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2. EPISODE TWO
(Broadcast Sunday 7 May 2006 @ 6.35pm)
Writer: Colin Swash
The war is over but the
artists continue to struggle to show their work at the Salon, as the
factual drama series which gives an insight into the world of The
Impressionists continues. Degas works feverishly, creating the delicate
paintings of ballerinas for which he is best known.Yet his paintings
belie the cold hostility he shows for his models, in contrast with
Renoir, who loves the female form.
Monet remains transfixed
with light and colour. He paints his seminal work, Impression: Sunrise,
in just 40 minutes in a race against time to capture the light. In
memory of Bazille, who first hatched the plan, the artists (apart from
Manet) stage their own exhibition. It opens in Paris in 1874 and
includes works such as The Poppies At Argenteuil by Monet.The exhibition
is slammed by critics and the public, but from one of the insults aimed
at Monet’s Sunrise (“it’s a damned funny impression”),
comes the name of the movement.
Still dogged by poverty,
Monet visits the home of his rich patron, Ernest Hochedé, and meets
Hochedé’s wife,Alice, the woman who will become the love of his life.
Monet’s wife, Camille, meanwhile, is struck with an agonising illness.
Degas, struggling
with his failing eyesight and a growing sense of loneliness, draws nudes
as they have never been seen before. Gritty and realistic, these works
earn him a reputation for despising women. Privately he takes this
even further, drawing prostitutes and brothels in pornographic detail.
Meanwhile, Monet and Renoir have works accepted by the Salon. Angry that
his old friends in the movement seem to be deserting him, Degas plays a
malicious hoax on Monet, reporting his death in a Parisian newspaper.
Just as the artists start to receive critical acclaim, their success is
threatened by jealousy and petty quarrels.
Director: Mary Downes
3. EPISODE THREE
(Broadcast 14 May 2006 @ 6.35pm)
Writter: Sarah Woods
Rivalries and betrayal come to the fore
in the concluding part of The Impressionists. After many years
struggling with the Salon and the Paris art establishment, Manet's
achievements are formally recognised when he is awarded the Légion
d'Honneur. Gravely ill with syphilis, he conceals his pain from his
friends at the celebrations. He paints his last masterpiece, A Bar at
the Folies-Bergere, which is loved at the Salon. Now living with Alice
Hochedé, Monet continues his lifelong pursuit of nature and light.
Leaving Alice behind, he travels to Italy, Holland and the coastlines of
France where he paints seas, cliffs and violent rock formations
including The Sea at Etretat. For his series of paintings of Haystacks,
Monet paints on three canvases at once, each one capturing a different
light. He creates 15 versions of the image which sell in three days.
Haystacks have become as acceptable a subject as flowers. But Monet's
physical journey finally ends when he realises that everything he wants
can be found at his home in Giverny. He marries Alice and together they
create the lily pond which inspires him for the rest of his life. As the
Impressionists start to enjoy their growing acclaim, Paul Cézanne takes
the movement in a new direction. Savaging his work as "the cult of
ugliness", critics write that it is "painted by a madman with
shakes". Even Cézanne admits: "When the people of Aix are
stuck for a laugh, they ask to see my paintings." In his personal
life, Cézanne conceals his illegitimate son from his wealthy father for
fear of losing his allowance, but a chance event exposes his deceit. But
the most painful betrayal comes when his life-long friend, the famous
novelist Emile Zola, depicts Cézanne in his next novel as an abject
failure. Cézanne finds inspiration at Montagne Saint-Victoire where he
does 60 different paintings of the mountain from different angles.
Persuaded by the Paris art dealer Ambroise Vollard to let him exhibit
his visionary work, the world finally starts to recognise his genius.
Even Degas, one of his harshest critics, buys Cézanne's Still Life:
Glass and Apples. The former rebels are now accepted and applauded by
the establishment, their work celebrated around the world. Returning to
1920, Monet is drawing to the end of his recollections. The master of
Impressionism has outlived all his friends but his passion to capture
the impression of a moment has not diminished as he completes his latest
masterpiece, Japanese Bridge at Giverny.
Director: Tim Dunn
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UK /
BBC1 / 3x50 minute episodes / 30
April - 14 May 2006
