:47:00
You know these men.
You handled some of them.
:47:02
Why didn't you tell me about it?
:47:04
I wrote you in Antwerp.
Don't you read my letters?
:47:06
But seeing them, the colors,
and what they've done with light.
:47:11
- Is that painting?
- The critics and the public don't think so...
:47:14
nor do my employers at Goupil's.
:47:16
I can't believe it.
:47:17
Now, if they're right,
then everything I've done is wrong.
:47:20
Do they really know what they're doing?
:47:22
You've got to meet and talk to them,
see what they think.
:47:24
That's why I wanted you in Paris.
:47:26
Where can I meet them?
I got so many questions.
:47:28
- At 2:00 in the morning?
- Why not?
:47:31
Listen, take that thing off and settle down.
:47:34
You live here, you know.
:47:37
We've got to make a Parisian out of you.
:47:41
You'll have lots of time
to get your answers.
:47:43
Tomorrow, we'll start with Pissarro.
:47:46
It's the problem of translating light
into the language of paint.
:47:50
Those leaves there,
if they were the only thing in sight...
:47:52
they'd have one color, their own.
:47:55
But the shade and reflection
of everything around...
:47:58
the sky, the earth, the water,
give them more than their own color.
:48:01
That's why, when you paint from nature,
don't fix your eye on any one spot.
:48:05
Take in everything at once.
:48:07
And above all, don't be timid.
:48:10
Trust your first impression.
:48:28
Everything you've been doing,
what we've all been doing. ; obsolete...
:48:33
the whole lot of us
guessing with every brush stroke...
:48:35
pouring rivers of paint
into haphazard combinations...
:48:39
when actually, everything we're after
can be achieved mathematically.
:48:43
What are you talking about? Seurat again?
:48:45
Do you really think
a painting can be done by formula?
:48:48
Can be? Is being done, right here in Paris...
:48:52
through precise, scientific methods.
:48:54
I don't mix my colors on canvas.
:48:56
I mix them in the eye of the spectator.