tv Democracy Now LINKTV October 1, 2014 3:00pm-4:01pm PDT
(narrator) the quest for immortality-- the desire to extend th certainties of life beyond the grave-- is as old as egypt itself. the pyramids at giza, the wonders of the ancient world, were not just designed as the pharaoh's last resting-place. they were the first stop on a long night's journey to everlasting life. by 1550 bc, power had shifted to a n kingdom 500 miles south in the ancient city of thebes, now called luxor. to the west, in the hills beyond the nile's west bank, the royal tombs of the valley of the kings were cut into limestone cliffs. their interiors are richly decorated with hieroglyphs and paintings-- signs and symbols that detail the necessary steps to attain immortality.
egypt's power and the grandeur that came with it were well-established by 2500 bc when the great pyramids at giza were built. the sphinx was a philosophy of government set in stone. it depicted the king as fearless, cunning and brave as the lion. and as crucial to egypt as the nile itself. the king was not just a political leader but a religious leader too. in the minds of the ancient egyptians, the pharaoh's power and authority as a king stretched far beyond the boundaries of his country-- and into the cosmos itself. after death, he would escape the earthly bounds of his tomb, board a solar boat and sail into immortality. this vision became material in objects and image
found in the tombs and temples as a way of pre-ordaining a central idea: after perilous and carefully prescribed journey through the night, the king would become one with the sun god re. the king becomes associated with re in particular because of the idea that the sun is born every day out of the womb of the sky, and then comes into the world and goes into the body of the sky at night. and the king in his cycle, in his daily comings and goings, is seen to be like the sun. (narrator) the idea that the pharaoh would be reborn as the sun god re is described in paintings and hieroglyphs in countless royal tombs. it runs like a spine through the theology and philosophy of egypt for more than two thousand years.
a clear development begins in the old kingdom in the third millennium before christ. there, at the time of the pyramids, the beyond was located in the sky-- the celestial beyond was always the royal beyond whe kin wanted to rise. arrator) e vision of a cestiaheaven continueinto the new ngdoera and was depicted in the tomb of ramses the sixth, who died in 1136 bc. but the concept of an afterlife in the netherworld had begun to replace it by the beginning of the new kingdom, around 1550 bc. in the second millennium a change took place. the main focus shifted from the sky to the netherworld because egyptians believed that there, the actual regeneration, the coming back to life took place in the world of osiris.
(narrator) osiris, ruler and judge of the dead in the underworld... a powerful figure in ancient egyptian cosmology... his origins rooted in an ancient legend. through some horrible machinations he was killed and torn asunder and brought back to life as the world's first mummy, and magically brought back through the help of his sister and wife, isis. osiris, because he was brought back from the dead and because he was put back from pieces and made to live again, became the symbol of regeneration and particularly was associated with the dead and th the land of theest, the place where most of the burials, including th and valley of the kings.t, (narrator) the cosmological landscape of the life after death was rich with deities-- hundreds in number.
the falcon-headed horus god of the sky and the embodiment of divi kingship. hathor, sky goddess,-- protector of the sun at night. the jackal anubis, guardian of the body, its divine embalmer and protector. the versatile isis, goddess of fertility patroness of magic and healing and queen of the sky. thoth, a lunar god often represented as a baboon... an ibis... or an ibis-headed human... patron of knowledge and writing, and protector of the scribes. great and small, the gods took different forms-- usually human or animal in shape, and often both-- all of them familiar to the ancient egyptians. when we talk about the hundreds of egyptian gods,
each and every one of those is a manifestation of something they associate with the notion of deity or god. for example, the crocodile god, whose name is sobek. the egyptians did not worship crocodiles, they worshipped in this case the force that they associate with the crocodile, who is one of the most fearsome and powerful enemies that they have in their world. so they want to control that particular essence, and they turn it into a deity that they can worship and offer to and then get back what they want from it. (narrator) the nile's fertile banks and the hills just beyond were home to birds and animals that fed the egyptian imagination. they integrated them into their vision of the world that would follow.
like the sun, the sun god re was believed to die each night. he is rejuvenated each day in the form of the scarab beetle. the beetle seemed an apt symbol of rebirth because its eggs were laid in dung, the ultimate form of death and nothingness-- and nonetheless sprang into the preciousness of new life. the egyptians hoped and prayed for certainties-- ac thsud ri, thach mm nile would flood, that each winter the crops would ripen. th yearnr hm cms pra r i k a period of great expansion of egyptian power. the charismatic king thutmose the third aggressively expanded egypt's borders. he pushed north into syria and palestine...
and south, tightening control over nubia and securing its gold mines. that gold was a source of wealth that would fill the coffers anenrichheombs of t n kinom wldfince gr ic wks like the festival hall, also known as a temple of millions of years, and embellish the public image of thutmose the third. thutmose the third ruled from 1479-1425 bc, and embodied the strong central authority that characterized the new kingdom. the pharaohs of the new kingdom were just as intent establishing orde and certainty in thefterlife. across the nile from thebes, due west, they found the perfect staging area for their quest for immortality. the west side of the nile is for the egyptians of course where the sun sets.
where the journey to the next world starts. to be on the west side is directly related to the fact that the sun's journey is what we're following. at the end of each day, the sun sets in the west and then travels backwards to the eastern horizon to rise the next morning. (narrator) tucked beneath a peak called el-qurn that may have appealed to them because of its resemblance to a pyramid, the pharaohs of the new kingdom began to construct a cemetery of royal tombs carved into the limestone hillsides. preparations for the tomb began just as soon as the king assumed power, permitting time for the elaborate construction throughout his reign. nearby, a set of smaller tombs began to take shape-- final resting place for nobles whose service to the king was acknowledged by close access to their master for eternity. the tombs of the nobles were less elaborate,
but they also displayed a desire to retain their status in the next world... and they were cut just as deeply into the hillsides. the tomb of sennefer, mayor of thebes, depicts sennefer and his wife united eternally in the afterlife. on the ceilings, arbors heavy with ripening grapes evoke the vineyards of osiris a source of vitality and regeneration in the next world. deir el-medina, a village constructed for artisans who worked in the valley of the kings, contains a scattering of smaller tombs they built for themselves. wall paintings in the tomb of sennedjem, overseer of the artisans, display the piety of sennedjem and his wife, as they worship the gods of the underworld. the sarcophagus of sennedjem's son khonsu attests to that yearning for the continuation of life after death.
the surfaces of the sarcophagus are richly covered in hieroglyphs and images, a detailed account of the pieties and rites necessary for passage to an eternal life. khonsu himself is pictured worshipping two lions, images representing the past and the future. the journey to immortality began with mummification-- an attempt to preserve the bod as an eternal vessel for the soul. these practices continued for centuries. in the mid fifth century bc, the greek historian herodotus detailed the process of embalming. first with a crooked iron tool they draw out the brain through the nostrils... after this they make a cut along the side and take out the whole contents of the belly...
then they fill the belly with myrrh, and sew it together again... they keep it covered up in adtron salts for seventy days. one each for the liver, lungs stomach and intestines. the jars were then placed in a chest. ornamental plaques made of precious metal might be placed over the incision where the vital organs were removed. after embalming, mummies of kings and the upper echelons of egyptian society were elaborately dressed with mummy nets and the upper echelons of anintian society dted lar boborately dressed thd with mummy nets as symbols of kingly power. the mummies were adorned and protted with precious metals-- their fingers and toes sheathed in gold, their faces covered with luminous masks.
(narrator) color carried special significance in ancient egyptian funeral rituals-- the red granite used in this sarcophagus was also associated with the sun... black stone, the color of the fertile soil of the nile valley, carried with it associations of resurrection and rebirth, and often referred to eternal life. fully prepared and adorned, the mummies were then placed in coffins. they were made from precious metals orved gild.
coffs hous the deceased and provided another vessel for their spirit. they were inscribed with images of deities-- another layer of protection to ensure safe passage into the netherworld. the mummy was now prepared for its westward journey across the nile. judging by the scenes of funeral processions in the tomb of the noble ramose, the bereaved dealt with the expression of grief much as we do today... but there was a major difference... egyptians bearing offerings-- food, wine, clothing, furniture-- joined the funeral procession. representations of these provisions weren't just pictures... egyptians believed what they depicted would come into being. i think it's important, when you look at objects from an egyptian tomb, including the decorations on the walls
and the mummy itself and even the elements of food and furniture, to remember that all of it was functional. functional not in the way that we would think about used in daily life. now some of those pieces indeed are elements, items of tomb equipment could indeed be used in daily life and then be reused in the burial. but everything was intended to function magically in the next world. (narrator) the royal tombs were hidden from view. there was generally a series of descending shafts, some richly decorated, followed by an antechamber, and then the burial chamber. the coffins were placed into monumental sarcophagi. these massive containers protected the pharaoh from grave robbers in this life and his enemies in the netherworld. the tombs also included ushebtis-- small lifelike figures that performed work for the deceased,
acting as servants in the afterworld. by around 1000 bc, it was common to find hundreds of these ushebtis-- one for each day of the year and a team of supervisors to oversee their work. boats to carry the king through the netherworld, were also common in royal tombs. funerary texts, guidebooks to the land beyond life, were a long tradition in egypt. the book of the dead was a collection of spells, sometimes inscribed on coffins and sarcophagi, to help the deceased overce the perils of his journey. the most famous spell centers on tprid over by t the deced is.s heart, thhet must ban with the feather of trh,
the symbol of maat, goddess of truth, justice and harmony. in a declaration of innocence, the deceased must demonstrate that he has not sinned in his past life. (reader) i hai have notilled,ars. i have notamaged thngs t temples, i haveot added to the weight of the balance, (narrator) dear wthofortality, the deceased could expect to reside in the ideal world after his death. the egyptian had a fixed idea of the landscape. he had his nile valley with its canals and the bordering desert and of course he imagined that in the beyond it would look about the same. but he imagined the possibilities in the beyond to be simply greater. that, for example, all the flaws connected with the body woulbe smoou that the gras ulgrow much tler. therefore it would be an improved life, really. imperfections in this life would be healed in the afterlife.
(narrator) the excavation of the tombs in the valley of the kings by archaeologists beginning in the early 19th ceur proved the clearest idea of the new kingdom's addition to t funery literature-- a text cald the amduat detailing the pharaoh's long nighttime journey into oneness with the sun god re. the amduat-- literally translated it means "that which is in the netherworld"-- is a guidebook to the afterlife. and a secret text primarily reserved for the use of pharaohs. it was reproduced in full on the walls of the tomb of thutmose the third, who died in 1425 bc. the black scri written against a lighter background suggests a giant papyrus wrapped around the burial chamber walls. it tells the story of a journey through uncertainty where time and space merge. (dr. betsy bryan) for the egyptians, the notion of trying to turn time, that is, twelve hours of night into space is very complicated,
both for them and for us, without any question. but the way they did it was to identify each hour with a particular region. they would even name the hour as the name of a town in those geographical regions and then describe those geographical regions. so that as you move through your hour you were moving through a particular area associated with it, and then you'd move into the next hour and be in a different geographical region. so it is confusing, but it is how they perceive movement during the nighttime, through space. (narrator) to begin his journey the pharaoh unites with the sun god and boar t solar boat. during t twelv noctnal hours,
they sail from dusk to dawn, from death to resurrection. in hour one, the god appears as a ram-headed figure symbolizing the ul othe sun and as a beetle, a syol of the hoped-for dawn... 's greet ie neerwod with jubilatio- deities raise their arms as he brings light into the derworld. the voyage begins in earnest in hours two and three, as the sun god travels across the water ofhe netherworld, bringing civilization and order to t afterlife. but trouble is on the horizon. in the fourth hour, the water dries up and he finds himself in his sun boat on sand. he's also confronted by a strange-looking zigzag that runs through this fourth hour very much like a descending shaft from a tomb from above. but in any cas 's blockinhiway,
as ithe nd. and so at this point we find that the sun god is challenged as to how he's going to proceed to move through the hours of the night. (narrator) the as a ske,vercomes this by turnyou can move across sand.. snakes don't need water obviously. so he is able to proceed, by means of slithering as a snake boat. (narrator) the duat containages that are also present in the tombs. the protective wedjat eyes allow the pharaoh as sun god to literally keep an eye out for danger. the message, that vigilance is vital to the journey, is reflected in objects of all kinds that are included in the tombs of royals and nobles. in the hours to come, there would be much to keep an eye on. hour five takes the sun god into the very maw of the underworld.
the channel is narrowed by the secret cavern of the god sokar. the falcon-headed god clutches the wings of a multi-headed serpent. together they hold back the hidden chaos that threatens to block the sun god's passage. the sixth and seventh hours are the dark side of the egyptian psyche-- the point where the sobering thought that salvation is a perilous journey is driven home with frightening clarity. these dangers waiting and lurking in the dark for the deceased were pointed out again and again in the amduat. the egyptian tried to shield himself from these dangers in all kinds of ways, mainly with magic words. there is a threat to the sun. the giansnake ophis trs totop thcourse of the sun, but happily he doesn't succeed. d sohere was hope foeveryone. (narrar) prec gdessesind, c, and punishhe enemy apophis.ceed. now under the control of the sun g,
e st danrousent has pa.kbecomes an ally. growing see of calm and orr ispahthnrousent d hours.rronhos an ally. all forces seem to protect the pharaoh as t sun god re. thartns to the of the sun god's triumph over his enemies. the falcon-headed re is seen before a row of fire pits in which his enemies are incinerated. goddesses, with terrifying nicknames-- "the one who injures" and "the one who is over her slaughtering block," spew fire and clutch weapons to ensure the total annihilation of the enemies-- a brutal necessity for re's rejuvenation. in the twelfth and final hour of the amduat the journey through primeval darkness ends, as the sun rises in the east and the sun god is reborn. the fully-fledged re emerges as a beetle,
flying into the arms of the god shu, who will lift the sun up to daylight. the dense texture of storytelling created by the combination of images and text makes the amduat a uniquely egyptian phenomenon... together with other funerary texts, mummy wrappings, coffins, sarcophagi, and tombs, the amduat protected the deceased and guided them through the afterworld. the pharaoh's successful navigation of the netherworld resulted in more than his own rebirth as the sun god. by ensuring that the life-giving sun would rise each dawn, the journey promised all egyptians that day would follow night and that life as they knew it would continue.
( person speaking in greek ) ummer translating: "we do not emulate the initutns oouneighbors. ouvement called aemracy becae not ths he f but of the many." described in the year 430 before christ (b.c.) by pericles, the elected leader of athens, this new political system nurtured free intellectual inquiry and unprecedented creativity in the arts:
the father of tragedy, aeschylus; the dramatists sophocles and euripides; the physician hippocrates; the philosopher socrates. this classical period, which at its height lasted less than 50 years, was set in motion by events that had taken place over the course of the preceding century. in 510 b.c., a decisive measure was taken when two men overthrew the rannical rule of athens. a public statue of them, the first time private citizens were so honored, was set up in the marketplace. two years later, the statesman cleisthenes iadnstional ror.
these would lead to the creation of the world's firsdemocracy. this new political vision emerged at a time of radical changes in the arts. in vase painting, all that remains of a rich painting tradition, figures were silhouetted against a red clay ground. artists discovered that by reserving the images in red, they could then spotlight the human figure. artists painted age-old tales of heroic men and all-powerful gods, but they also introduced new subjects: ordinary people and everyday life, craftsmen at work, teacrs with pupils, athletes in competition.
with this democratic spirit, even the act of voting was represented. in sculpture, figures had been shown as rigid and frontal. at the dawn of the 5th century, artists found a new way to suggest life and motion, embodied in the kritios boy. for the first time, the figure is seen as an individual: conscious, aware, capable of taking responsibility for his actions. he keeps measure in his thoughts and measure in his doings. in athens, citizens acted not only felves r the commity.
no part in civic affairs as useless." consciousness and choice, the notion that man could control his own fate, began to arise during a critical period in the history of the greeks. the tiny city-states of greece were threatened by persia, one of the greatest powers of the ancient world. twice ey invaded. in 490 b.c., the persians were repelled. in 480 b.c., the persians reached athens, sacking the city and reducing the acpolis to rns. greeks from rival city-states banded together for the first time
to defeaeien agast all odds. aeschylus pressed the athenians' fervor: "sons of the greeks, go forward and set free your father's country. now is the one battle for everything." the united greeks were triumphant. herodotus captured their spirit: "freedom-- you have never tried to know how sweet it is. if you had, you would urge us to fight for it, not only with our spears but even with our hatchets." for the greeks, man was no longer at the mercy of external forces. his own actions could alter the world around him. man took his place as preeminent in the world order. on the island of aegina near athens,
this new idea of humanism can be seen just as it was emerging, at the temple of aphaia. the pediments show scenes of the trojan war. the west pediment was sculpted about 500 b.c., just before the persians' assault. a fierce battle is being fought; apar as ncs on a stage. this elegant dance gives way on the east pediment to a drama of life and death. sculpted after the persian war,
figures are imbued with a new sense of awareness, with a capacity for suffering. exploration of the inner spirit of man was paralleled by an almost scientific observation of anatomy. the fallen warrior reluctantly yields. at olympia, the finest early classical temple was begun about 470 b.c. it was later destroyed by an earthquake. was dedicatus, most powerful the gods..c. ( men nging ) on the west pediment, a despate battle between greeks and centaurs,
the god apollo presides, pure and austere. sculpted reliefs represented the mythic feats of the hero herakles. with the help of the goddess athena, he suppos th heavens on aillow whilatlas retrieves for him the apples of immortality. herakles is depicted as he ages. for the first time,the artn taking on the markand the knowledge of time. olympia was famous as an athlecent. every four years, competitors from throughout grce participated in olympic games that celebrated physical ability. physical beauty for the greeks was equated with greatness of spirit. this linking of the beautiful and the good
was the classical ideal. with the bronze statue of zeus, god appears in the image of perfect man. "single is the race of men and gods. men can in greatness of mind or of body be like the immortals." the zeus was salvaged from the sea near artemisium, not far from athens, where the classical style was forged. under pericles, who had come to power in the 460s, athens controlled a maritime empire. it was during this prosperous period that the city experienced a golden age of art and culture. in outdoor theaters, art and politics met as citizens gathered to see tragedies and comedies that queried the role of the individual in society.
pericles' greatest achievement was the construction of relious complex at the acropolis the partwas built under the supervision of the renowned sculptor phidias. its design by ictinus and callicrates embraced symmetry and order. fledolumns wer spac and tapered to give the illusionf lightness and elegance. proportions we scaled to meet the human figure, taking into cot the perceptions of the iividual. as the philosopher protagorus stated, "man is the measure of all things." the temple was dedicated to athena, goddess of wisdom and domestic crafts. a sculpture of athena, now lost, once appeared on the pediments with other gods and goddesses.
on all four sides of the temple were scenes of gods, men and beasts, oncexq inside stood p ivory stae aen. honored the goddess on her birthday. the citizens of athens wended their way up the acropolis to present her with a new robe to clothe her statue. no contemporary events were represented on greek temples,
but the rule was broken at the parthenon. the panathenaic procession appeared on the relief that ran along its porch: a cavalcade of mounted yohs, water carriers, offering bearers, ordinary citizens,xisting in a quasi-divine world that rivaled that of the gods. the parthenon was completed about 432 b.c. a year later, the peloponnesian war broke out, halting the acropolis building program. grk foht gre as henswas pitteda r almo 30 ars. sculptors who had worked on e parthenon now carved gravestones to be set up in the athenian cemetery.
d for viims ofgueth flashed ths 430. thadre th the living: husbands and wives, fathers and sons, children with their pets, suggesting bonds of love that outlasted death. ( woman singing ) about 420 b.c., during an interlude in the war, woumed othacroli the temple of athena ne se on a prips bastion, aceful and jewelike. along s papet were wing femalfigures,
coratity thee of clinging draperies and sweeping cves ignored harsh wartime realities to celrate instead the fleeting moment. thmagnt viory us to eranl. the balance she maintains is elegant but precarious. in 404 b.c., the peloponnesian war ended. athens was defeated. yet in the next century, the city would again take the lead woule t andthgh t prent even from the few fragmentary yet precious works that remain for us, the astonishing originality,
to house temporary exhibitions, and to serve as a center for advanced study in the visual arts. within these walls, visitors to our nation's capital are drawn in to a very special place where monumental accomplishments of modern masters await discovery. built on a trapezoidal plot of land adjoining the original gallery, the east building is of a unique and radical design, utilizing triangular shapes with large interior spaces. it was a collaborative effort spanning more than ten years.
director j. carter brown worked closely with architect i. m. pei in its development. seven works of art were commissioned it was agreed that a specific pieceas needed to animate the unbroken expanse of wall in the central courtyard. but the artist would have to have a capacity for monumental concepts, with a sense of color and scale appropriate to the site. a unanimous choice was spanish artist joan miro. bo in the catalan city of barcelona in 1893, miro has remained close to the land and its people. but as a young man in paris, he joined th friends like max ernst and jean arp in the emerging surrealist movement of the 1920s. in his painting "the farm," miro's characteristic symbols and themes began to appear: serpentine shapes, checkerboard patterns,
infinite sce represented by the moon or a star. in 1922, he painted "the farmer's wife," the ancestress of countless female symbols that also became a continuing motif in miro's art. in 1924, his art broke free of gravitational constraints in theurrealistic world of "harlequin's carnival." over the years, he developed his own personal symbolism, and in the 1950s, the scale of hisrt grew with such works as a mural at harrd university and "the wall ofhe sun" for unesco in pas. as his work grew in size, miro continued what he termed "a process of simplification." he stated, "little by little, i have managed to reach a point at which i use no more than a small number of forms and colors
this process found a culminating expression in his eightoot-high painting "femme," the maquette for the tial gallery's tapestry. miro entered the project with much enthusim, stating, "i'll go into this and fight it through with everything i have." over my months, the tapestry took shape in his imagination. finally, in 1976 it was set down rapidly as a maquette. in the ancient catalan city of tarragona, joan miro meets with young master weaver josep royo to discuss the transformation of his painting into a 10-meter-high tapestry. studying a photograph of the maquette, they consider how best to translate miro's art into a heavily- textured weaving, which would capture the spirit of his concept. royo has an enormous task before him. in this converted flour mill in tarragona,
many months of preparation are needed before the weaving itself can begin. nearly four miles of heavy cotton line is measured, stretched and chained for use as the tapestry's vertical warp. royo has developed a unique loom for weaving large tapestries. it has been built to accommodate the 20-foot width and the 420-warp threads which st be accurately spaced and held in line. after all the warps have been laid out, each more than 50 feet in length, they areound s onto auge um before finally being transferred to a massive overhead roller and stretched tight. on a cold februarymorning ,
the loom is ready for the weaving process to begin. the wool for the weft was imported from new zealand, in the heart of catalonia, and tested for durability and resistanceo fading. weaving from the bottom up and in meter segments, the completed seion is pulled below the working bridge as the work progresses. in march, miro visits his young colleague's studio. he inspects the progress, makes suggestions, and gives his approval. royo works with a team of fellow weavers whom he has carefully trained to complish this imposing tas
royo's revolutnary conce allows weaving to be performed from either side using multiple groups of yarn twisted together and passed over varying numbers of warps through the months of april and may, meter by meter the forms of the tapestry gradually begito emerge. miro has said of his approach to art, "things come to me slowly. my vocabulary formsas not en the discovery of a day. it took shape alst spite of myself in this way, ty ripen in my spirit."
into the steamy month of august, the spirit of "femme" grows until the figure is complete. now, with only a few inches of background remaining, royo welcomes miro to his studio once more to witness the final steps of an eight-month process. royo says, "working together, we have become so closely attuned that i can almost read his min i take direction as much from an expression or gesture as from wordor sketches. working with miro has forced me to make a constant effort to do better, an effort from which i have benefited in many respects." for these two catalan artists,
it has been a fulfilling experience. what was born in the imagination of one artist has been translated and skillfully brought into being by another. it has been more than five years since miro accepted this project. the end is now in sight, but first "femme" must be prepared for her trip. hundreds of mothballs are scattered for protection before the tapestry is cut from the loom, covered, rolled and packed for shipment. the finished tapestry roll is 20 feet long, weighing well over a ton, and the task of moving is not a simple one.
a window has to be enlarged to accommodate the passage of this huge parcel from royo's studio. ( muffled comments, crane engine rumbling ) the people of tarragona watch as "femme" is cautiously lowered onto the waiting truck to begin a long voyage across the atlantic. first she must travel to barcelona to be crated, before passage by ship to her home in america. royo follows "femme" to washington, d.c.,
to supervise the installation on the south wall of the east building's central court. there are now many new problems to overcome. the tolerances are extremely close, demanding precise measurement, careful planning and a team effort. the huge roll barely fits into this confined space. the workers must unroll it evenly and accurately. bolts have been embedded deep into the structural wall, behind the marble facing, to support this massive piece when it slides into place. ( muffled comments )
carefully, royo grooms "femme," as the crew graduay hoistser upwd over the last few yards of a long journey. ( music ) this is the realization of many dreams, uly a work of collaboration; the fulfillment of a vision shared by the architect and the national gallery, supported by generous patrs, brought to fruition by joan miro and josep royo. on this day, those drms and efforts are reaching a successf conusion.
she is in the company of the works of other modern masters such as henry moore and jean arp, of david smith, noguchi, caro, rosati and motherwell. but she stands alone at the head of the south wall as a unifying force and vital core of color in the east building of the national gallery of art. ( music )
annenberg media ♪ ¿abuela? iabuela, ya llegamos! narrador: bienvenidos al episodio 22 de destinos: an introduction to spanish. dolores acevedo. mucho gusto. el gusto es mío. ¿y la abuela? en el nombre del padre, del hijo y del espíritu santo... en este episodio, no hay vocabulario nuevo que aprender.