Millais, The Vale of Rest

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Millais, The Vale of Rest발음듣기

(piano music) Woman: We're looking at Millais The Vale of Rest from 1858 to 59.발음듣기

This is really Millais' last painting in this pre-Raphaelite style that would go on to become a little bit more academic, a little bit more mainstream after this. We see two nuns.발음듣기

One is seated while the other digs a grave in a graveyard.발음듣기

Man: It's unusual for me to see a nun in such a specific physical activity for one thing, but the other nun is in opposition to that. She's really at rest.발음듣기

She's looking directly out at us with a very powerful gaze.발음듣기

Woman: The way that she looks out at us with her hands folded looking very peaceful almost as though she has accepted death and mortality and holds a rosary and a cross in her hand, communicating the idea that it's through Christ that one achieves eternal life, one that transcends earthly life.발음듣기

Even though there is that clue to transcendence and eternity here for the human soul, we're still really confronted with the terrible facts of death.발음듣기

Man: In the vividness of the soil and the gravestones.발음듣기

Woman: And the idea of burial and we're essentially as viewers standing within the grave.발음듣기

Man: It's so close to us, it's true.발음듣기

There's an interesting way in which the gravestones and the graveyard itself is really bound that we're enclosed in this wall.발음듣기

I think one of the things that I find most beautiful about this painting is the really subtle use of light, that twilight is that moment right when the sun is fading creating these really glorious silhouettes for the trees and also creating this very soft and very complex light on the figures.발음듣기

Woman: Yeah and it looks very real.발음듣기

You can really remember seeing light that looks exactly like this, this kind of golden light and the figures are backlit and light coming a little bit from the left.발음듣기

It almost creates halos ...발음듣기

Man: It does. That's right.발음듣기

Woman: ... in a funny way around their heads.발음듣기

Man: In some ways it plays with the colors in really interesting ways.발음듣기

You have those beautiful very subtle colors in the sky of course.발음듣기

Sort of cool dark greens versus sort of slightly warmer tones in some of the trees but then the greens become so vivid in the grass but there is a kind of almost ethereal quality to the color that seems almost unnatural.발음듣기

We've all experienced this at twilight.발음듣기

Woman: That's where the colors takes on a kind of intensity.발음듣기

Man: Absolutely but interestingly it's almost more vivid than in a bright daylight just because of the tonal contrast I think.발음듣기

Woman: So this is in a way a kind of modern Momento More.발음듣기

It's not like Masaccio's Trinity where we have a skeleton reminding us of death connected to a religious painting.발음듣기

This is a secular image that has been transformed into a painting with a spiritual message reminding us of the passage of time, that death can come at any time to any one of us.발음듣기

In a way I wonder if it has a more secular message too.발음듣기

Not so much that we better prepare for our salvation through Christ but maybe also to enjoy and live life to its fullest while we have it.발음듣기

Man: So through the beauty and the visual specificity, there is a kind of real connection to the physical world, even though the message is very much about that transition.발음듣기

What I find really brilliant is that here completely within the industrial world now, within our scientific world,발음듣기

the artist is able to re-enview a direct physical sense of the spiritual in a way that seems very authentic that doesn't need any of the artifice of the Renaissance of the baroque but is able to find a kind of spirituality within the modern world. (piano music)발음듣기

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