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.

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> 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 SELL, INFORMATION AT SWANGALLERIES.COM.