First exhibition ever of Manet as a portrait painter

Описание: (22 Jan 2013)
London - 22 January 2013
1. Close up "Self Portrait" (1878-1879)
2. Tilt up "Self Portrait"
3. Mid of woman taking picture of "Self Portrait" on mobile
4. Pan from close up of mobile phone picture being taken to close up of "Self Portrait"
5. Photo of Edouard Manet taken by David Winkie Wynfield taken during a visit to London in 1862
6. Pan from woman to unattributed photo of Manet
7. Wide of exhibition, pan towards "The Luncheon" (1868) and "Boy blowing bubbles" (1867) both depicting his stepson Leon, the son of his wife
8. Tilt up "The Luncheon"
9. Close up "Boy blowing bubble"
10. Set up of curator MaryAnne Stevens, Director of Academic Affairs, Royal Academy of Arts, talking to journalists
11. SOUNDBITE: (English) MaryAnne Stevens, Director of Academic Affairs, Royal Academy of Arts:
"He's a totally committed portrait painter, but also and very importantly what this exhibition demonstrates is that when he came to paint scenes from contemporary life, which was the other aspect of his art which was very important, he used his family and his friends whom he had painted in portraits as models in these scenes of contemporary Parisian life."
12. Mid of exhibition
13. Mid of women looking at "Mme Manet in the Conservatory" (1879) depicting his wife
14. Close up of "Mme Manet in the Conservatory"
15. Pan of several paintings all of them depicting his wife - the last one on the right is "Woman with a cat" (1880)
16. SOUNDBITE: (English) MaryAnne Stevens, Director of Academic Affairs, Royal Academy of Arts:
"What is not new is the identification of the people of the people in a painting like "Music in The Tuileries Garden" or "The Luncheon" or The Railway. What is new and is brought to the fore in this exhibition is the significance of us knowing who they are within the painting. It is one thing to use a figure that you know just as a model in a painting, but is another thing for the artist to say I want you the viewer to identify that figure as Baudelaire, because that's very important, it then becomes a portrait of my life and that is something that has not been done before."
17. Zoom into "Music in the Tuileries Garden" (1862)
18. Pan from left to right of detail of "Music in the Tuileries Garden", in the extreme left the first man with top hat is said to be Edouard Manet
19. Close up of leaflet explaining the painting and identifying characters
20. Mid of man looking at leaflet and painting and working out who they are
21. Mid of woman looking at "Berthe Morisot with a Bouquet of Violets" (1872)
22. Close up of the same
23. Wide of portrait of "Emile Zola" (1868)
24. Pan up detail of Emile Zola portrait
26. Various of Sophie taking picture of portrait of French Prime Minister Clemenceau
27. SOUNDBITE: (French) Sophie Ponet Larget-Piet, art critic and writer for L'Echo magazine:
"All eyes are now on this artist, who recovers his "titles of nobility". Because he had been a bit overshadowed by the Impressionists - as he had been assimilated to that group - and after that by the post-Impressionists and the Cubists, and here we realise with these two exhibitions - the previous one in Paris (focusing on Manet and costumes) and this one in London - we discover a Manet who opens the door to Modernism."
28. Women looking at portraits and commenting
29. Close up of "The Railway" (1873)
30. Man with headphones listening to explanation with "The Railway" in background
30. Wide of people looking at "Dejeuner sur l'herbe" (1863-1868)
31. Zoom into "Dejeuner sur l'herbe"
32. Pan across naked lady in "Dejeuner sur l'herbe"
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