A visit to Frick Madison, the temporary new home of The Frick Collection. Then, a profile of the Martha Graham Dance Company, a look at a work from the collection of the American Folk Art Museum, and the exhibition “Goya’s Graphic Imagination” at The Metropolitan Museum of Art.

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> COMING UP ON 'NYC-ARTS' A PROFILE OF THE MARTHA GRAHAM DANCE COMPANY WHICH CARRIES ON THE INNOVATIVE SPIRIT OF ONE OF THE MOST INFLUENTIAL ARTISTS OF THE 20th CENTURY.

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GRAHAM'S WORK REQUIRES SORT OF THE PERFECT MARRIAGE OF THE PHYSICAL AND THE EMOTIONAL.

HER MOVEMENT IS DESIGNED TO REVEAL THE INNER LANDSCAPE AND REALLY FINDING THAT BALANCE BETWEEN THE PHYSICALITY AND THE EMOTIONAL JOURNEY WITHOUT BECOMING MELODRAMATIC IS THE CONSTANT BATTLE.

AND A LOOK AT ONE OF THE HIGHLIGHTS OF THE COLLECTION OF THE AMERICAN FOLK ART MUSEUM.

JEAN MARCEL ST. JACQUES GATHERED THE DETRITUS OF HIS HOME AFTER HURRICANE KATRINA AND STARTED FASHIONING WHAT HE CALLED WOODEN QUILTS, PAYING HOMAGE TO HIS GREAT-GRANDFATHER WHO WAS A HOODOO MAN AND A JUNK COLLECTOR, AND HIS GREAT-GRANDMOTHER, WHO WAS A QUILT-MAKER.

FUNDING FOR 'NYC-ARTS' IS MADE POSSIBLE BY THEA PETSCHEK IERVOLINO FOUNDATION.

THE LEWIS SONNY TURNER FUND FOR DANCE.

JODY AND JOHN ARONHOLD, THE AMBROSE MOW NELL FOUNDATION, ROSALIND P. WALTER, ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

THE NANCY SIDEWATER FOUNDATION, ELROY AND TERRY KRUMHOLZ FOUNDATION, THE MILTON AND SALLY AVERY ARTS FOUNDATION AND ELLEN AND JAMES S. MARIUS.

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 AND BY SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS, WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY, A LIFELONG COLLECTOR, FIRST-TIME BUYER, INFORMATION TO SWELL AT SWANNGALLERIES.COM.

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GOOD EVENING AND WELCOME TO 'NYC-ARTS.'

I'M PHILIPPE de MONTEBELLO ON LOCATION AT THE FRICK MADISON, THE TEMPORARY NEW HOME OF THE FRICK COLLECTION LOCATED AT MADISON AVENUE AND 75th STREET, IT OCCUPIES THE FORMER SITE OF THE WHITNEY MUSEUM OF AMERICAN ART AND MORE RECENTLY THE MET BREAKTHROUGH.

THE FRICK COLLECTION WILL RESIDE HERE FOR TWO YEARS WHILE ITS HISTORIC BUILDINGS ON EAST 70th STREET UNDERGO RENOVATION.

ONE OF THE WORLD'S FOREMOST COLLECTIONS OF EUROPEAN FINE AND DECORATIVE ARTS, THE FRICK'S HOLDINGS HAVE GROWN OVER THE DECADES, MORE THAN DOUBLING SINCE THE OPENING OF THE MUSEUM IN 1935.

THE COLLECTION ORIGINATED WITH INDUSTRIALIST HENRY CLAY FRICK WHO BEQUEATHED HIS GILDED AGE MANSION ALONG WITH ITS PAINTINGS, SCULPTURES AND DECORATIVE ARTS TO THE PUBLIC FOR THEIR ENJOYMENT.

ACROSS THREE FLOORS OF THE U BREUER BUILDING, PAINTINGS, SCULPTURE AND DECORATIVE ARTS ARE ORGANIZED LOOSELY BY TIME PERIOD, GEOGRAPHIC REGION AND MEDIA.

HIGHLIGHTING STRENGTHS IN PARTICULAR SCHOOLS AND GENRES FRICK MADISON FEATURES GALLERIES DEDICATED TO NORTHERN EUROPEAN, ITALIAN, SPANISH, BRITISH AND FRENCH ART, SETTING THE STAGE FOR ROOMS DEVOTED EXCLEESIVELY TO INDIVIDUAL ARTISTS.

THESE NEW GROUPINGS REVEAL UNEXPECTED RELATIONSHIPS BETWEEN SUBJECTS, ARTIST AND MEANS OF EXPRESENTATION.

ON THE SECOND FLOOR, NORTHERN EUROPEAN PAINTINGS REPRESENT WHAT IS NOW GERMANY, BELGIUM AND THE NETHERLANDS.

THESE WORKS SHARE THE GENERAL CHARACTERISTICS OF PRECISION AND HIGHLY NATURALISTIC DEPICTIONS OF THEIR SUBJECTS.

THESE RANGE FROM THE PORTRAITS OF MEMLING AND HOLBIEN TO VAN IKES AND DAVID'S RELIGIOUS FIGURES, ALSO TO BREUGEL'S SOLDIERS.

HOLBEIN'S ICONIC PORTRAITS OF THE STATURE THOM MORE AND HIS NEMESIS THOMAS CROMWELL HANG TONIGHT, ALONE WITHOUT OTHER MORE.

HERE THESE FIGURES SEEM TO CONFRONT EACH OTHER MORE DIRECTLY THAN WHAT WAS POSSIBLE IN THE FRICK MANSION.

THREE STUNNING PAINTINGS BY REMBRANDT, HIS SELF-PORTRAIT, THAT OF NICOLAES RUTS AND THE ENIGMATIC POLISH RIDER, ARE SHOWN SIDE BY SIDE.

NEARBY ARE FRICK'S THREE WEEKS BY VERMEER IN ONE ROOM, GENRE SCENES OF MEN AND WOMEN IN DOMESTIC INTIER, YO.

THESE PANELS ARE RARELY SHOWN IN SUCH PROXIMITY.

ALSO FOR THE FIRST TIME THE FRICK'S SUBSTANTIAL GROUP OF EIGHT PORTRAITS BY VAN DYKE ARE DISPLAYED TOGETHER SPANNING HIS ENTIRE BODY OF WORK.

PORTRAIT BY FRANZ HALS ARE PRESENTED NEARBY IN ADDITION TO LAND SCAPES BY HOBBEMA AND RUYSDAEL WHICH EVOKE THE LYRICAL BEAUTY OF THE COUNTRYSIDE OF THE LOW COUNTRIES.

TONIGHT WE GO BEHIND THE SCENES WITH A FULLY GROUND-BREAKING AND ORIGINAL DANCE COMPANY FOUNDED BY ONE OF THE MOST INFLUENTIAL ARTISTS OF THE 20th CENTURY, THE MARTHA GRAM DANCE COMPANY.

THEY CELEBRATED ITS 95th ANNIVERSARY THIS SEASON.

MEETING THE CHALLENGES OF THE ONGOING PANDEMIC, THE COMPANY HAS BROUGHT MARTHA GRAHAM'S LEGACY ONLINE TO AUDIENCES AROUND THE WORLD.

ON PATREON SUBSCRIBERS CAN WATCH GRAHAM'S ICONIC WORKS FROM THE ARCHIVES AS WELL AS STREAM LIVE REHEARSALS OF NEW WORKS CREATED BY THE NEXT GENERATION OF ARTISTS INSPIRED BY HER VISION.

THE COMPANY WILL CONCLUDE ITS ALL-DIGITAL SEASON APRIL 30th THROUGH MAY 2nd, WITH A FESTIVAL INCLUDING LIVE STREAMS OF THE COMPANY DANCERS PERFORMING.

NOW, A LOOK BACK AT THE MARTHA GRAHAM DANCE COMPANY IN THE STUDIO.

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I STARTED AS A DANCER WITH THE COMPANY IN 1972 AND CAME BACK TO THE COMPANY AS ARTISTIC DIRECTOR IN 2005.

MARTHA, FROM THE VERY FIRST REHEARSAL THAT I HAD WITH HER TAUGHT ME LIFE LESSONS, AND THE THEME THAT RUNS THROUGHOUT HER ENTIRE CAREER IS THE EMPOWERMENT OF THE INDIVIDUAL, BEING TRUE TO YOUR OWN UNIQUE POWER, THAT IT IS UNIQUE AND YOURS ALONE TO DEVELOP.

FOR EXAMPLE, WHEN SHE DIRECTED US IN HER ROLE IT DIDN'T CROSS HER MIND THAT WE MIGHT DANCE THE ROLE EXACTLY AS SHE HAD.

I HAD A DIFFERENT DYNAMIC, A DIFFERENT PERSONAL AURA, AND SHE EXPECTED ME TO TAP THOSE THINGS, USE MY OWN UNIQUE QUALITIES AS POWERFULLY AS POSSIBLE.

MY ARTISTIC DIRECTOR JANET EILBER HAS TAKEN THE APPROACH OF ALLOWING ME TO FIND MY WAY INTO A ROLE, TO CREATE MAY OWN INTERPRETATION WITHIN THE CHOREOGRAPHY, WITHIN THE STRUCTURE, OF COURSE.

I DIDN'T KNOW MARTHA GRAHAM.

I DON'T HAVE THE PRESSURE OF WHAT THAT PERSONALITY MEANT TO ME, BUT I CAN WORK FROM THE PHILOSOPHY AND THE TEACHINGS AND THE TECHNIQUE OF THE WORK.

'NIGHT JOURNEY' IS MARTHA GRAHAM'S TAKE ON THE OEDIPUS STORY.

OEDIPUS AND JOCASTA, HIS WIFE/MOTHER, AND IT'S ONE OF THE GREATEST EXAMPLES OF HOW MARTHA REVOLUTIONIZED THE USE OF TIME ON STAGE.

HER DANCE BEGINS WHERE THE PLAY ENDS.

JOCASTA UNDERSTANDS THE TRUTH AND IS ABOUT TO END HER LIFE, AND THE DANCE TAKES PLACE AS IF WE SEE HER LIFE FLASHING BEFORE HER EYES.

SO WE TRAVEL BACK IN HER MOMRIES.

WE SEE HER MEETING OEDIPUS AS A YOUNG MAN, THEIR COURTSHIP, THEIR MARRIAGE AND THE END OF THE BALLET IS -- WE RETURN TO THE ROPE, AND SHE ENDS IT ALL.

STEPPING INTO JOCASTA AND HER PSYCHE, WHAT IS SHE THINKING?

THAT IS A DIFFICULT QUESTIONS AND AS SHE GOES BACK IN TIME AND RELIVES HER BAD CHOICES, WE REAL USE THAT SHE IS AN INNOCENT IN THIS.

SHE HASN'T DONE ANYTHING WILLINGLY, BUT SHE HASN'T FOLLOWED HER INSTINCT.

SO ALL OF THOSE NUANCES THAT, AS JOCASTA, ONE MUST PORTRAY FOR THE AUDIENCE AND THE ENERGIES THAT THE DANCER MUST EVOKE TO GET THAT ACROSS, THAT IS A GREAT DRAMATIC CHALLENGE.

JOCASTA I THINK IS PROBABLY THE MOST COMPLEX ROLE.

SO AS AN A ACTRESS AND A DANCER THE MANY DIFFERENT FACETS AND ELEMENTS THAT YOU CAN ADD INTO THAT ROLE, IT'S ENDLESS.

IT'S INFINITE.

I'M DEFINITELY TRYING TO FIND MY OWN JOCASTA BECAUSE I COULD NEVER BE LIKE MARTHA GRAHAM OR ANYBODY IN THE PAST WHO DONE THAT PIECE.

AND I ADD A LITTLE BIT OF MY CULTURAL BACKGROUND INTO THAT REAL.

IT'S A LITTLE BIT OF LIKE ASIAN OR EVEN LIKE CHINESE, JAPANESE CABKY GESTURE, EMOTIONAL-WISE.

IT'S ABOUT USING THE TECHNIQUE TO COMMUNICATE TO BRING THE STORY ON TAGE TO -- TO TALK WITH YOUR BODY.

IT'S THE MOST CHALLENGING PART OF THE DANCER ♪

THE ELEMENTS OF THE GRAHAM TECHNIQUE HAVE REMAINED CONTENT, THAT THE TORSO IS DRIVING THE MOVEMENT.

THE TORSO BEING THE CENTER OF A MOTION IS ALSO SO, UM, INTIMATE AND DESCRIPTIVE OF THE EMOTIONAL JOURNEY, THAT FAMOUS MARTHA GRAHAM CONTRACTION AND RELEASE IS SO VISCERAL.

THE CONTRACTION, IT'S NOT A SHAPE.

THE CONTRACTION IS A LIFT AND A MOVEMENT IN SPACE.

IT'S A WAY TO MOVE THROUGH SPACE.

THAT TAKES EXTREME DEPTH OF MUSCLE CONTROL TO ACCESS AND TO ACHIEVE.

SO THAT REALLY IS THE MOST DIFFICULT PART FOR ANY OF US.

WE HAVE TO TRAIN IN IT CONTINUOUSLY.

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GRAHAM'S WORK REQUIRES SORT OF THE PERFECT MARRIAGE OF THE PHYSICAL AND THE EMOTIONAL.

HER MOVEMENT, UH, IS DESIGNED TO REVEAL THE INNER LANDSCAPE AS SHE USED TO SAY AND REALLY FINDING THAT BALANCE BETWEEN THE PHYSICALITY AND THE EMOTIONAL JOURNEY WITHOUT BECOMING MELODRAMATIC IS THE CONSTANT BATTLE.

'CAVE OF THE HEART' IS MARTHA GRAHAM'S TAKE ON THE STORY OF MEDEA.

PEOPLE THINK THE MEDEA, THAT ROLE, IT'S EVIL ROLE.

IT'S VIOLENT.

IT'S DARK.

BUT FOR ME IT ISN'T.

IT'S A WOMAN.

IT'S HUMAN EMOTION THAT NATURALLY COME OUT IF SOMEONE HURTS YOU, SOMEBODY BETRAY YOU, EVENTUALLY YOU WANT TO DO SOMETHING TO EXPRESS ANGER BY REVENGE.

I ENJOY IT A LOT BECAUSE IT'S FOR ME THE WAY TO -- I CAN RELEASE MYSELF THE SIDE THAT NEVER CAME OUT IN A NORMAL LIFE.

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LaMONTATION IN 1930, OF COURSE, WAS THE SHOT HEARD ROUND THE WORLD FOR MODERN DANCE.

TO DO SOMETHING THAT WAS SO STARK, SO MODERNIST.

THERE'S NO DECORATION.

THERE'S NO ESCAPISM.

IT REALLY IS THE THING ITSELF.

LaMONTATION IS ONE OF MY FAVORITE ROLES, WORK OF MARTHA.

IT'S FOUR MINUTES.

IT'S SHORT, AND IT'S VERY HARD.

CAUSE THE FABRIC, IT'S RESISTANT.

AS MARTHA SAYS, STRETCHING THE FABRIC IS LIKE STRETCHING YOUR SKIN.

YOU'RE TRYING TO BREAK THROUGH A CERTAIN PRESSURE TO RELIEVE THE SADNESS.

THE LaMONTATION VARIATIONS STARTED IN 2007.

WE ASKED YOUNG COREOGRAPHERS TO CREATE SHORT WORKS FOR THE COMPANY INSPIRED BY A FILM OF MARTHA DANCING HER ICONIC SOLO LaMONTATION.

THE COMMISSIONING OF NEW WORK FOR THE COMPANY IS REAL PART OF A MUCH LARGER INITIATIVE, FINDING NEW POINTS OF AUDIENCE ACCESS FOR THESE GRAHAM WORKS.

WORKING WITH NEW CHOREOGRAPHERS, IS A DANCER LEARNS A TREMENDOUS AMOUNT ABOUT WHO THEY ARE.

I LEARNED A LOT ABOUT WHO I AM CREATIVELY.

THAT REAL HELPED ME BRING THIS VERY VITAL ENERGY TO MY PEP TRY WORK.

FOR ME 'APPALACHIAN SPRING GO THE GO THE IS A PERENNIAL FAVORITE.

I WAS ABLE TO PLAY THE FOLLOWERS AND EVENTUALLY THE BRIDE, MARTHA GRAHAM'S ROLE OF THE PRIDE, AND I WAS PRIVILEGED TO BE COACHED BY THE SUBSEQUENT BRIDES AFTER MA THAT ARE GRAHAM.

SO THERE WAS A WONDERFUL LINEAGE AND TRANSFERENCE OF KNOWLEDGE THROUGH THE GENERATION THAT I RECEIVED.

AND WE HAVE SOME BEAUTIFUL DANCERS WHO ARE COMING INTO THE WORK, AS IT SHOULD BE.

IT'S CYCLICAL.

THERE ARE MANY, MANY DIFFERENT WAYS TO APPRECIATE GRAHAM AND TO CONNECT WITH HER WORK, WHETHER IT'S THE GREEK MYTHS OR THE BIBLE OR WHETHER IT'S SIMPLY UNDERSTANDING THAT HER LANGUAGE, HER DANCE VOCABULARY WAS BORN OUT OF NATURAL HUMAN GESTURE, SO IT'S A VERY PERSONAL AND -- AND INTIMATE EXPERIENCE FOR AUDIENCES.

THEY RECOGNIZE HUMAN BEINGS ON THE STAGE.

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NEXT, WE'LL VISIT THE AMERICAN FOLK ART MUSEUM.

LOCATED ACROSS FROM LINCOLN CENTER, IT HAS ALSO REOPENED TO VISITORS.

SINCE 1961, THIS MUSEUM HAS BEEN SUPPORTING THE CREATIVITY OF ARTISTS WHOSE TALENTS HAVE BEEN REFINED THROUGH PERSONAL EXPERIENCE RATHER THAN NORMAL ARTISTIC TRAINING.

ITS COLLECTION INCLUDES MORE THAN 8,000 WORKS OF ART FROM FOUR CENTURIES REPRESENTING JUST ABOUT EVERY CONTINENT.

JEAN MARCEL ST. JACQUES WAS AN CREOLE FROM LOUISIANA.

AFTER HE RETURNED FROM HIS FAMILY HE BOUGHT A HOUSE THAT HAD BEEN A ROOMING HOUSE FOR SINGLE MALE MUSICIANS RUN BY A WOMAN NAMED MOTHER SISTER, AND HE BOUGHT THIS ROOMING HOUSE BUT SHORTLY AFTER HE MOVED IN NEW ORLEANS EXPERIENCED THE ENORMOUS HEARTBREAKING DEVASTATION OF HURRICANE KATRINA.

JEAN MARCEL ST. JACQUES' HOME WAS DESTROYED AND RATHER THAN GIVING INTO DESPAIR, HE GATHERED THE DETRITUS OF HIS HOME AND STARTING FASHIONING WHAT HE CALLS WOODEN QUILTS, PAYING HOMAGE TO HIS GREAT-GRANDFATHER WHO WAS A HOODOO MAN AND JUNK COLLECTOR AND HIS GREAT-GRANDMOTHER WHO WAS A QUILT-MAKER.

IF YOU LOOK CLOSELY AT THE PIECES OF WOOD, THEY ARE STUDDED WITH NAILS AND ALL THE OTHER KINDS OF ARCHITECTURAL CONSTRUCTION ELEMENTS THAT YOU WOULD SEE IN A HOME.

HE USED HOUSE PAINTS TO PAINT THESE PIECES OF WOOD, AND HE WAS ALWAYS MINDFUL OF THE PALETTE OF HIS GREAT GRANDMOTHER AND HER STRIP QUILTS.

WHEN I ASKED HIM ABOUT THE PROCESS THAT HE USES IN COLORING AND MAKING AND CONSTRUCTING HIS WOODEN QUILTS HE SAYS, WELL, LIKE ANY GOOD CREOLE COOK, THE SECRET IS IN THE ROUX, BUT I AIN'T TELLING YOU ALL WHAT THAT IS.

JEAN MARCEL HAS EMBEDDED TWO SELF-PORTRAITS AMONG PIECES OF WOOD AND THAT SHOWS HIM IN HIS GUISE AS A SPIRITUAL LEADER, PRACTICING WHAT HE CALLS FOLK MAGIC AS THE DESCENDANT OF THE HOODOO MAN.

THE TITLE OF THIS PIECE MOTHER/SISTER MAY HAVE SAT N THAT CHAIR WHEN SHE WAS IN THE HOUSE BEFORE ME, IT'S REFERRING TO MOTHER/SISTER WHO RAN THE BOARDING HOME FOR SINGLE MUSICIANS, AND THERE ARE TWO SIDES THAT FASHION A CHAIR.

ONE IS UPRIGHT AND ONE IS DOWN, SO HE HAS IN FACT INSTILLED PHYSICAL REMAINS OF HER PRESENCE IN HIS HOME INTO THIS PIECE THAT HE HAS CREATED TO PAY HOMAGE TO HIS ANCESTORS AND TO HIS OWN LOUISIANA HISTORY AND TO THE SUFFERING OF THOSE WHO SURVIVED HURRICANE KATRINA AND HIS NEIGHBORHOOD IN NEW ORLEANS.

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PAINTINGS BY FRICK MADISON ARE AMONG THE COLLECTIONS OF THE F RI CK COLLECTION BUT RIGHT NEARBY AT THE METROPOLITAN MUSEUM OF ART IS AN OPPORTUNITY TO SEE ANOTHER ASPECT OF THE ARTIST'S PRACTICE, IT PROLIFIC ACTIVITY AS DRAFTSMAN AND PRINT-MAKER.

THE EXHIBITION, THE GRAPHIC IMAGINATION FEATURES ABOUT 100 WORKS FROM THE LATE 18th AND EARLY 19th CENTURIES.

AS A WHOLE GOYA PRODUCED MORE THAN 900 DRAWINGS AND 300 PRINTS THROUGHOUT HIS LONG CAREER.

MOST WORKS ON VIEW HERE ARE DRAWN FROM HIS OWN COLLECTION WITH OTHER WORKS WITH INSTITUTIONAL COLLECTIONS.

SPANNING SIX DECADES, THE WORDS WORKS REFLECT THE TRANSFORMATION AND TURMOIL OF THE ENLIGHTENMENT, THE INQUISITION AND CONSTITUTIONAL GOVERNMENT.

THEY RANGE FROM GOYA'S ETCHINGS TO PRINT SERIES AND THE DISASTERS OF WAR.

DURING MUCH OF HIS CAREER GOYA ALSO CREATED ALBUMS OR SKETCH BOOKS AS AN OUTLET FOR HIS IMAGINATION REVEALING THE ARTIST'S NIGHTMARES, DREAMS AND VISIONS.

NOTABLE DRAWINGS ON VIEW INCLUDE THE SMALL SELF-PORTRAIT WHICH CAPTURES BOTH GOYA'S APPEARANCE AND HIS PSYCHOLOGICAL INTENSITY.

FOR WAGGING HIS TONGUE IN A DIFFERENT WAY REFERS TO PUNISHMENT CARRIED OUT BY THE ONLY OFFICE OF THE INQUISITION AND SPEAKS TO HIS EMPATHY OF THE ACCUSED.

THE CRUELTY DEPICTED IN A MAN BREAKING UP A FIGHT TESTIFIES TO GOYA'S INTEREST TO VIOLENCE IN THE AFTERMATH OF THE PENINSULA WAR.

YOU'LL SEE LATER IT'S ONE OF THE MANY WORKS DEPICTING THE ACT OF DRINKING AS A METAPHOR FOR LOSING CONTROL AND A PRELUDE TO VIOLENCE.

GOYA'S HIGH REGARD FOR DRAWINGS AS FINISHED ARTWORKS IS ESPECIALLY EVIDENT IN THE CAREFULLY ORCHESTRATED COMPOSITION GOD SAVE US FROM SUCH A FATE SHOWING A DAGGER-WIELDING MAN LEADING A WOMAN AND HER CHILD TO AN UNKNOWN FATE.

PRINTS HAD DIFFERENT ROLES WITHIN GOYA'S WORK.

THEY PROVIDED ANOTHER PLATFORM FROM WHICH HE COULD DEVELOP NEW TECHNIQUES TO APPROACH COMPELLING SUBJECTS.

THE KEEN OBSERVER OF HUMANITY, HE PRODUCED LONG SERIES THAT EXPLORED OVERARCHING THEMES SUCH AS HUMAN FOLLY, SUPERSTITION, RELATIONS BETWEEN THE SEXES AND WAR.

IT WASN'T UNTIL LATE AGE THAT GOYA TOOK UP TOPOGRAPHY.

HE PRODUCED THIS WORK REGARD AS ONE OF THE MOST REMARKABLE EXAMPLES OF THE MEDIUM.

GOYA'S GRAPHIC IMAGINATION WILL BE ON VIEW THROUGH MAY 7.

NEXT WEEK ON 'NYC-ARTS,' A LOOK AT THE BRAND NEW MONAHAN TRAIN HALL, A RE-IMAGINED PUBLIC SPACE AND A SOURCE OF CIVIC PRIDE TO NEW YORKERS.

THEY HAVE CREATED A WORK THIS THEY CALL THE HIVE, A SCULPTURE THAT HANGS DOWN FROM THE CEILING COMPRISED OF DOZENS OF HIGH RISE BUILDINGS OF ALL SHAPES AND SIZES THAT HAVE BEEN INSPIRED BY BUILDINGS FROM ALL OVER THE WORLD AS WELL AS THEIR OWN ARCHITECTURAL INVENTION.

A VISIT TO THE MORGAN LIBRARY AND MUSEUM AND A LOOK AT THE WHOSE FASCINATION WITH PORTRAITURE HAS BEEN A HIGHLIGHT IN HIS CAREER.

HOW TO GET YOUR HANDS AROUND SUCH A HUGE OUTFIT OF WORK AND SO THE GREAT DECISION WAS MAKE TO DRAW SUBJECTS IN DIFFERENT MODES FOR DECADE AND FOCUS ON THEM.

AND A TRIP TO THE METROPOLITAN FOR A LOOK AT THE MUSEUM'S EXHIBIT OF POST-WAR AND CONTEMPORARY WAR.

THE SPECTACULAR SCULPTURE BEHIND ME IS ONE OF THE GREAT WORKS BY THE AMERICAN SKUPTOR LOUIS NEVILLESON.

THANK YOU FOR JOINING US THIS EVENING.

I'M PHILIPPE de MONTEBELLO ON LOCATION AT F RI CK MADISON, THE TEMPORARY HOME OF THE F RI CK COLLECTION.

GOOD NIGHT AND SEE YOU NEXT TIME.

TO ENJOY MORE OF YOUR FAVORITE SEGMENTS ON 'NYC-ARTS' VISIT OUR WEBSITE AT NYCARTS.ORG.

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A PRIVILEGE TO BE ABLE TO SIT DOWN AND TALK WITH YOU.

WHERE ARE WE?

WE'RE AT A MOMENT TO TAKE NOTHING FOR GRANTED.

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

WERE IN THE MIDST OF SOME OF THE GREATEST SCULPTURES BY THE ICONIC NAMES.

♪♪ FUNDING FOR 'NYC-ARTS' IS MADE POSSIBLE BY THEA PETSCHEK IERVOLINO FOUNDATION, THE LEWIS SONNY TURNER FUND FOR DANCE, JODY AND JOHN ARNHOLD, THE AMBROSE MONELL FOUNDATION, ROSALIND P. WALTER.

ELISE JAFFE AND JEFFREY BROWN, CHARLES AND VALERIE DIKER, THE NANCY SIDEWATER FOUNDATION, ELROY AND TERRY KRUMHOLZ FOUNDATION, THE MILTON AND SALLY AVERY ARTS FOUNDATION AND ELLEN AND JAMES S. MARCUS.

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 THE FIRST REPUBLIC BANK.

AND BY SWANN AUCTION GALLERIES.

SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS OFFERING VINTAGE BOOKS AND ARTS SINCE 194 IS WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY WHETHER YOU'RE A LIFELONG COLLECTOR, FIRST TIME BUYER OR LOOKING FOR INFORMATION TO SELL.

INFORMATION AT