water lily pond.
21:43Interestingly,
21:45Monet used
21:47the same water lily
21:49in various places
21:51in one work
21:53to depict
21:55the decoration
21:57of Agapanthus.
21:59Monet actually placed
22:01nature in front of him
22:03and depicted
22:05the impression
22:07he got from it.
22:09He brought it back
22:11to the atelier
22:13and reconstructed
22:15the nature
22:17in the atelier
22:19with his memory.
22:21He reconstructed
22:23the nature
22:25in front of him
22:27with his memory.
22:29He started to reconstruct
22:31the nature.
22:33He brought it back
22:35to the atelier
22:37and reconstructed
22:39the nature
22:41in the atelier
22:43with his memory.
22:45He brought it back
22:47to the atelier
22:49and reconstructed
22:51the nature
22:53in the atelier
22:55with his memory.
22:57He brought it back
22:59to the atelier
23:01and reconstructed
23:03the nature
23:05in the atelier
23:07with his memory.
23:09The motif for the water lily
23:11was a wave of lilies
23:13which is called an abyss.
23:15From there,
23:17he started to reproduce
23:19the motif
23:21with his memory.
23:23It must have been very impressive.
23:25Why did you choose Orangery?
23:27Was the ceiling not enough?
23:29Yes, that's exactly the actual reason.
23:31Really?
23:33I thought it would be about three meters high.
23:35In the plan for the hotel villa,
23:37Monet was planning to build a pavilion
23:39just for the pavilion,
23:41but it would cost a lot of money
23:43to build the building,
23:45so he decided not to do it.
23:47When he decided to reuse
23:49the existing building
23:51for the pavilion,
23:53the ceiling was not enough.
23:55That's the actual reason.
23:57I see.
23:59There was a Japanese-style
24:01Taiko bridge at the pond
24:03where Monet's pavilion was located,
24:05and a Fuji-tree was hung there.
24:07In the early days of Monet's life,
24:09the Fuji-tree fell down beautifully.
24:11People who visited Monet's garden
24:13would walk under the Fuji-tree
24:15and walk around the pond.
24:17I think that Monet thought
24:19that by placing the Fuji-tree
24:21on top of the pond,
24:23he was trying to recreate
24:25the experience of walking
24:27in Monet's garden.
24:29I see.
24:31In terms of the structure of this work,
24:33it shows the style of Monet's life
24:35very well.
24:37For example,
24:39the branches of the Fuji-tree
24:41are hung on the left side,
24:43and you can see that
24:45they are drawn
24:47in the shape of the Fuji-tree.
24:49The branches that move
24:51as if they are using
24:53the whole body
24:55are the motifs of
24:57Yanagi Shidare,
24:59Iris of Tatenaga,
25:01which you saw earlier.
25:03These are the big features
25:05of Monet's works in his later years.
25:07He must be very energetic
25:09because he can draw so many lines.
25:11That's right.
25:13Monet was over 80 years old at that time,
25:15and he faced the big screen
25:17with his old age,
25:19and drew with his body.
25:21I can imagine
25:23such a figure.
25:25It must have been hard
25:27for him to be 80 years old.
25:29That's amazing.
25:31At that time,
25:33Monet thought of various flowers
25:35in the garden,
25:37including Iris,
25:39Fuji-tree,
25:41and Agapanthus,
25:43so he drew a lot
25:45of works,
25:47but in the end,
25:49the flowers
25:51disappeared from the grand decoration.
25:53I think one of the important points
25:55of this exhibition
25:57is that you can see
25:59the process of trial and error
26:01until you reach
26:03the grand decoration
26:05that everyone knows now.
26:07The exhibition room
26:09of the Orangery Museum
26:11is made of oval shape
26:13to wrap people.
26:15After this,
26:17I will show you
26:19such a space.
26:21Orangery Museum
26:41Here it is.
26:43This is the highlight
26:45of this exhibition.
26:47This is it.
26:49It's like a museum.
26:51Yes, it is.
26:53It's an oval-shaped space.
26:55Yes, it is.
26:57The water lilies are
26:59all over the space.
27:01This is great.
27:03Mr. Yamamoto,
27:05you did a great job.
27:07Monet was very particular
27:09about the shape
27:11of this oval room,
27:13and I really wanted
27:15to reproduce it.
27:17So, I made this space
27:19for this exhibition.
27:21Not only that,
27:23but I also put the floor
27:25in white.
27:27I see.
27:29White is good.
27:31I think you can feel
27:33the brightness
27:35as soon as you enter
27:37the exhibition room.
27:39I see.
27:41Is the lighting
27:43also white?
27:45Yes, it's orange.
27:47I put a sheet
27:49that changes the color of the light
27:51to make it white.
27:53I see.
27:55So, you can enjoy
27:57the color of the work
27:59closer to the original color.
28:01Mr. Yamamoto,
28:03you did a great job.
28:05You can take pictures
28:07only in this room.
28:09I can take pictures.
28:11Yes, you can.
28:13This is the main visual
28:15of this exhibition
28:17among the watercolors
28:19that we have surrounded.
28:21I see.
28:23This is very different
28:25from what you see in the print.
28:27Yes, it is.
28:29The real thing is always
28:31bright and light.
28:33Yes, it is.
28:35I think this painting
28:37depicts the early morning
28:39and the bright time.
28:41If you look closely,
28:43you can see that
28:45orange or pink colors
28:47are used.
28:49You can feel the light
28:51in such places.
28:53I see.
28:55It's refreshing.
28:57As I mentioned earlier
28:59about the touch of
29:01Monet in his late years,
29:03you can also see
29:05the brushstrokes
29:07like flowing lines
29:09and the leaves
29:11of the water lily.
29:13If you look closely,
29:15you can see
29:17that the natural objects
29:19are integrated.
29:21You can feel
29:23the condensation
29:25of the sky,
29:27the earth, and the water.
29:29It's rare to see the sky in the painting.
29:31In the painting of Iris,
29:33the sky is reflected.
29:35Yes, it is.
29:37The motif of the water lily
29:39was very important
29:41for Monet in his late years.
29:43However, until 1909,
29:45the small water lily
29:47was hardly depicted.
29:49I think that
29:51Monet didn't want to
29:53include small motifs
29:55in such a small painting.
29:57Because it's a large painting.
29:59Yes.
30:01Because it's a large painting
30:03and a large exhibition space,
30:05Monet was aiming
30:07for such a world.
30:09I see.
30:11It was around this time
30:13that Monet built
30:15a large atelier
30:17around 1915.
30:19Yes.
30:21It was a little before
30:23the First World War.
30:25He built a very large atelier
30:27with a glass ceiling
30:29and natural light
30:31in the corner of the garden
30:33and started to
30:35make large decorative paintings.
30:37It was a large atelier
30:39for large decorative paintings.
30:41Yes.
30:43If the canvas was 4 meters wide,
30:45it would be impossible
30:47to paint outdoors,
30:49so he had to paint in the atelier.
30:51He took that much space.
30:53In addition,
30:55Monet combined
30:57large canvases
30:59that were 4 meters wide
31:01with large canvases
31:03that were 4 meters wide.
31:05In order to experiment
31:07with the combination,
31:09he needed to take
31:11that much space.
31:13Monet thought about
31:15the combination
31:17while moving
31:19the panel on the car
31:21with wheels.
31:23It's amazing.
31:25It's not like this.
31:27As Mr. Yamamoto said,
31:29he was just starting to make it.
31:31That's right.
31:33When that happens,
31:35there's no end to it.
31:37I think it was a never-ending
31:39process of trial and error.
31:41While he was working
31:43on large canvases,
31:45Monet was also
31:47trying new ways of painting.
31:49I saw the London Bridge series
31:51a long time ago.
31:53This is also a bridge, isn't it?
31:55Yes.
31:57It has changed a lot.
31:59At first glance,
32:01I don't think it's a bridge series.
32:03It's called a bridge series,
32:05so I think it's like
32:07trying to find a bridge.
32:09But if you don't know that,
32:11I don't think there's a bridge.
32:13You've collected a lot of these.
32:15Are these all Marmottans?
32:17These are all Japanese bridges
32:19in Marmottan.
32:21This is Taikobashi, isn't it?
32:23Taikobashi?
32:25This is Taikobashi.
32:27It's a little difficult here.
32:29You've collected a lot.
32:31There aren't many opportunities
32:33to see Monet like this.
32:35It's a touch I don't know much about.
32:37It's like abstract expressionism.
32:39That's right.
32:41It's a work of the second half of the year
32:43where you can get to know
32:45the unknown side of Monet.
32:47As you said earlier,
32:49this is a series of the third half of the year
32:51based on the Japanese-style Taikobashi
32:53and the Japanese-style Marmottan.
32:55It's an amazing thing.
32:57It is.
32:59As I said earlier,
33:01one of the many misfortunes
33:03that hit Monet in 1912
33:05was a leukemia.
33:07When this painting was drawn,
33:09the eyes became very bad
33:11in the 1920s,
33:13and it was difficult
33:15to recognize the shape of things.
33:17As a result,
33:19the sense of color
33:21in Monet's painting
33:23was also different from before.
33:25I think such things
33:27can be influenced
33:29by the color like red
33:31and the rough touch.
33:33Is Taikobashi red?
33:35It's red,
33:37so it's around here.
33:39Taikobashi is green.
33:41In Japan,
33:43Taikobashi is red,
33:45but Monet's garden Taikobashi is green.
33:47That's how it was.
33:49So where did Taikobashi
33:51come from?
33:53It's the influence
33:55of leukemia.
33:57The color of Taikobashi
33:59looked different.
34:01I can't deny the influence
34:03of leukemia,
34:05but it's not just that.
34:07Monet painted Taikobashi
34:09in parallel with
34:11the production of
34:13Rai-soushoku-ga.
34:15It's a new challenge
34:17for Taikobashi.
34:19I think the experimental spirit
34:21of Taikobashi
34:23was embedded in this work.
34:25I see.
34:27Isn't this a bit abstract?
34:29Yes, it is.
34:31I think it has something
34:33to do with abstract expressionism,
34:35but it's more about Monet.
34:37Monet is getting old
34:39and it's hard to see.
34:41Monet, who is in a state
34:43of complete loss,
34:45is still trying
34:47new things.
34:49His enthusiasm
34:51and the urge to create
34:53are embedded
34:55in his paintings.
34:57I can feel
34:59the greatness of Monet again.
35:01After this,
35:03the last piece of the exhibition
35:05will be displayed.
35:07Where did Monet
35:09end up?
35:15PHOTOGRAPHY
35:17DIFFERENT PHOTOGRAPHY
35:19DIFFERENT POSTS
35:21DIFFERENT COMPANIES
35:23DIFFERENT evenTS
35:25DIVINE
35:29The final piece of this exhibition
35:31is the two large works.
35:33Mr.Yamamoto,
35:35what was the purpose
35:37of the last two works?
35:39As I mentioned,
35:41when Monet's interest
35:43It was also the time of the First World War.
35:49The war broke out in 1914,
35:54and it brought a lot of sadness to Monet as well.
35:58Many families were sent to the battlefield,
36:01including his son Michel.
36:03In the midst of all this,
36:05Monet silently worked on the grand decoration of the water lily.
36:09In his letter to a religious person,
36:13he said that he felt it was shameful to be so distressed
36:18while many people were dying in the war.
36:23He expressed his feelings like this.
36:25He felt it was time to draw.
36:27But he said that drawing was the best way
36:31to escape sadness and heal oneself.
36:37I chose these two points
36:40because I wanted people to think of the historical background
36:43behind the water lily.
36:45Both of them are water lilies.
36:47This one is the trunk of a water lily.
36:49The water lily is the center.
36:51Yes, that's right.
36:52Earlier, we looked at works based on flowers
36:55such as Fuji, Iris, and Agapanthus.
36:58In the end, those flowers
37:00were removed from the screen of the grand decoration.
37:05The only motif that remained
37:08other than the water lily flowers
37:10was the tree of the water lily.
37:13In French, the word water lily
37:15means a soulful tree.
37:18A weeping water lily?
37:20Yes, in English, it means a weeping tree.
37:23In English, it's called a weeping willow.
37:25That's right.
37:27So, even in terms of language,
37:29the word water lily is associated with sadness.
37:32The tree of the water lily
37:34has the shape of a weeping willow.
37:37In fact, when you go to France,
37:39the water lily tree is planted in many cemeteries.
37:43Only the motif of the water lily tree
37:46remained in the grand decoration
37:48in addition to the water lily.
37:51However, considering the historical background
37:54of the First World War,
37:56the motif of the water lily
37:58may have been associated with sadness,
38:01mourning, and mourning.
38:04That's right.
38:06I see.
38:08The day after the First World War,
38:11Monet said he would donate
38:14the grand decoration to the country.
38:21It was a healing experience
38:23as if he had entered the landscape of the water lily.
38:26For Monet,
38:28the grand decoration project
38:30may have been a monument of mourning
38:33for the people who were injured in the war.
38:37The work over there
38:39depicts the water lily.
38:42It's hanging on the water.
38:44That's right.
38:45The leaves of the water lily are hanging
38:48and the reflection is drawn below.
38:50It's a powerful work
38:52as if the reflection
38:54of the water lily is connected.
38:57The reflection of the water lily
39:00is drawn.
39:02It's connected.
39:03That's right.
39:04No matter how close you look at it,
39:06you can't see the boundary,
39:08the line.
39:09You can't see it.
39:10I think the world
39:12where the reflection of the water lily
39:14and the reflection of the water lily
39:16are integrated is here.
39:18Is this also a connected work?
39:21Yes, it is.
39:23The reflection of the water lily
39:25is here, isn't it?
39:27That's right.
39:28It's going up.
39:30In this work,
39:32the water lily's trunk is seen from the front.
39:35It goes a few steps towards the pond.
39:38It probably stands
39:40next to the water lily
39:42and peeps into the water.
39:44That's the work.
39:46It's not a pan.
39:47It's coming out.
39:48That's right.
39:49It's coming closer to the pond.
39:52It's like a movie from the same period.
39:54You can compare it
39:56to a movie from the same period.
39:58That's right.
39:59You can say it's a movie-like painting.
40:02That's right.
40:03It feels like it's moving.
40:04It's moving.
40:05The water lily is always moving.
40:09In fact,
40:10both of these works
40:12are related to
40:14one of the final great decorative paintings,
40:16which is called
40:18Morning with Water Lily.
40:20This is it.
40:22This is the painting.
40:24The composition of this painting
40:26is almost the same.
40:28In this work,
40:30the water lily's flower
40:32is not drawn
40:34because it is seen from a distance.
40:36However,
40:38in this work,
40:40the point of view is combined
40:42as it comes closer to the pond.
40:44It's a different point of view.
40:46That's right.
40:48The point of view that comes closer to nature
40:50while moving
40:52is a combination of
40:54the great decorative paintings of the water lily.
40:56When I enter this room,
40:58I can feel
41:00the passage of time
41:02when I look around.
41:04That's right.
41:06The combination of these points of view
41:08is greatly influenced
41:10by the sense of immersion
41:12in nature
41:14that we feel
41:16when we look at the water lily.
41:18When we look at the painting,
41:20we are probably not aware of it,
41:22but the point of view
41:24of the water lily
41:26is combined in our head.
41:28That's right.
41:30We store it and reconstruct it.
41:32I think that the water lily
41:34moves around the pond
41:36and comes closer to the pond
41:38as it does.
41:40I see.
41:42What do you think?
41:44When we look at the process
41:46of the great decorative painting
41:48of the water lily,
41:50we can feel
41:52something different
41:54from what we've known
41:56so far.
41:58That's right.
42:00I feel like I've seen
42:02something new.
42:04I've been doing this
42:06since I was over 80.
42:08When I was diagnosed with leukemia,
42:10I was told to have an operation
42:12about three times a week.
42:14But I still draw this great painting.
42:16There were so many things
42:18I didn't know.
42:20Marumotan is amazing.
42:22Yes, he is.
42:24As you said,
42:26he had a lot of works
42:28of Monet's works
42:30from the late 19th century
42:32when his nephew
42:34Michel died.
42:36Monet didn't want
42:38to sell his works
42:40to the public.
42:42So most of his works
42:44were left in the studio
42:46and his nephew
42:48Michel donated them
42:50to Marumotan Museum.
42:52That's why his works
42:54from the late 19th century
42:56were the most fulfilling.
42:58Why didn't he sell them?
43:00Most of his works
43:02were related to
43:04the great decorative painting
43:06of the water lily.
43:08I see.
43:10There were many discoveries.
43:12It was wonderful.
43:14Thank you very much, Mr. Yamada.
43:16Thank you very much.
43:18After this,
43:20we went to the Monet's special shop.
43:38This is the museum shop
43:40of Monet's water lily.
43:42There are some drawings.
43:44This is a cute water lily.
43:46It's worth reading.
43:48This is a drawing.
43:50What do you mean?
43:52Drawings are always good.
43:54Right.
43:56I want to review it.
43:58Drawings are always good.
44:00I'll read it.
44:02I'll buy it.
44:04I heard
44:06Monet's water lily
44:08is sold out
44:10in the museum shop.
44:12Handkerchiefs and scarves
44:14are sold out.
44:16These are cute goods.
44:18This is a macaron bolo.
44:20Macaron bolo.
44:22Macaron bolo is a snack
44:24with a crispy texture
44:26baked with macaron dough.
44:28I see.
44:30Water lily is printed.
44:32It's cute, isn't it?
44:34This is a design of
44:36a Japanese bridge.
44:38It's a design of Monet's
44:40water lily.
44:42It's a tea.
44:44It's a tea from
44:46Brooklyn, New York.
44:48Brooklyn, New York?
44:50It's a tea from
44:52Shizuoka.
44:54It's organic.
44:56It's from Shizuoka.
44:58That's a great idea.
45:00It's powder,
45:02so it's easy to drink.
45:04It's easy to drink.
45:06Japanese people
45:08may like
45:10to drink tea like this.
45:12I want you to put it in Kyusu.
45:14It's very delicious.
45:16It's good.
45:18Monet's water lily
45:20is held
45:22until February 11
45:24at the National Museum of Western Art.
45:26Let's meet again
45:28someday.
45:30See you!
45:32See you!