[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.07,0:00:10.81,Default,,0000,0000,0000,,(jazzy music)
Dialogue: 0,0:00:10.81,0:00:13.15,Default,,0000,0000,0000,,Voiceover: We are looking at Otto Dix's
Dialogue: 0,0:00:13.15,0:00:16.42,Default,,0000,0000,0000,,painting "Portrait of Sylvia von Harden"
Dialogue: 0,0:00:16.42,0:00:17.97,Default,,0000,0000,0000,,and it's from 1926.
Dialogue: 0,0:00:17.97,0:00:20.75,Default,,0000,0000,0000,,Voiceover: Who was Sylvia von Harden?
Dialogue: 0,0:00:20.75,0:00:23.40,Default,,0000,0000,0000,,Voiceover: Sylvia von\NHarden was a fantastic,
Dialogue: 0,0:00:23.40,0:00:27.36,Default,,0000,0000,0000,,fabulous figure who was\Nnot actually a journalist
Dialogue: 0,0:00:27.36,0:00:29.50,Default,,0000,0000,0000,,even though the title says\Nthat she's a journalist.
Dialogue: 0,0:00:29.50,0:00:31.63,Default,,0000,0000,0000,,She was less of a journalist but actually
Dialogue: 0,0:00:31.63,0:00:35.69,Default,,0000,0000,0000,,a poet and a short story\Nwriter who worked in Germany.
Dialogue: 0,0:00:35.69,0:00:38.91,Default,,0000,0000,0000,,This shows her in the Romanisches Cafe
Dialogue: 0,0:00:38.91,0:00:42.10,Default,,0000,0000,0000,,in Berlin, which was huge hangout for all
Dialogue: 0,0:00:42.10,0:00:43.87,Default,,0000,0000,0000,,of the cool avant-garde artists
Dialogue: 0,0:00:43.87,0:00:46.15,Default,,0000,0000,0000,,and writers and poets of the 1920s.
Dialogue: 0,0:00:46.15,0:00:48.37,Default,,0000,0000,0000,,Sylvia von Harden is pictured here in this
Dialogue: 0,0:00:48.37,0:00:49.82,Default,,0000,0000,0000,,little corner where\Nshe would have hung out
Dialogue: 0,0:00:49.82,0:00:51.32,Default,,0000,0000,0000,,at a little cafe table.
Dialogue: 0,0:00:51.32,0:00:53.97,Default,,0000,0000,0000,,She was an avant-garde neue frau.
Dialogue: 0,0:00:53.97,0:00:57.40,Default,,0000,0000,0000,,She was friendly with various artists
Dialogue: 0,0:00:57.40,0:00:59.03,Default,,0000,0000,0000,,and poets and writers of the era.
Dialogue: 0,0:00:59.03,0:01:01.80,Default,,0000,0000,0000,,Voiceover: So neue frau is\Nthe new woman in Germany
Dialogue: 0,0:01:01.80,0:01:03.56,Default,,0000,0000,0000,,in the early 20th century.
Dialogue: 0,0:01:03.56,0:01:06.53,Default,,0000,0000,0000,,We're in between the Great\NWar and World War II here.
Dialogue: 0,0:01:06.53,0:01:09.07,Default,,0000,0000,0000,,The new woman, is that the woman in
Dialogue: 0,0:01:09.07,0:01:11.77,Default,,0000,0000,0000,,the public sphere who goes out and works?
Dialogue: 0,0:01:11.77,0:01:13.94,Default,,0000,0000,0000,,She has close-cropped hair, I see,
Dialogue: 0,0:01:13.94,0:01:15.91,Default,,0000,0000,0000,,which makes her rather androgynous.
Dialogue: 0,0:01:15.91,0:01:17.30,Default,,0000,0000,0000,,Her hands are very large.
Dialogue: 0,0:01:17.30,0:01:20.41,Default,,0000,0000,0000,,Do these things have\Nto do with representing
Dialogue: 0,0:01:20.41,0:01:22.25,Default,,0000,0000,0000,,the new woman in a work of art, perhaps?
Dialogue: 0,0:01:22.25,0:01:22.86,Default,,0000,0000,0000,,Voiceover: It does.
Dialogue: 0,0:01:22.86,0:01:25.72,Default,,0000,0000,0000,,It has to do with the\Nnew woman in general,
Dialogue: 0,0:01:25.72,0:01:29.41,Default,,0000,0000,0000,,but it also has to do with Otto\NDix's style of portraiture.
Dialogue: 0,0:01:29.41,0:01:31.83,Default,,0000,0000,0000,,One thing that Otto Dix was famed for
Dialogue: 0,0:01:31.83,0:01:34.08,Default,,0000,0000,0000,,was making his sitters quite ugly
Dialogue: 0,0:01:34.08,0:01:35.42,Default,,0000,0000,0000,,and quite unattractive.
Dialogue: 0,0:01:35.42,0:01:38.41,Default,,0000,0000,0000,,Sylvia von Harden does\Nlook like this in real life
Dialogue: 0,0:01:38.41,0:01:42.100,Default,,0000,0000,0000,,but not to quite the\Nextent that Dix shows her.
Dialogue: 0,0:01:42.100,0:01:44.91,Default,,0000,0000,0000,,Things like her hair;
Dialogue: 0,0:01:44.91,0:01:46.53,Default,,0000,0000,0000,,she did have a close-cropped haircut.
Dialogue: 0,0:01:46.53,0:01:48.19,Default,,0000,0000,0000,,In Germany this cut had a very funny
Dialogue: 0,0:01:48.19,0:01:49.85,Default,,0000,0000,0000,,specific name, called the Bubikopf,
Dialogue: 0,0:01:49.85,0:01:52.58,Default,,0000,0000,0000,,which was in style all\Nthroughout the '20s.
Dialogue: 0,0:01:52.58,0:01:55.36,Default,,0000,0000,0000,,She did have a sort of\Nandrogynous appearance.
Dialogue: 0,0:01:55.36,0:01:58.37,Default,,0000,0000,0000,,This dress is based on a\Ndress that she actually wore.
Dialogue: 0,0:01:58.37,0:02:02.14,Default,,0000,0000,0000,,It does have a lot of basis in reality.
Dialogue: 0,0:02:02.14,0:02:04.43,Default,,0000,0000,0000,,But things like her hands, he elongates
Dialogue: 0,0:02:04.43,0:02:07.02,Default,,0000,0000,0000,,and sort of creates these immense hands.
Dialogue: 0,0:02:07.02,0:02:09.78,Default,,0000,0000,0000,,I think that has a lot\Nto do with deflection
Dialogue: 0,0:02:09.78,0:02:12.99,Default,,0000,0000,0000,,and placement as it draws\Nyour attention to things like
Dialogue: 0,0:02:12.99,0:02:15.30,Default,,0000,0000,0000,,the area where her breasts should be,
Dialogue: 0,0:02:15.30,0:02:17.10,Default,,0000,0000,0000,,which, because she's such\Nan androgynous figure,
Dialogue: 0,0:02:17.10,0:02:18.72,Default,,0000,0000,0000,,she doesn't really have any.
Dialogue: 0,0:02:18.72,0:02:21.55,Default,,0000,0000,0000,,She's wearing this very\Ngeometric patterned dress
Dialogue: 0,0:02:21.55,0:02:26.05,Default,,0000,0000,0000,,that hides any kind of feminine\Nfigure that she might have.
Dialogue: 0,0:02:26.05,0:02:27.30,Default,,0000,0000,0000,,She's covered up.
Dialogue: 0,0:02:27.30,0:02:28.68,Default,,0000,0000,0000,,It even has a turtleneck so we don't
Dialogue: 0,0:02:28.68,0:02:30.43,Default,,0000,0000,0000,,even get to see her neck.
Dialogue: 0,0:02:30.43,0:02:32.37,Default,,0000,0000,0000,,Then you see the other hand kind of
Dialogue: 0,0:02:32.37,0:02:34.42,Default,,0000,0000,0000,,draped across her lap, covering it up.
Dialogue: 0,0:02:34.42,0:02:35.99,Default,,0000,0000,0000,,There are other elements that you
Dialogue: 0,0:02:35.99,0:02:37.79,Default,,0000,0000,0000,,might be able to see that\Nsignal different things.
Dialogue: 0,0:02:37.79,0:02:39.30,Default,,0000,0000,0000,,Voiceover: In the body?
Dialogue: 0,0:02:39.30,0:02:41.91,Default,,0000,0000,0000,,Voiceover: If you look\Nactually at this great detail.
Dialogue: 0,0:02:41.91,0:02:44.96,Default,,0000,0000,0000,,The sagging stocking you can kind of see.
Dialogue: 0,0:02:44.96,0:02:46.75,Default,,0000,0000,0000,,That's a really great moment of realism
Dialogue: 0,0:02:46.75,0:02:47.69,Default,,0000,0000,0000,,that Dix captures.
Dialogue: 0,0:02:47.69,0:02:49.52,Default,,0000,0000,0000,,You don't want to have your stockings
Dialogue: 0,0:02:49.52,0:02:50.80,Default,,0000,0000,0000,,be shown as sagging.
Dialogue: 0,0:02:50.80,0:02:53.12,Default,,0000,0000,0000,,It sort of implies a kind of messiness.
Dialogue: 0,0:02:53.12,0:02:56.62,Default,,0000,0000,0000,,She doesn't seem to have a\Nvery polished air about her.
Dialogue: 0,0:02:56.62,0:02:58.12,Default,,0000,0000,0000,,On the other hand, it kind of gives her
Dialogue: 0,0:02:58.12,0:03:00.27,Default,,0000,0000,0000,,this sort of subversive quality.
Dialogue: 0,0:03:00.27,0:03:02.79,Default,,0000,0000,0000,,She's sitting there and she's looking out.
Dialogue: 0,0:03:02.79,0:03:04.17,Default,,0000,0000,0000,,She has a monocle even.
Dialogue: 0,0:03:04.17,0:03:06.40,Default,,0000,0000,0000,,She has these particular features,
Dialogue: 0,0:03:06.40,0:03:08.42,Default,,0000,0000,0000,,all these little accessories that pinpoint
Dialogue: 0,0:03:08.42,0:03:10.19,Default,,0000,0000,0000,,her as a particular kind of woman;
Dialogue: 0,0:03:10.19,0:03:11.69,Default,,0000,0000,0000,,the sagging stocking, the large hands,
Dialogue: 0,0:03:11.69,0:03:14.96,Default,,0000,0000,0000,,the monocle which\Nhighlights the kind of sight
Dialogue: 0,0:03:14.96,0:03:17.37,Default,,0000,0000,0000,,and gaze that a new woman might have.
Dialogue: 0,0:03:17.37,0:03:18.100,Default,,0000,0000,0000,,Then she has cigarettes.
Dialogue: 0,0:03:18.100,0:03:20.54,Default,,0000,0000,0000,,She's smoking in a public place.
Dialogue: 0,0:03:20.54,0:03:22.54,Default,,0000,0000,0000,,That's all kind of building a particular
Dialogue: 0,0:03:22.54,0:03:24.79,Default,,0000,0000,0000,,sort of identity for this character,
Dialogue: 0,0:03:24.79,0:03:27.29,Default,,0000,0000,0000,,and Dix was really talented\Nat doing that in his painting.
Dialogue: 0,0:03:27.29,0:03:28.92,Default,,0000,0000,0000,,Voiceover: The patterned\Ndress seems to really
Dialogue: 0,0:03:28.92,0:03:32.95,Default,,0000,0000,0000,,emphasize a sense of surface and flatness
Dialogue: 0,0:03:32.95,0:03:34.83,Default,,0000,0000,0000,,instead of her body.
Dialogue: 0,0:03:34.83,0:03:38.63,Default,,0000,0000,0000,,Her neck seems very cylindrical and almost
Dialogue: 0,0:03:38.63,0:03:43.99,Default,,0000,0000,0000,,mechanical rather than a\Nhuman organic form as well.
Dialogue: 0,0:03:43.99,0:03:45.66,Default,,0000,0000,0000,,Voiceover: I think one\Nof the things that I like
Dialogue: 0,0:03:45.66,0:03:47.29,Default,,0000,0000,0000,,about this painting,\Ntoo, is the way that Dix
Dialogue: 0,0:03:47.29,0:03:50.88,Default,,0000,0000,0000,,uses these kind of\Ngeometric areas and shapes
Dialogue: 0,0:03:50.88,0:03:53.90,Default,,0000,0000,0000,,and throws it into contrast\Nwith, if you see behind her,
Dialogue: 0,0:03:53.90,0:03:56.38,Default,,0000,0000,0000,,she's sitting on this really\Nornately patterned chair.
Dialogue: 0,0:03:56.38,0:03:58.90,Default,,0000,0000,0000,,Those kind of curves are more feminine
Dialogue: 0,0:03:58.90,0:04:00.91,Default,,0000,0000,0000,,than her body is, which I think is a great
Dialogue: 0,0:04:00.91,0:04:02.71,Default,,0000,0000,0000,,kind of a comment to make.
Dialogue: 0,0:04:02.71,0:04:04.84,Default,,0000,0000,0000,,Then there's the circle of her monocle;
Dialogue: 0,0:04:04.84,0:04:06.98,Default,,0000,0000,0000,,there's the circle of the marble table;
Dialogue: 0,0:04:06.98,0:04:09.43,Default,,0000,0000,0000,,the circle of the glass, which has a very
Dialogue: 0,0:04:09.43,0:04:11.08,Default,,0000,0000,0000,,particular kind of cocktail in it
Dialogue: 0,0:04:11.08,0:04:12.26,Default,,0000,0000,0000,,that was popular at the time.
Dialogue: 0,0:04:12.26,0:04:13.93,Default,,0000,0000,0000,,So those things, and then things that are
Dialogue: 0,0:04:13.93,0:04:16.14,Default,,0000,0000,0000,,longer and flatter, like\Nher body, which really
Dialogue: 0,0:04:16.14,0:04:20.36,Default,,0000,0000,0000,,should be the least\Nflat if you're thinking
Dialogue: 0,0:04:20.36,0:04:21.70,Default,,0000,0000,0000,,about what bodies look like.
Dialogue: 0,0:04:21.70,0:04:23.75,Default,,0000,0000,0000,,Are bodies round and sort of curvaceous
Dialogue: 0,0:04:23.75,0:04:26.63,Default,,0000,0000,0000,,and sensual things or\Nare they desexualized,
Dialogue: 0,0:04:26.63,0:04:30.34,Default,,0000,0000,0000,,androgynized forms which Dix does here?
Dialogue: 0,0:04:30.34,0:04:32.32,Default,,0000,0000,0000,,Voiceover: We should\Nprobably contextualize
Dialogue: 0,0:04:32.32,0:04:34.87,Default,,0000,0000,0000,,this in terms of the new objectivity,
Dialogue: 0,0:04:34.87,0:04:36.86,Default,,0000,0000,0000,,or neue Sachlichkeit.
Dialogue: 0,0:04:36.86,0:04:37.75,Default,,0000,0000,0000,,Voiceover: Yeah, Sachlichkeit.
Dialogue: 0,0:04:37.75,0:04:40.25,Default,,0000,0000,0000,,Voiceover: Which was\Noccurring at this time,
Dialogue: 0,0:04:40.25,0:04:44.01,Default,,0000,0000,0000,,a movement in between\Nthe wars, which went back
Dialogue: 0,0:04:44.01,0:04:48.29,Default,,0000,0000,0000,,to a bit more of a figural\Nstyle, a bit more naturalism;
Dialogue: 0,0:04:48.29,0:04:50.63,Default,,0000,0000,0000,,relatively more naturalistic\Nthan what one might
Dialogue: 0,0:04:50.63,0:04:52.99,Default,,0000,0000,0000,,be familiar with in terms of Kirchner
Dialogue: 0,0:04:52.99,0:04:56.96,Default,,0000,0000,0000,,or German expressionism\Nor Kandinsky of course;
Dialogue: 0,0:04:56.96,0:04:59.14,Default,,0000,0000,0000,,other artists who were working\Nin Germany at the time.
Dialogue: 0,0:04:59.14,0:05:01.62,Default,,0000,0000,0000,,Why going back to this style, which is
Dialogue: 0,0:05:01.62,0:05:04.22,Default,,0000,0000,0000,,a bit more naturalistic?
Dialogue: 0,0:05:04.22,0:05:06.39,Default,,0000,0000,0000,,Voiceover: I think that the realism is,
Dialogue: 0,0:05:06.39,0:05:09.31,Default,,0000,0000,0000,,there are many things that\Nare important about it
Dialogue: 0,0:05:09.31,0:05:11.33,Default,,0000,0000,0000,,at this time, but this is 1926.
Dialogue: 0,0:05:11.33,0:05:13.89,Default,,0000,0000,0000,,There's this sort of\Ngeneral sense in Germany,
Dialogue: 0,0:05:13.89,0:05:16.10,Default,,0000,0000,0000,,this is going on in other\Ncountries in Europe as well,
Dialogue: 0,0:05:16.10,0:05:19.72,Default,,0000,0000,0000,,kind of a return to order; kind\Nof looking back at tradition,
Dialogue: 0,0:05:19.72,0:05:21.50,Default,,0000,0000,0000,,a kind of sense that they wanted to create
Dialogue: 0,0:05:21.50,0:05:22.94,Default,,0000,0000,0000,,something new, but they wanted it to have
Dialogue: 0,0:05:22.94,0:05:25.27,Default,,0000,0000,0000,,a particular kind of\Nmeaning and a rootedness
Dialogue: 0,0:05:25.27,0:05:27.22,Default,,0000,0000,0000,,in something that was very German.
Dialogue: 0,0:05:27.22,0:05:29.47,Default,,0000,0000,0000,,So Otto Dix is really\Nlooking back to traditions
Dialogue: 0,0:05:29.47,0:05:31.37,Default,,0000,0000,0000,,of portraiture in Germany.
Dialogue: 0,0:05:31.37,0:05:33.19,Default,,0000,0000,0000,,He looks back to Holbein who creates
Dialogue: 0,0:05:33.19,0:05:35.71,Default,,0000,0000,0000,,incredibly important portraits
Dialogue: 0,0:05:35.71,0:05:39.53,Default,,0000,0000,0000,,and sort of bringing\Nout that German quality.
Dialogue: 0,0:05:39.53,0:05:41.70,Default,,0000,0000,0000,,Voiceover: Holbein's\Nhyper-naturalistic, isn't he?
Dialogue: 0,0:05:41.70,0:05:42.92,Default,,0000,0000,0000,,Voiceover: Yes, he is hyper-naturalistic.
Dialogue: 0,0:05:42.92,0:05:45.20,Default,,0000,0000,0000,,What he does is he takes naturalism
Dialogue: 0,0:05:45.20,0:05:47.50,Default,,0000,0000,0000,,and realism and he sort of\Nlifts it to another level
Dialogue: 0,0:05:47.50,0:05:49.13,Default,,0000,0000,0000,,where it almost is caricature.
Dialogue: 0,0:05:49.13,0:05:50.97,Default,,0000,0000,0000,,So it kind of falls between that.
Dialogue: 0,0:05:50.97,0:05:52.87,Default,,0000,0000,0000,,A lot of neue Sachlichkeit\Npainters did that;
Dialogue: 0,0:05:52.87,0:05:55.58,Default,,0000,0000,0000,,a kind of photographic realism, almost,
Dialogue: 0,0:05:55.58,0:05:58.14,Default,,0000,0000,0000,,but also taken to an extreme.
Dialogue: 0,0:05:58.14,0:05:59.80,Default,,0000,0000,0000,,Voiceover: That's interesting that it's
Dialogue: 0,0:05:59.80,0:06:02.20,Default,,0000,0000,0000,,characterized as a kind of call to order
Dialogue: 0,0:06:02.20,0:06:04.26,Default,,0000,0000,0000,,or a return to order, while we're
Dialogue: 0,0:06:04.26,0:06:07.25,Default,,0000,0000,0000,,representing someone who is apparently
Dialogue: 0,0:06:07.25,0:06:10.70,Default,,0000,0000,0000,,overturning some very longstanding gender
Dialogue: 0,0:06:10.70,0:06:12.99,Default,,0000,0000,0000,,hierarchies and ordered ways of thinking
Dialogue: 0,0:06:12.99,0:06:15.92,Default,,0000,0000,0000,,about men and women as very separate.
Dialogue: 0,0:06:15.92,0:06:18.14,Default,,0000,0000,0000,,The new woman, particularly\Nas it's embodied
Dialogue: 0,0:06:18.14,0:06:20.96,Default,,0000,0000,0000,,here by Sylvia, seems to be confounding
Dialogue: 0,0:06:20.96,0:06:23.28,Default,,0000,0000,0000,,those categories rather than reveling
Dialogue: 0,0:06:23.28,0:06:25.42,Default,,0000,0000,0000,,in how neat and ordered they are.
Dialogue: 0,0:06:25.42,0:06:26.62,Default,,0000,0000,0000,,Voiceover: She's definitely about
Dialogue: 0,0:06:26.62,0:06:28.12,Default,,0000,0000,0000,,overturning things.
Dialogue: 0,0:06:28.12,0:06:31.02,Default,,0000,0000,0000,,Even her name is actually made up.
Dialogue: 0,0:06:31.02,0:06:32.12,Default,,0000,0000,0000,,It's a pseudonym.
Dialogue: 0,0:06:32.12,0:06:34.54,Default,,0000,0000,0000,,She changed her name when she\Nstarted her writing career.
Dialogue: 0,0:06:34.54,0:06:37.71,Default,,0000,0000,0000,,She's not a huge, very popular writer,
Dialogue: 0,0:06:37.71,0:06:39.79,Default,,0000,0000,0000,,but she's one of many poets and writers
Dialogue: 0,0:06:39.79,0:06:41.67,Default,,0000,0000,0000,,who are working on different pieces
Dialogue: 0,0:06:41.67,0:06:43.54,Default,,0000,0000,0000,,that are published in small journals
Dialogue: 0,0:06:43.54,0:06:46.88,Default,,0000,0000,0000,,that very small audiences have read.
Dialogue: 0,0:06:46.88,0:06:49.88,Default,,0000,0000,0000,,She's definitely\Noverturning different kinds
Dialogue: 0,0:06:49.88,0:06:52.43,Default,,0000,0000,0000,,of cultural stereotypes\Nand gender stereotypes,
Dialogue: 0,0:06:52.43,0:06:55.32,Default,,0000,0000,0000,,and kind of in that space of subversion
Dialogue: 0,0:06:55.32,0:06:57.73,Default,,0000,0000,0000,,in the cafe culture of\NGermany at the time.
Dialogue: 0,0:06:57.73,0:06:59.46,Default,,0000,0000,0000,,Voiceover: What did Dix's sitters think
Dialogue: 0,0:06:59.46,0:07:01.50,Default,,0000,0000,0000,,about the fact that he\Nliked to make people ugly?
Dialogue: 0,0:07:01.50,0:07:03.21,Default,,0000,0000,0000,,Did that bother them?
Dialogue: 0,0:07:03.21,0:07:04.38,Default,,0000,0000,0000,,Voiceover: Sometimes it did.
Dialogue: 0,0:07:04.38,0:07:06.63,Default,,0000,0000,0000,,A lot of times it was\Nalmost like a privilege
Dialogue: 0,0:07:06.63,0:07:08.79,Default,,0000,0000,0000,,to be painted by Dix and portrayed
Dialogue: 0,0:07:08.79,0:07:11.54,Default,,0000,0000,0000,,in this particularly ugly kind of way.
Dialogue: 0,0:07:11.54,0:07:16.64,Default,,0000,0000,0000,,One or two sitters did\Nhave a problem with it.
Dialogue: 0,0:07:16.64,0:07:18.84,Default,,0000,0000,0000,,He was commissioned by sitters
Dialogue: 0,0:07:18.84,0:07:20.22,Default,,0000,0000,0000,,because he was so well known,
Dialogue: 0,0:07:20.22,0:07:23.05,Default,,0000,0000,0000,,and at this point, in\N'26, he's very well known
Dialogue: 0,0:07:23.05,0:07:24.19,Default,,0000,0000,0000,,for his painting style.
Dialogue: 0,0:07:24.19,0:07:26.76,Default,,0000,0000,0000,,Earlier than that, some\Nof his more wealthy
Dialogue: 0,0:07:26.76,0:07:29.97,Default,,0000,0000,0000,,business clients did not particularly like
Dialogue: 0,0:07:29.97,0:07:31.83,Default,,0000,0000,0000,,the way that they were painted.
Dialogue: 0,0:07:31.83,0:07:33.64,Default,,0000,0000,0000,,Sylvia von Harden, as far as I know,
Dialogue: 0,0:07:33.64,0:07:36.86,Default,,0000,0000,0000,,loved the way that this painting worked.
Dialogue: 0,0:07:36.86,0:07:38.05,Default,,0000,0000,0000,,She even sat with it.
Dialogue: 0,0:07:38.05,0:07:39.53,Default,,0000,0000,0000,,It's at the Pompidou Center now.
Dialogue: 0,0:07:39.53,0:07:42.93,Default,,0000,0000,0000,,In the '60s she even\Nsat and had a photograph
Dialogue: 0,0:07:42.93,0:07:44.36,Default,,0000,0000,0000,,taken of herself in front of the portrait.
Dialogue: 0,0:07:44.36,0:07:46.38,Default,,0000,0000,0000,,You can see even at that\Npoint that she still
Dialogue: 0,0:07:46.38,0:07:48.92,Default,,0000,0000,0000,,sort of looks a little\Nbit like the figure in it.
Dialogue: 0,0:07:48.92,0:07:51.01,Default,,0000,0000,0000,,I just think it's a great portrait.
Dialogue: 0,0:07:51.01,0:07:51.88,Default,,0000,0000,0000,,Voiceover: Me too.
Dialogue: 0,0:07:51.88,0:07:55.88,Default,,0000,0000,0000,,(jazzy music)