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Welcome to Great Art.

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For the past few years,

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we've been filming
in the biggest exhibitions,

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art galleries and museums
in the world,

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exploring some of the greatest
artists and art in history.

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Not only do we record
landmark shows,

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but we also secure privileged access
behind the scenes.

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We then use this as a springboard
to take a broader look

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at these extraordinary artists.

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When we heard
that three great galleries,

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the Musee d'Orsay in Paris,

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the National Portrait Gallery
in London

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and the National Gallery
in Washington DC

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were planning
the first ever exhibition

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entirely focused on portraits
by Cezanne,

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we thought this was an opportunity
too good to miss.

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Cezanne, considered among
the greatest of all artists,

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is best known for his landscapes
and still lives,

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but just as important to him
were his many portraits

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and self-portraits.

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Through them,
one has remarkable access

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both to his life story
and the development of his art.

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Naturally, the show in
all three locations was a smash hit,

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but if you missed it,
you may never see its like again.

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Except here, in this latest film
from Great Art.

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MAN AS CEZANNE: "My age
and my health will never allow me

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"to realise the artistic dream
I have pursued all my life."

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"But I shall always be grateful
to the audience

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"of intelligent art lovers
who have sensed

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"what I was trying to do
to renew my art,

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"in spite of my halting attempts."

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"In my opinion,
one does not replace the past,

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"one only adds a new link."

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"With painter's temperament
and an artistic ideal,

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"that is to say
a conception of nature,

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"there should be sufficient means
of expression

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"to be intelligible
to the general public,

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"and to occupy a suitable rank
in the history of art."

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"Paul Cezanne."

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An exhibition of this scale
and ambition

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takes many years to put together.

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So this one goes back to 2009

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when the conversations
were first had

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about why had no-one ever done
an exhibition

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of Cezanne's portraits,

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which seems a remarkable fact,
but is true.

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And, of course, in this case,

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we're partnering
with the Musee d'Orsay in Paris

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and the National Gallery of Art
in Washington DC.

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Cezanne is
the great formalist master,

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I mean, he really sets up a kind
of abstraction

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that you're gonna see unfold
in the 20th century.

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And he's best known as a still-life
and landscape painter

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where you don't generally get issues

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of emotional and psychological
expression or affect.

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So the drama of this show,
I think, is what happens

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when you replace
these inanimate objects

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with, not only human beings,
but people who he knew really well.

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MAN AS CEZANNE:
"Aix, 9th April 1858.

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"Dear Emile, a poem.

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"Farewell, my dear Emile.

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"No, on the flowing stream
I no longer slip as gaily

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"as in times gone by,
when with agile arms like reptiles,

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"we swam together
across the calm waters.

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"Farewell, fine days
seasoned with wine.

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"Lucky fishing for prodigious fish.

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"When in my catch in the cool river,

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"my surly line
caught nothing dreadful.

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"Do you remember the pine
that stood on the bank of the Arc,

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"lowering its leafy head over
the chasm that opened at its feet?

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"That pine that protected our bodies
with its foliage

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"from the heat of the sun.

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"Ah! May the Gods preserve it
from the fatal blow

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"of the woodcutter's axe.

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"Aix, 7th December 1858.

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"Dear Emile...

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"Alas, I took the tortuous path
of Law.

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"I 'took' is not the word,
I was forced to take Law,

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"horrible Law
with all equivocations.

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"It will make my life a misery
for three years.

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"Have pity on me,
an unhappy mortal."

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MAN AS ZOLA:
"Paris, 3rd March 1861."

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"You pose an odd question."

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"Of course one can work here,
as anywhere, given the willpower."

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"Moreover, Paris has something
you can't find anywhere else,

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"museums in which
you can study from the masters

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"from 11 till four."

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"Here is how you could organise
your time..."

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"From six to 11,
you'll go to the studio

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"and paint from the live model."

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"You'll have lunch,
then, from midday till four,

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you'll copy the masterpiece
of your choice,

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"either in the Louvre
or in the Luxembourg."

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"That will make nine hours of work.
I think that's enough,

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"and with such a regime,

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"it won't be long
before you do something good."

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"You see, that leaves us
all evening free,

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"and we can do whatever we like,

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"without impinging at all
on our studies."

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"Then on Sundays, we'll take off
and go to some places around Paris,

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"there are some charming spots,
and if so moved,

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"you can knock off a little canvas
of the trees

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"under which we'll have lunched."

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"As for the question of money,
it's true that your allowance

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"of 125 francs a month
won't allow you any great luxury,

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"but you'll have enough to get by."

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"Paris, August 1861."

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"We've been together six hours
today,

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"our meeting place
is Paul's little room."

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"There, he's doing my portrait,

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"during which time I read
or we chat together."

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"Paul paints on relentlessly."

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"The slightest obstacle
sends him into despair."

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"Aix, 23rd October 1866."

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"Dear Camille...

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"I'm here in the bosom of my family,
with the foulest people on Earth,

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"those who make up my family,
who can be excruciatingly annoying."

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"Aix, 2nd November 1866."

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MAN AS GUILLEMET: "I have been here
in Aix, this Athens of the north,

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"with Paul Cezanne.

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"A portrait of his father
in a big armchair

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"comes over really well.

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"The painting is light in tone,
the look is very fine.

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"The father has the air of a pope
on his throne,

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"if it weren't for the newspaper
that he's reading.

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"The people of Aix
still get on his nerves,

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"they ask to come and see
his painting

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"so that they can rubbish it,

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"and he has a good way
of dealing with them.

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"'Bugger off,' he says."

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It's a very early portrait
for Cezanne,

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and it's done in his style
known as the "maniere couillard",

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which is roughly translated
as the "ballsy manner".

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Cezanne is using a palette knife
for much of the composition,

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but also, wide brushes
and really slathering on the paint

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in a very kind of physical,
gestural way.

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And I think he's after an image
that is quite powerful.

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He wanted to make a statement,
certainly.

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He's young,
he's new to the Parisian art scene

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and he's very ambitious.

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The sitter is, of course,
his father, Louis-Auguste Cezanne.

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He had started his business
in hat-making in Aix,

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and made quite a bit of money,
and then, became a banker,

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and was one of the richest men
in town.

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You see him there,
sitting in his armchair,

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reading his newspaper,

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very much an image of what
a businessman of the day

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would be doing,
he's keeping up with the times.

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The paper that he regularly read
was one of wide circulation,

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particularly in the south of France,
it was called "Le Siecle",

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so it's interesting that
he's not reading the paper

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that he normally would have read.

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And there is this document,
a letter,

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from one of Cezanne's friends,

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reporting that Cezanne
changed late in the composition

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the masthead on this paper
to "L'Evenement",

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which was a Parisian paper
that Emile Zola

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had recently published a defence
of the avant-garde.

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And I think that in a way,
Cezanne is conflating the support

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of his friend, Zola,
who had defended him

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in this newspaper
with the support of his father.

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So it's really kind of an homage
to this moment in his career,

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and it is an homage to his father.
I think it's quite respectful.

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He has a forceful presence
in the picture frame,

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and he's brought up
right against the picture plain,

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so he's really almost out
in your space.

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He's quite an imposing figure.

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There's no doubt that,

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at the inception
of a picture like this,

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he intended it for the Salon.

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And the same year
that he paints this painting,

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he does one of his very good
friend, Achille Emperaire,

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which he actually submits
to the Salon, and it is rejected.

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So this painting doesn't make it
into the Salon until 1882,

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and it is, in fact,
the first painting by Cezanne

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accepted at a salon.

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MAN AS CEZANNE:
"Paris, 26th November 1874."

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"My Dear Mother...

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"Pissarro has not been in Paris

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"for about a month and a half,
he is in Brittany,

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"but I know he has a good opinion
of me,

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"and I have a good opinion
of myself.

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"I am beginning to consider myself
stronger than all those around me.

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"I have to work all the time,
but not to achieve the finish

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"that earns the admiration
of imbeciles.

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"I must strive for completion
purely for the satisfaction

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"of becoming truer and wiser.

188
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"It is a very bad moment for sales,

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"all the bourgeois baulk
at parting with their cash,

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"but that will end."

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"Aix, April 1876.

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"My Dear Pissarro...

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"Two days ago,

194
00:19:53,610 --> 00:19:56,890
"I received a large number
of catalogues and newspapers

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"about your exhibition
at dealer Durand-Ruel's.

196
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"I also learned
that Monet's La Japonaise

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"had been sold for 2,000 francs.

198
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"According to the papers,
it seems that Manet's rejection

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"by the Salon
has caused quite a stir,

200
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"and that he's doing
his own exhibition at home.

201
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"Here, the frost was so severe

202
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"that the fruit and vine harvests
were ruined.

203
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"But that's the advantage of art,
painting endures.

204
00:20:27,490 --> 00:20:30,770
"Oh... I almost forgot to tell you

205
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"that I was sent another
rejection letter.

206
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"It's neither new nor surprising."

207
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"Aix, April 1876.
My dear Pissarro...

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"If having the Impressionists
as background can help me,

209
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"I'll show the best I have
with them,

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"and something neutral
with the others."

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The palette is lightening
after 1870,

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and what gradually emerges
by the end of the '70s,

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in terms of the application,

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is this so-called
constructive brushstroke

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where he started
to lay everything out

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with smallish
individual brushstrokes

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running diagonally, usually,
across figure and ground

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so that one recognises again
the materiality of the marking

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as well as the subject.

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MAN AS CEZANNE:
"Paris, 24th August 1877.

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"Dear Emile...

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"It seems that a deep depression
reigns in the Impressionist camp.

223
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"They are not exactly
making their fortune.

224
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"We are living
in very troubled times."

225
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"23rd March 1878.

226
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"Dear Emile...

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"I seem to be on the verge
of having to fend for myself,

228
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"if indeed I'm up to it.

229
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"Relations between my father
and myself are becoming very tense,

230
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"and I risk losing
my entire allowance.

231
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"A letter from Monsieur Chocquet,

232
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"in which he mentioned
Madame Cezanne and little Paul,

233
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"provided conclusive proof
of my situation to my father,

234
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"who, by the way, was already alert,
full of suspicions,

235
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"and who had nothing better to do
than to unseal

236
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"and be the first to read the letter
that was sent to ME,

237
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"even though it was addressed
to Monsieur Paul Cezanne, painter."

238
00:26:14,450 --> 00:26:17,690
"Aix, 4th April 1878."

239
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"My Dear Emile...

240
00:26:21,010 --> 00:26:25,170
"Please send 60 francs to Hortense
in Marseilles.

241
00:26:26,570 --> 00:26:29,970
"I have only been able to secure
100 francs from my father

242
00:26:29,970 --> 00:26:31,090
"and I was even afraid

243
00:26:31,090 --> 00:26:33,290
"that he might not give me
anything at all.

244
00:26:33,290 --> 00:26:36,450
"He's heard from various people
that I have a child,

245
00:26:36,450 --> 00:26:41,210
"and he's trying by every means
possible to catch me out.

246
00:26:41,210 --> 00:26:42,650
"He wants to rid me of it.

247
00:26:44,010 --> 00:26:46,650
"It would take too long
to explain the good man to you

248
00:26:46,650 --> 00:26:50,810
"but appearances are deceptive,
believe you me.

249
00:26:52,410 --> 00:26:55,810
"I slipped off last week
to see the little one in Marseilles,

250
00:26:55,810 --> 00:26:59,250
"but missed the train back
and had to walk the 30km.

251
00:27:00,770 --> 00:27:02,330
"I was an hour late for dinner."

252
00:32:45,980 --> 00:32:49,460
I think seeing Cezanne's portraits
in the context of a portrait gallery

253
00:32:49,460 --> 00:32:50,780
is especially interesting,

254
00:32:50,780 --> 00:32:52,740
and, obviously,
the context here in London

255
00:32:52,740 --> 00:32:55,940
is quite different from the context
in either Paris or in Washington.

256
00:32:57,980 --> 00:33:00,820
What's unique
about the exhibition here

257
00:33:00,820 --> 00:33:03,380
is that we are focusing
on portraiture first and foremost,

258
00:33:03,380 --> 00:33:04,780
so portraiture as a medium.

259
00:33:04,780 --> 00:33:06,780
And, of course,
the National Portrait Gallery

260
00:33:06,780 --> 00:33:09,020
was the first portrait gallery
in the world

261
00:33:09,020 --> 00:33:12,060
when it was founded in 1856.

262
00:33:12,060 --> 00:33:14,340
And I think the origins
are quite interesting,

263
00:33:14,340 --> 00:33:17,540
it was essentially founded
to collect portraits

264
00:33:17,540 --> 00:33:22,060
of eminent British men and women
that had made British history,

265
00:33:22,060 --> 00:33:26,420
and to reflect on the idea
of achievement, nationhood,

266
00:33:26,420 --> 00:33:27,700
biography and character.

267
00:33:28,700 --> 00:33:30,780
So although we now live in an era

268
00:33:30,780 --> 00:33:33,420
saturated by portraits
or self-portraits,

269
00:33:33,420 --> 00:33:37,740
whether it's selfies or Facebook
or Instagram or Snapchat,

270
00:33:37,740 --> 00:33:41,340
perhaps we're more resonant now
than ever before

271
00:33:41,340 --> 00:33:43,540
because people have
this great interest in identity,

272
00:33:43,540 --> 00:33:46,180
self-portraiture
and representation.

273
00:34:04,340 --> 00:34:08,900
I think it has been lined...
There's liner's paper there,

274
00:34:08,900 --> 00:34:11,500
and this, this is the original edge.

275
00:34:11,500 --> 00:34:13,180
Yeah, you see there,
it's the same thing,

276
00:34:13,180 --> 00:34:15,380
but you can see clearly
that that's just the edge

277
00:34:15,380 --> 00:34:17,020
of the painting.
Yeah.

278
00:34:17,020 --> 00:34:19,740
'I think there's many factors
that make an exhibition successful,

279
00:34:19,740 --> 00:34:22,460
'and I wouldn't say that
that's just to do with attendance,

280
00:34:22,460 --> 00:34:25,540
'i.e. the idea that an exhibition
is a blockbuster and successful

281
00:34:25,540 --> 00:34:26,940
'if lots of people come and see it.'

282
00:34:28,620 --> 00:34:30,580
'The issues around
a great exhibition,

283
00:34:30,580 --> 00:34:32,340
'as a former curator myself,

284
00:34:32,340 --> 00:34:34,980
'is the integrity
with which it's realised.'

285
00:34:36,420 --> 00:34:38,660
'And that really begins
with someone's vision

286
00:34:38,660 --> 00:34:42,180
'of what the exhibition
should do and say and achieve.'

287
00:34:42,180 --> 00:34:44,420
And then, the question
is how you execute that

288
00:34:44,420 --> 00:34:48,100
and explain and convey that
to an audience.

289
00:34:52,020 --> 00:34:55,060
It's not that clear...
Top, bottom and left edge.

290
00:34:55,060 --> 00:34:57,300
Maybe they've just got their left
and right muddled?

291
00:34:58,980 --> 00:35:01,180
But it's definitely visible
at the top.

292
00:35:01,180 --> 00:35:03,420
Maybe...
I think that's the abrasion there.

293
00:35:03,420 --> 00:35:06,540
That abrasion has always been there,
so it's not like it's...

294
00:35:08,740 --> 00:35:12,180
What height are we going to do?
Cos this is hanging higher.

295
00:35:13,260 --> 00:35:16,180
It can't be centred on that,
it's going to be too big.

296
00:35:16,180 --> 00:35:19,460
Yeah, let's look at it again
with that one.

297
00:35:19,460 --> 00:35:21,500
It's going to look right
into his bloodshot eyes.

298
00:35:21,500 --> 00:35:24,420
Yes, I think that's OK.
Yeah, that's good.

299
00:35:41,300 --> 00:35:43,300
MAN AS MONET: "November, 1894."

300
00:35:45,980 --> 00:35:51,220
"Paul is so peculiar,
so fearful of seeing new faces,

301
00:35:51,220 --> 00:35:55,460
"that I am afraid he may let us down
and not come to dinner,

302
00:35:55,460 --> 00:35:57,620
"despite his wish to meet you.

303
00:35:57,620 --> 00:35:59,820
"What a pity that this man

304
00:35:59,820 --> 00:36:01,940
"has not had more support
in his life.

305
00:36:03,100 --> 00:36:07,660
"He is a true artist
who suffers too much self-doubt.

306
00:36:08,700 --> 00:36:10,420
"He needs to be cheered up."

307
00:36:16,300 --> 00:36:18,940
MAN AS GEFFROY:
"This is one of his beautiful works,

308
00:36:18,940 --> 00:36:20,540
"even though it is unfinished.

309
00:36:21,900 --> 00:36:24,500
"The library,
the papers on the table,

310
00:36:24,500 --> 00:36:27,100
"the little Rodin plaster sculpture,

311
00:36:27,100 --> 00:36:30,780
"the artificial rose that he brought
at the start of the sessions,

312
00:36:30,780 --> 00:36:33,100
"everything is of the first rank."

313
00:36:35,100 --> 00:36:37,540
"And, of course, there is also
a character in this scene,

314
00:36:37,540 --> 00:36:40,020
"which is painted
with meticulous care,

315
00:36:40,020 --> 00:36:45,020
"with a richness and
an incomparable harmony of tones.

316
00:36:45,020 --> 00:36:49,340
"He only sketched in the face,
however, always saying,

317
00:36:49,340 --> 00:36:52,740
"'Hmm, perhaps I'll leave that
to the end.'

318
00:36:52,740 --> 00:36:54,740
"Alas, the end never came.

319
00:36:56,780 --> 00:37:01,900
"One fine day, Cezanne sent
for his easel, brushes and paints,

320
00:37:01,900 --> 00:37:05,540
"writing to me that the project
was clearly beyond him,

321
00:37:05,540 --> 00:37:10,100
"he had been wrong to undertake it,
and apologising for abandoning it.

322
00:37:11,460 --> 00:37:14,500
"I insisted that he come back,
telling him what I thought,

323
00:37:14,500 --> 00:37:16,900
"that he had started
a very fine work,

324
00:37:16,900 --> 00:37:18,660
"and that he should finish it.

325
00:37:20,020 --> 00:37:24,260
"He came back, and for a week,
he seemed to work,

326
00:37:24,260 --> 00:37:28,500
"adding fine films of colour,
as only he knew how,

327
00:37:28,500 --> 00:37:32,900
"always retaining the freshness
and sparkle of the painting.

328
00:37:32,900 --> 00:37:36,420
"But his heart was no longer in it.

329
00:37:36,420 --> 00:37:40,460
"He left for Aix,
leaving behind the portrait

330
00:37:40,460 --> 00:37:42,820
"as he had left
so many other paintings,

331
00:37:42,820 --> 00:37:46,100
"things of wonderful vision
and realisation."

332
00:38:26,700 --> 00:38:29,660
MAN AS CEZANNE:
"Aix, 8th July 1902.

333
00:38:31,100 --> 00:38:32,540
"Dear Gasquet...

334
00:38:33,740 --> 00:38:36,980
"I am pursuing success
through work.

335
00:38:36,980 --> 00:38:42,180
"I despise all living painters,
except Monet and Renoir,

336
00:38:42,180 --> 00:38:44,620
"and I want to succeed
through work."

337
00:38:49,420 --> 00:38:52,260
"Aix, 9th January 1903.

338
00:38:53,500 --> 00:38:55,060
"Dear Monsieur Vollard...

339
00:38:57,340 --> 00:39:02,500
"I work tenaciously,
I glimpse the Promised Land.

340
00:39:02,500 --> 00:39:05,380
"Will I be like the great leader
of the Hebrews?

341
00:39:05,380 --> 00:39:07,140
"Will I be able to enter?

342
00:39:08,260 --> 00:39:12,100
"I've made some progress.
Why so late and laboriously?

343
00:39:13,140 --> 00:39:17,860
"Is art really a priesthood
that requires the pure in heart,

344
00:39:17,860 --> 00:39:20,780
"who completely surrender themselves
to it?"

345
00:42:42,740 --> 00:42:44,980
"Aix, 12th May 1904.

346
00:42:46,180 --> 00:42:51,420
"Dear Bernard,
nature appears to me very complex,

347
00:42:51,420 --> 00:42:54,060
"and the improvements to be made
are never-ending.

348
00:42:55,220 --> 00:42:59,940
"One must see one's model clearly
and feel it exactly right,

349
00:42:59,940 --> 00:43:03,860
"and then express oneself
with distinction and force.

350
00:43:04,980 --> 00:43:08,660
"Taste is the best judge.
It is rare."

351
00:43:08,660 --> 00:43:12,620
"Art speaks only to an excessively
small group of people.

352
00:43:14,540 --> 00:43:17,700
"The artist should scorn
all opinion not based

353
00:43:17,700 --> 00:43:20,220
"on the intelligent observation
of character."

354
00:43:48,260 --> 00:43:51,020
He was an extraordinary
portrait painter,

355
00:43:51,020 --> 00:43:55,740
and probably the most important
since Rembrandt

356
00:43:55,740 --> 00:43:59,780
in that he is really
painting humanity.

357
00:43:59,780 --> 00:44:02,980
They are, some of them,
difficult paintings,

358
00:44:02,980 --> 00:44:08,820
if one is thinking about portraits
as images of faces,

359
00:44:08,820 --> 00:44:12,500
but the expression
is in the whole canvas.

360
00:44:12,500 --> 00:44:18,260
As Matisse said, "Expression for me
isn't in gesture or in face

361
00:44:18,260 --> 00:44:20,260
but in the whole composition,"

362
00:44:20,260 --> 00:44:25,660
and this is a major gift that
Cezanne gave to modern painting.

363
00:45:14,260 --> 00:45:18,420
MAN AS CEZANNE:
"Aix, 3rd August 1906."

364
00:45:20,660 --> 00:45:23,780
"My dear Paul, I get up early

365
00:45:23,780 --> 00:45:26,180
"and it's only really
between five and eight

366
00:45:26,180 --> 00:45:27,780
"that I can lead my own life."

367
00:45:29,340 --> 00:45:31,540
"By the time
the heat becomes stupefying

368
00:45:31,540 --> 00:45:35,500
"and saps the brain so much,
I can't even think of painting."

369
00:45:38,340 --> 00:45:40,260
"I caught bronchitis,

370
00:45:40,260 --> 00:45:43,700
"I've abandoned homeopathy
for old-fashioned mixed syrups."

371
00:45:45,260 --> 00:45:48,460
"It's a shame that I can't give
many demonstrations

372
00:45:48,460 --> 00:45:51,860
"of my ideas and sensations."

373
00:45:51,860 --> 00:45:55,580
"Long live the Goncourts, Pissarro,
and all those

374
00:45:55,580 --> 00:46:00,020
"who have a propensity for colour,
which represents light and air.

375
00:46:01,940 --> 00:46:06,260
"I know that with the terrible heat,
you and Maman will be tired,

376
00:46:06,260 --> 00:46:08,220
"so it's a good thing
that you were both able

377
00:46:08,220 --> 00:46:11,260
"to get back to Paris in time
to find yourselves

378
00:46:11,260 --> 00:46:13,940
"in a less burning atmosphere.

379
00:46:15,540 --> 00:46:19,140
"I must remind you
not to forget the slippers,

380
00:46:19,140 --> 00:46:22,140
"the ones I have
are just about giving up on me."

381
00:46:24,980 --> 00:46:29,820
WEARILY: "Aix, 26th August 1906."

382
00:46:31,580 --> 00:46:35,940
"My Dear Paul,
when I forget to write to you,

383
00:46:35,940 --> 00:46:40,020
"it's because I lose track of time
a little.

384
00:46:40,020 --> 00:46:43,100
"It's been terribly hot,
and in addition,

385
00:46:43,100 --> 00:46:46,180
"my nervous system
must be much weakened.

386
00:46:47,580 --> 00:46:49,820
"Painting is the best thing for me.

387
00:46:51,300 --> 00:46:53,420
"I go to the river by carriage
every day.

388
00:46:54,900 --> 00:46:59,060
"It's nice enough there,
but my weakness is getting me down.

389
00:47:00,700 --> 00:47:04,220
"I'm going to go up to the studio.

390
00:47:04,220 --> 00:47:07,460
"I got up late, after five.

391
00:47:07,460 --> 00:47:10,100
"I'm still working happily,
and yet, sometimes,

392
00:47:10,100 --> 00:47:14,260
"the light is so bad
that nature seems ugly to me.

393
00:47:15,300 --> 00:47:17,660
"So one has to choose.

394
00:47:18,980 --> 00:47:21,740
"My pen is hardly moving.

395
00:47:23,020 --> 00:47:25,620
"I embrace you both
with all my heart,

396
00:47:25,620 --> 00:47:29,220
"and remember me to all the friends
who still think of me

397
00:47:29,220 --> 00:47:32,140
"across time and space.

398
00:47:33,340 --> 00:47:36,780
"A big hug for you and Maman."

399
00:47:41,900 --> 00:47:45,780
"Aix... 15th October 1906.

400
00:47:47,940 --> 00:47:48,940
"My dear Paul...

401
00:47:50,780 --> 00:47:53,780
"Everything goes by
with frightening speed.

402
00:47:55,500 --> 00:48:00,300
"I'm not doing too badly,
I look after myself, I eat well.

403
00:48:01,660 --> 00:48:06,980
"My dear Paul, to give you
the satisfactory news you want,

404
00:48:06,980 --> 00:48:10,220
"I would have to be
20 years younger.

405
00:48:10,220 --> 00:48:12,860
"I repeat, I eat well,

406
00:48:12,860 --> 00:48:17,180
"and a little boost to morale
would do me a power of good,

407
00:48:17,180 --> 00:48:19,500
"but only work can give me that.

408
00:48:21,380 --> 00:48:26,340
"All my compatriots are idiots...
beside me.

409
00:48:28,980 --> 00:48:32,940
"I embrace you and Maman.

410
00:48:34,100 --> 00:48:37,780
"Your father, Paul Cezanne."

411
00:48:48,900 --> 00:48:50,900
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