A conversation between Philippe de Montebello and Renée Price, Director of The Neue Galerie New York, about the exhibition “The Self-Portrait, from Schiele to Beckmann,” which is on view through June 24, 2019. Followed by a look at the work of sculptor Augustus Saint Gaudens, in the collection of The Metropolitan Museum of Art.

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> COMING UP ON 'NYC-ARTS,' A VISIT TO A GALLERY ABOUT THE SELF-PORTRAIT.

THEY'RE PSYCHOGRAPHS, THEY'RE REACTING TO THEIR SURROUNDINGS.

THIS WAS A VERY TUMULTUOUS TIME IN GERMANY AND AUSTRIA, AND THEY'RE LOOKING TO BREAK FROM THE ACADEMIC TRADITION AND TO CREATE A NEW VISUAL VOCABULARY.

> AND A LOOK AT THE WORK OF SCULPTOR AUGUSTIN ST. GAUDENS.

HE ARRANGED DRAPERIES ON FOUR DIFFERENT MODELS AND IT TOOK HIM TWO WEEKS TO GET THE LOOK HE WAS AFTER.

WHEN HE FINISHED HE WROTE, HOORAY, IT'S THE GREATEST VICTORY ANYONE EVER MADE.

> FUNDING FOR 'NYC-ARTS' IS MADE POSSIBLE BY ROSALIND P. WALTER IN MEMORY OF DINA MERRILL, THE THEA PETSCHEK IERVOLINO FOUNDATION, THE KATE W. CASSIDY FOUNDATION, JEAN DUBINSKY APPLETON ESTATE, JODY AND JOHN ARNHOLD, ELLEN AND JAMES S. MARCUS, THE LEWIS 'SONNY' TURNER FUND FOR DANCE, ELISE JAFFE AND JEFFREY BROWN, THE MILTON AND SALLY AVERY ARTS FOUNDATION, AND ELROY AND TERRY KRUMHOLZ FOUNDATION.

THIS PROGRAM IS SUPPORTED, IN PART, BY PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF THIRTEEN.

'NYC-ARTS' IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

> FIRST REPUBLICAN BANK PRESENTS FIRST THINGS FIRST.

AT FIRST REPUBLICAN BANK, FIRST REFERS TO OUR FIRST PRIORITY.

THE CLIENTS WHO WORK THROUGH OUR DOORS.

THE FIRST STEP, RECOGNIZE THAT EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

FIRST DECREE, BE A BANK WHOSE CURRENCY IS SERVICE IN THE FORM OF PERSONAL BANKING.

THIS WAS FIRST REPUBLIC'S MISSION.

IT'S STILL THE FIRST THING ON OUR MINDS.

AND BY SWANN AUCTION GALLERIES.

SWANN 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 LIFELONG COLLECTOR OR FIRST TIME BUYER OR LOOKING TO SELL, INFORMATION AT SWANNGALLERIES.COM.

♪♪

> GOOD EVENING AND WELCOME TO 'NYC-ARTS.'

I'M PAULA ZAHN AT THE TISCH WNET STUDIO IN NEW YORK.

LOCATED IN RENOVATED BEAUX ARTS MANSION, THE MUSEUM WAS FOUNDED BY TWO CLOSE FRIENDS.

CURRENTLY ON VIEW IS THE EXHIBITION THE SELF-PORTRAIT FROM SHEILA TO BECKMAN WHICH FOCUSES ON WORKS CREATED IN THE FIRST FOUR DECADES OF THE 20th CENTURY.

THE SELF-PORTRAIT HAS TRANSCENDED THE AGES FROM THE OLD MASTERS TO TODAY AND REACHED NEW HEIGHTS IN AUSTRIA AND GERMANY DURING THIS TIME.

ABOUT 70 SELF PORTRAITS BY MORE THAN 30 ARTISTS ARE ON VIEW HERE.

SOME ARE BY WELL-KNOWN FIGURES SUCH AS MAX BECKMAN.

OTHERS ARE WORKS BY ARTISTS THAT DESERVE GREATER RECOGNITION.

THESE INCLUDE SOME OF THE OUTSTANDING WORKS BY WOMEN SUCH AS PAULA BECKER AND CASA KOLVETZ.

MY XLEEG, PHILIPPE de MONTEBELLOW, RECENTLY SPOKE WITH DIRECTOR RENEE PRICE.

I'M WITH RENEE PRICE, THE DIRECTOR OF THE GALLERY, IN THE MIDST OF THE NEW EXHIBITION THAT IS DEVOTED TO THE SELF-PORTRAIT.

AND IT COVERS BASICALLY THE PERIOD OF TIME BETWEEN THE TWO GREAT WARS.

MY FIRST QUESTION TO YOU IS WHY IS THIS PERIOD OF TIME FOR ARTISTS FROM GERMANY AND AUSTRIA SO CRITICAL?

I THINK ARTISTS ARE LIKE PSYCHOGRAPHS.

THEY'RE REACTING TO THEIR SURROUNDINGS.

THIS WAS A VERY TUMULTUOUS TIME IN GERMANY AND AUSTRIA, AND I THINK YOU'RE ALSO SEEING THAT THE ARTISTS ARE MORE CONFIDENT TO EXPRESS THEMSELVES, AND THEY'RE LOOKING FOR A MODERN WAY TO DO THAT.

THEY'RE LOOKING TO BREAK FROM THE ACADEMIC TRADITION AND TO CREATE A NEW VISUAL VOCABULARY.

THE SELF-PORTRAIT SAYS A GREAT DEAL, OF COURSE, ABOUT INTROSPECTION, THE ARTIST LOOKING AT HIMSELF OR HERSELF.

BUT SURELY IT ALSO GOES BEYOND, IT'S USING ONESELF TO EXPRESS A BIGGER STORY THAN ONESELF.

YES, IT'S BOTH.

THESE WERE TIMES OF ECONOMIC WOES AND OBVIOUSLY WHEN YOU ARE YOUR OWN MODEL, IT'S THE LEAST EXPENSIVE WAY OF SHOWING A FIGURE.

THE MODEL IS ALWAYS WITH YOU.

THE MODEL IS ALWAYS WITH YOU AND ALWAYS HAS A VERY FAVORABLE RATE.

MANY OF THESE ARTISTS FLOURISHED WITH THIS IDEA OF THE SELF-PORTRAIT.

THEY COULD HAVE A CERTAIN VERACITY.

AND THEY WERE LOOKING FOR A TRUTH.

THEY WERE OBVIOUSLY DEPICTING THEMSELVES IN THEIR SURROUNDINGS, IN THE TIME THAT THEY LIVED IN.

SO THEY BECOME VERY IMPORTANT HISTORIC DOCUMENTS AS WELL.

IF YOU GO AROUND THIS EXHIBITION, IT GOES BEYOND THE TRUTH.

THEY ARE SINGULARLY UNFLATTERING TO THEMSELVES.

WHAT ACCOUNTS FOR THAT?

I MEAN, HUMAN BEINGS ARE QUITE NATURALLY NARCISSISTIC.

BUT HERE THERE'S A KIND OF CRUEL, CLINICAL LOOK AT ONESELF THAT IS MOST INTERESTING.

THEY DID NOT WANT TO IDEALIZE THEMSELVES.

THEY WEREN'T LIVING IN IDEALIZED CIRCUMSTANCES.

MOST OF THEM VOLUNTEERED TO GO TO WAR AND THEY CAME BACK WITH THE TRAUMA OF THAT.

THEY HAD TO DEAL WITH THAT AND PAINTING SELF PORTRAITS IS ONE WAY OF DOING THAT.

YOUR BOOK ENDS IN TERMS OF THE TITLE IS SHEELY AND BECKMAN, BOTH OF THEM, AND YOU HAD A NUMBER OF ETCHINGS OF REMBRANDT, THEY PAINT THEMSELVES IN DIFFERENT TIMES AND DIFFERENT GUISES.

ARE THEY THE TWO GREAT ARTISTS OF THE PERIOD?

THEY ARE GREAT ARTISTS OF THE PERIOD.

ONE IS AUSTRIAN, ONE IS GERMAN.

WE ARE A MUSEUM FOR GERMAN AND AUSTRIAN ART.

SHEELY BEING THE AUSTRIAN, MAX BECKMAN THE GERMAN.

THEY WERE BOTH OF THE SAME GENERATION.

THEY WERE BOTH CONVINCED THEY WERE EXTRAORDINARILY TALENTED ARTISTS.

THERE IS A VERY PROFOUND PSYCHOLOGICAL INVESTIGATION THAT ONE FINDS IN THESE PORTRAITS.

CAN YOU SAY SOMETHING ABOUT SHEELY'S LIFE AND HOW MAYBE THAT IS REFLECTED IN THIS PORTRAIT?

IGAN SHEELY IS I THINK THE FIRST ARTIST WHO DID NOT MAKE METICULOUS ETCHINGS OR PAINTINGS BUT DID THIS COMPLETE OUTBURSTS ENTIRE BODY FOR THAT.

THAT WAS EXTREMELY MODERN.

HE ALSO DIDN'T BELIEVE THAT THERE WAS ONE OF HIM BUT THAT HE CONSISTED OF MANY MYSTERIOUS ELEMENTS, AND HE LUSTED TO EXPERIENCE EVERYTHING.

SHEELY MADE AT LEAST 240 SELF-PORTRAITS THAT WE KNOW OF.

IT WAS A TENTH OF HIS ENTIRE OUTPUT.

AND HE DIED WHEN HE WAS 28.

OF AN ILLNESS.

HE DIED OF THE SPANISH FLU, YES.

NOW, BECKMAN IS A CONTEMPORARY OF SHEELY.

HE IS THE GERMAN ARTIST.

AND THE SPAN OF TIME IS A MUCH WIDER ONE, WHEN IT TAKES US ALL THE WAY FROM THE EARLY DAYS OF THE FIRST WORLD WAR THROUGH THE SECOND WORLD WAR, EVEN TO BECKMAN IN NEW YORK.

CORRECT.

IN WHAT WAY CAN WE STUDY REALLY THE BIOGRAPHY OF BECKMAN THROUGH THESE PORTRAITS, AND IS THAT SOMETHING YOU TRIED TO DO IN MOUNTING THIS SHOW?

BECKMAN WAS A MEDICAL ORDERLY IN WORLD WAR I AND HE HAD A BREAKDOWN.

HE HAD TO RECUPERATE IN FRANKFURT.

HE WANT TO PARIS.

HE WAS SO CONVINCED HIS TALENT WAS SO GREAT THAT HE CALLED HIMSELF AN ART MACHINE.

AND WE ARE SHOWING WORKS FROM THE VARIOUS STAGES OF HIS LIFE.

THE FIRST PAINTING WE SHOW, ACTUALLY, IS CALLED THE FAMILY, WHERE YOU SEE HIM IN A VERY CRAMPED ROOM.

AND YOU SEE SYMBOLS.

HE NEVER LIKED TO EXPLAIN HIMSELF.

HE SAID, IF I WANTED TO EXPLAIN WHAT I'M DOING, I WOULD HAVE BECOME A WRITER.

HE LIKED THAT MYSTERY AND INTERPRETATION THAT WAS POSSIBLE.

SO IF YOU LOOK CLOSELY AT THE FAMILY, YOU SEE THAT HE'S RECLINING AND HIS WIFE AT THE TIME WAS LOOKING IN THE MIRROR AND THE CANDLE BETWEEN THEM HAS BEEN BLOWN OUT.

AND THERE ARE ALL KINDS OF WONDERFUL DETAILS IN THIS PICTURE.

HIS SON IS READING A COMIC BOOK.

AND THEY'RE ALL CRAMMED INTO THE SPACE AND EVERYBODY IS IN THEIR OWN ISOLATION.

AND THAT'S REALLY AN INTERESTING MESSAGE THERE.

THIS MAX BECKMAN PORTRAIT OF 1938 IS ONE OF THE KEY WORKS IN THE COLLECTION OF THE GALLERY.

AND IT WAS STARTED IN 1933, WHEN HE HAD A DIFFERENT, HAPPIER EXPRESSION IN HIS FACE.

BUT THEN BETWEEN '33 AND '38, MUCH HAPPENED.

HE WAS DISMISSED FROM HIS JOB AND OF COURSE HE WAS ALSO ONE OF THE DEGENERATE ARTISTS THAT THE NAZIS VILIFIED.

HE KNEW HE HAD NO PLACE AND NO CAREER IN GERMANY.

BECKMAN PORTRAYS HIMSELF HERE AS SOMEBODY WHO IS ABOUT TO MAYBE BLOW ON THAT HORN AND TO WARN US OF THE DISASTERS THAT WERE IMMINENT.

THAT MAKES THIS AN HISTORICALLY IMPORTANT PAINTING AND THE ROLE OF THE ARTIST IN THIS CONTEXT IS AMPLIFIED.

WE HAVE SAID 'HE' MANY TIMES.

BUT WE COULD ALSO SAY 'SHE,' BECAUSE REVEALED TO US IN THIS EXHIBITION ARE A NUMBER OF VERY STRIKING WORKS BY WOMEN ARTISTS.

TELL US A LITTLE BIT SOMETHING ABOUT THEM AND THEIR PLACE IN THE ART OF THE TIME.

IT WAS VERY DIFFICULT FOR WOMEN TO RECEIVE AN ART EDUCATION IN THAT TIME.

WOMEN WERE NOT PERMITTED TO ATTEND ACADEMIES BECAUSE THEY WERE NOT ALLOWED TO BE EXPOSED TO NUDE MALE MODELS.

IF A WOMAN WANTED TO BECOME AN ARTIST IN GERMANY IN THE EARLY 20th CENTURY, SHE HAD TO GO TO PARIS TO STUDY MODERN MASTERS AND TO STUDY THE NUDE.

AND ONE GREAT EXAMPLE IS PAULA MORRISON BECKER.

WE HAD HERE A VERY IMPORTANT SELF-PORTRAIT FROM 1906 THAT SHOWS HER IN HER STUDIO IN PARIS.

AND IT'S THE FIRST TIME THAT A WOMAN HAS PAINTED HERSELF NOT ONLY WITHOUT CLOTHES OR VERY LITTLE CLOTHES, BUT ALSO PREGNANT.

WE KNOW THAT THIS IS A SYMBOLIC PREGNANCY BUT NEVERTHELESS, AS FAR AS WE KNOW, THIS HAS NOT HAPPENED BEFORE 1906.

IS THIS IN A SENSE A MESSAGE TO HER HUSBAND, LOOK, LET'S HAVE SOME KIDS?

BECAUSE SHE IS NOT PREGNANT, WE KNOW THAT BY THE DATE.

AT THE TIME THAT SHE PAINTED THAT, SHE HAD SEPARATED FROM HER HUSBAND.

AND SHE WAS IN PARIS ON HER OWN, AND SHE WAS CERTAINLY THINKING ABOUT HAVING A CHILD.

AND IT MIGHT BE A PROJECTION FOR THE FUTURE.

THERE'S ANOTHER MORRISON BECKER, CAN YOU SAY SOMETHING ABOUT THAT?

YES.

THIS IS FROM THE FOLLOWING YEAR, 1907, WHEN PAULA MORRISON BECKER IS IN A HAPPIER PLACE.

SHE RECONCILED WITH HER HUSBAND.

SHE IS INDEED PREGNANT.

SHE'S HOLDING OUT FLOWERS AS A KIND OF WELCOME.

SHE ALSO, AS WE KNOW, LOOKED VERY CLOSELY, NOT JUST AT MODERN ART IN PARIS, BUT AT THE LOUVRE SHE SAW THE EGYPTIAN MUMMY PORTRAITS AND THESE BIG EYES AND THIS SIMPLICITY IS SOMETHING THAT MATTERED VERY MUCH TO HER.

AND UNFORTUNATELY, THREE WEEKS AFTER SHE GAVE BIRTH TO THAT BABY GIRL, SHE DIED OF AN EMBOLISM SO HER CAREER WAS CUT SHORT.

AND SHE DIED AT THE AGE OF 31.

HOW ABOUT KITTY KOLVITZ?

ANOTHER GIANT ARTIST AT THIS TIME.

SHE DID CLOSE TO 100 SELF-PORTRAITS.

ACTUALLY, DESPITE THE MALE-DOMINATED ART WORLD IN BERLIN, HER ACHIEVEMENTS WERE ACKNOWLEDGED AND SHE WAS THE FIRST FEMALE PROFESSOR AT THE PRUSSIAN ART ACADEMY IN 1919, THE YEAR THAT WOMEN WERE ALLOWED TO VOTE IN GERMANY.

THE CHARCOAL SELF-PORTRAIT IS REALLY VERY GRIPPING.

SHE WAS LOOKING STRAIGHT INTO THE MIRROR AND STRAIGHT AT THE VIEWER, WITH A STARK CONTRAST OF THE DARK AND THE LIGHT.

AND SHE'S NOT FLATTERING HERSELF.

THIS IS SOMETHING THAT KOLVITZ WAS CONSISTENT ABOUT.

SHE WAS A REALIST AND SHE SHOWED HERSELF WITH ALL HER WRINKLES.

AND ACTUALLY THAT HAS A BEAUTY ALL OF ITS OWN.

I THINK ONE OF THE MOST MOVING, BECAUSE OF ITS HISTORICAL AND REAL CONNOTATIONS, IS THE SELF-PORTRAIT BY FELIX NUSSBAUM.

YES.

THIS IS THE MOST POIGNANT WORK IN THE EXHIBITION.

NUSSBAUM WAS A GERMAN JEWISH STUDENT IN ROME, ON A SCHOLARSHIP, WHEN IN 1933, HE REALIZED HE COULD NOT GO BACK TO GERMANY WHEN HITLER TOOK POWER.

REALLY IN HIDING.

HE WENT TO BELGIUM WHERE HE WAS APPREHENDED AND SENT TO AN INTERNMENT CAMP.

SO THE FIRST PAINTING WE'RE SHOWING, HE PAINTED AFTER HE WAS ABLE TO BE RELEASED FROM THIS CAMP.

AND YOU SEE THE FEAR IN THE ARTIST AS HE'S RE-TELLING THAT TALE.

IT'S REPORTAGE.

THE LAST SELF-PORTRAIT IS FROM 1943.

YOU REALLY FEEL THAT HE'S TRAPPED.

THE COLLAR IS TURNED UP.

HE'S SHOWING THE STAR OF DAVID THAT HE HAD TO WEAR, HE'S SHOWING HIS JEWISH IDENTITY CARD.

AND HE HAS MARKED OUT WHERE HE'S FROM BECAUSE HE DOESN'T KNOW ANYMORE WHERE HE BELONGS.

BUT THERE'S A LITTLE BIT OF HOPE BECAUSE YOU SEE A TREE WITH CUT BRANCHES BEYOND THAT WALL, AND ONE BRANCH HAS BLOSSOMS ON IT AND THERE ARE SOME BIRDS.

THAT GIVES YOU A SENSE OF HOPE.

BUT HE WAS APPREHENDED BY THE NAZIS AND THEN HE WAS MURDERED IN AUSCHWITZ AS WERE HIS ENTIRE FAMILY BY THE END OF 1944.

SO IT'S TRULY A SELF-PORTRAIT WITH A MOST TRAGIC ENDING.

SO YES, THROUGH THE SELF-PORTRAIT, THROUGH THAT EXAMINATION OF ONE'S OWN FEATURES WITHIN ONE'S OWN SURROUNDINGS, THIS IS AN EXHIBITION THAT TELLS A GREAT DEAL ABOUT, AS YOU SAID EARLIER, THE TUMULTUOUS HISTORY OF THE TIME.

IT'S A FASCINATING EXHIBITION, AND SO MUCH TO BE LEARNED FROM IT, AND SO DIRECTLY MOVING, BECAUSE IT IS A PORTRAIT, REALLY, OF AN EPOCH, THANK YOU VERY MUCH, RENEE PRICE, DIRECTOR OF THE GALLERY, FOR THIS WONDERFUL TOUR.

THANK YOU.

♪♪

> 'NYC-ARTS' ISN'T JUST AVAILABLE ON THURSDAYS.

YOU CAN ALSO FIND IT ON THE WEB.

YOU CAN WATCH CLIPS AND LEARN MORE ABOUT INSTITUTIONS AND EVENTS FEATURED ON OUR SHOW.

COMING UP NEXT, WE'LL VISIT THE AMERICAN WING GALLERIES AT THE METROPOLITAN MUSEUM OF ART.

THE MUSEUM'S HOLDINGS INCLUDE AN EXTENSIVE COLLECTION OF WORK BY AUGUSTUS ST. GUADENS.

HE BECAME ONE OF THE FINEST AMERICAN SCULPTORS.

HIS BRONZE STATUES REFLECTED THE PHYSICAL ATTRIBUTES AS WELL AS THE SPIRIT OF HIS SUBJECTS.

> I'M CURATOR IN THE AMERICAN WING AT THE METROPOLITAN MUSEUM OF ART.

AND WE'RE STANDING IN THE NEW AMERICAN WING GALLERY.

26 NEW SPACES DEVOTED TO ART FROM THE 18th CENTURY THROUGH THE EARLY 19th CENTURY.

I'M HERE TODAY TO TALK ABOUT AUGUSTUS ST. GAUDENS.

THE METROPOLITAN HAS 50 WORKS BY ST. GAUDENS.

WE'RE FORTUNATE TO BE ABLE TO PRESENT HIS WORK FROM EARLY CAMEO PORTRAITS TO LOW RELIEF PORTRAITS OF HIS FRIENDS AND FELLOW ARTISTS, TO MODELS FOR AND REDUCTIONS AFTER HIS GREAT CIVIL WAR MONUMENTS.

HE WAS BORN IN IRELAND BUT CAME HERE TO NEW YORK AS AN INFANT AND WAS RAISED ON THE LOWER EAST SIDE.

HE BEGAN AT AGE 13, WORKING AS AN APPRENTICE FOR A CAMEO CUTTER.

AND THAT REALLY FUELED HIS INTEREST IN BECOMING A SCULPTOR.

IN 1867, HE WENT ABROAD TO PARIS TO STUDY AND TRAINED AT REALLY THE FOREMOST TRAINING GROUND FOR STUDENTS ACROSS THE WORLD AT THAT TIME.

HE ALSO STUDIED IN ROME.

HE CAME BACK TO NEW YORK AND ESTABLISHED A CAREER AS A SCULPTOR OF GREAT CIVIL WAR MONUMENTS.

SOME OF THE BEST KNOWN WORKS IN NEW YORK ARE THE FARRAGUT MONUMENT IN MADISON SQUARE PARK AND THE GREAT GILDED EQUESTRIAN STATUE OF GENERAL SHERMAN AT 59th STREET AND FIFTH AVENUE, GRAND ARMY PLAZA.

IN 1892, AFTER SHERMAN DIED, HE RECEIVED A COMMISSION TO HONOR HIS CONTRIBUTIONS TO THE UNION CAUSE.

HE INCORPORATED AN ALLEGORICAL FIGURE INTO A REALISTIC PORTRAIT OF THE PERSON WHO WAS BEING COMMEMORATED.

SO WHILE GENERAL SHERMAN IS MARCHING ALONG ON HORSEBACK, THE WINGED FIGURE OF VICTORY IS LEADING HIM ON.

SHE'S MOVING FORWARD WITH THESE WIND-BLOWN DRAPERIES.

SHE HOLDS THE PALM FROND IN HER HAND WHICH IS THE SYMBOL OF VICTORY.

AND SHE IS REALLY QUITE AMERICAN IN A SENSE.

ST. GAUDENS WORKED WITH SEVERAL DIFFERENT MODELS TO CREATE THIS SCULPTURE.

GENERALLY THIS WAS A PROCESS THAT WAS KIND OF AN AMALGAMATION OF POSES.

MOST INTERESTING IS THE FACT THAT ONE OF THE MODELS WAS A WOMAN NAMED HEADY ANDERSON WHO WAS AN AFRICAN-AMERICAN WOMAN FROM SOUTH CAROLINA AND ST.

GAUDENS WORKED WITH HER FREQUENTLY AND SAID SHE HAD A FIGURE LIKE A GODDESS.

IN THE CASE OF THE VICTORY, HE ARRANGED DRAPERY ON FOUR DIFFERENT MODELS AND IT TOOK HIM TWO WEEKS TO GET THE LOOK HE WAS AFTER.

WHEN HE FINISHED THE FIGURE, HE WROTE, HOORAY, IT'S THE GREATEST VICTORY EVER MADE.

I HOPE YOU'LL COME AND VISIT OUR GALLERIES AND PAY SPECIAL ATTENTION TO THE INSTALLATION OF OUR SCULPTURE COLLECTION.

♪♪

> HELLO, I'M RAFAEL PI ROMAN.

WELCOME TO LINCOLN CENTER.

THE METROPOLITAN OPERA'S CURRENT SEASON WILL CONCLUDE WITH THREE MAJOR PRODUCTIONS.

RIGOLETTO IS SET IN A 1960s LAS VEGAS CASINO.

IT WILL RUN THROUGH MAY 10th.

THE COMPLETE RING CYCLE, WAGNER'S FOUR-PART MASTER WORK, WILL BE PERFORMED THROUGH MAY 11th.

AND THREE PERFORMANCES OF POULENC'S OPERA ABOUT AN ORDER OF NUNS WHOSE FAITH IS TESTED, WILL RUN THROUGH MAY 11th.

FOR COMPLETE DETAILS VISIT METOPERA.ORG.

FOR EVEN MORE INFORMATION ABOUT EVENTS IN LINCOLN CENTER, VISIT THEIR WEBSITE AT LINCOLNCENTER.ORG.

♪♪

> I HOPE YOU'VE ENJOYED OUR PROGRAM THIS EVENING.

I'M PAULA ZAHN AT THE TISCH WNET STUDIOS AT LINCOLN CENTER.

THANKS FOR JOINING US.

> NEXT WEEK ON 'NYC-ARTS,' A VISIT TO THE BROOKLYN STUDIO OF JOSE PARLA, AN ARTIST WHOSE PRACTICE INCLUDES PAINTING, PHOTOGRAPHY, VIDEO, SCULPTURE, AND LARGE SCALE MURALS.

I LIKE THE IDEA OF TRANSLATING A PLACE OR AN EXPERIENCE OF BEING IN A PLACE INTO A PAINTING.

SO I'VE IMAGINED MYSELF DISSECTING A WALL INSTEAD OF PAINTING A CANVAS AND IMAGINING THAT WHAT I'M DISCOVERING BY PAINTING IS THE ACCUMULATION OF THE MANY YEARS OF WHAT OTHER PEOPLE HAVE DONE.

> AND A BEHIND THE SCENES LOOK AT METRO GRAPH, A HOTSPOT FOR CINEMA ON THE LOWER EAST SIDE.

WHETHER YOU'RE GOING TO SEE A MOVIE OR HAVE A MEAL OR LOOK AT THE BOOKSTORE OR ARE JUST PASSING BY AND CHECKING OUT THE CANDY STORE, STOPPING FOR A DRINK, HAVING A MEETING, IT'S A PLACE THAT REALLY CAPTURES AN IMAGINARY IDEA OF AN OLD MOVIE STUDIO.

TO ENJOY MORE OF YOUR FAVORITE SEGMENTS ON 'NYC-ARTS,' POLICE VISIT NYC-ARTS.ORG.

LEONARD, IT'S A PRIVILEGE TO SIT DOWN WITH YOU.

I LOVE BEING WITH YOU TOO, PAULA.

IT'S A PLEASURE TO BE WITH THE CURATOR OF THIS EXHIBITION FULL OF HOPE.

WE ARE IN THE MIDST OF SOME OF THE GREATEST SCULPTURES BY THE ICONIC NAMES.

♪♪ ♪♪ ♪♪ ♪♪

> FUNDING FOR 'NYC-ARTS' IS MADE POSSIBLE BY ROSALIND P. WALTER IN MEMORY OF DINA MERRILL, THE THEA PETSCHEK IERVOLINO FOUNDATION, THE KATE W. CASSIDY FOUNDATION, JEAN DUBINSKY APPLETON ESTATE, JODY AND JOHN ARNHOLD, ELLEN AND JAMES S. MARCUS, THE LEWIS 'SONNY' TURNER FUND FOR DANCE, ELISE JAFFE AND JEFFREY BROWN, THE MILTON AND SALLY AVERY ARTS FOUNDATION, AND ELROY AND TERRY KRUMHOLZ FOUNDATION.

THIS PROGRAM IS SUPPORTED, IN PART, BY PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF THIRTEEN.

'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.

FIRST DECREE.

BE A BANK WHOSE CURRENCY IS SERVICE.

THIS IS FIRST REPUBLIC'S MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON OUR MINDS.

AND BY SWANN AUCTION GALLERIES.

SWANN 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 LIFELONG COLLECTOR OR FIRST TIME BUYER OR LOOKING TO SELL, INFORMATION AT