Luke Syson: How I learned to stop worrying and love "useless" art

84,049 views ・ 2014-01-16

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Two years ago, I have to say there was no problem.
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Two years ago, I knew exactly what an icon looked like.
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It looks like this.
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Everybody's icon, but also the default position
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of a curator of Italian Renaissance paintings, which I was then.
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And in a way, this is also another default selection.
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Leonardo da Vinci's exquisitely soulful image
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of the "Lady with an Ermine."
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And I use that word, soulful, deliberately.
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Or then there's this, or rather these:
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the two versions of Leonardo's "Virgin of the Rocks"
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that were about to come together in London for the very first time.
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In the exhibition that I was then in the absolute throes of organizing.
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I was literally up to my eyes in Leonardo,
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and I had been for three years.
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So, he was occupying every part of my brain.
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Leonardo had taught me, during that three years,
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about what a picture can do.
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About taking you from your own material world into a spiritual world.
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He said, actually, that he believed the job of the painter
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was to paint everything that was visible and invisible in the universe.
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That's a huge task. And yet, somehow he achieves it.
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He shows us, I think, the human soul.
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He shows us the capacity of ourselves
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to move into a spiritual realm.
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To see a vision of the universe that's more perfect than our own.
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To see God's own plan, in some sense.
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So this, in a sense, was really what I believed an icon was.
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At about that time, I started talking to Tom Campbell,
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director here of the Metropolitan Museum,
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about what my next move might be.
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The move, in fact, back to an earlier life,
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one I'd begun at the British Museum,
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back to the world of three dimensions --
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of sculpture and of decorative arts --
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to take over the department of European sculpture and decorative arts, here at the Met.
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But it was an incredibly busy time.
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All the conversations were done at very peculiar times of the day --
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over the phone.
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In the end, I accepted the job
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without actually having been here.
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Again, I'd been there a couple of years before,
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but on that particular visit.
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So, it was just before the time that the Leonardo show was due to open
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when I finally made it back to the Met, to New York,
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to see my new domain.
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To see what European sculpture and decorative arts looked like,
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beyond those Renaissance collections with which I was so already familiar.
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And I thought, on that very first day, I better tour the galleries.
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Fifty-seven of these galleries --
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like 57 varieties of baked beans, I believe.
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I walked through and I started in my comfort zone in the Italian Renaissance.
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And then I moved gradually around,
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feeling a little lost sometimes.
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My head, also still full of the Leonardo exhibition
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that was about to open, and I came across this.
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And I thought to myself: What the hell have I done?
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There was absolutely no connection in my mind
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at all and, in fact, if there was any emotion going on,
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it was a kind of repulsion.
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This object felt utterly and completely alien.
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Silly at a level that I hadn't yet understood silliness to be.
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And then it was made worse --
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there were two of them.
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(Laughter)
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So, I started thinking about why it was, in fact,
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that I disliked this object so much.
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What was the anatomy of my distaste?
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Well, so much gold, so vulgar.
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You know, so nouveau riche, frankly.
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Leonardo himself had preached against the use of gold,
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so it was absolutely anathema at that moment.
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And then there's little pretty sprigs of flowers everywhere. (Laughter)
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And finally, that pink. That damned pink.
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It's such an extraordinarily artificial color.
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I mean, it's a color that I can't think of anything that you actually see in nature,
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that looks that shade.
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The object even has its own tutu. (Laughter)
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This little flouncy, spangly, bottomy bit
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that sits at the bottom of the vase.
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It reminded me, in an odd kind of way,
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of my niece's fifth birthday party.
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Where all the little girls would come either as a princess or a fairy.
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There was one who would come as a fairy princess.
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You should have seen the looks.
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(Laughter)
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And I realize that this object was in my mind,
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born from the same mind, from the same womb,
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practically, as Barbie Ballerina. (Laughter)
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And then there's the elephants. (Laughter)
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Those extraordinary elephants
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with their little, sort of strange, sinister expressions
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and Greta Garbo eyelashes, with these golden tusks and so on.
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I realized this was an elephant that had
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absolutely nothing to do with a majestic march across the Serengeti.
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It was a Dumbo nightmare. (Laughter)
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But something more profound was happening as well.
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These objects, it seemed to me,
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were quintessentially the kind that I and my liberal left friends in London
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had always seen as summing up
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something deplorable about the French aristocracy
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in the 18th century.
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The label had told me that these pieces were made
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by the Sèvres Manufactory,
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made of porcelain in the late 1750s,
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and designed by a designer called Jean-Claude Duplessis,
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actually somebody of extraordinary distinction
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as I later learned.
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But for me, they summed up a kind of,
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that sort of sheer uselessness of the aristocracy
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in the 18th century.
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I and my colleagues had always thought
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that these objects, in way, summed up the idea of,
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you know -- no wonder there was a revolution.
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Or, indeed, thank God there was a revolution.
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There was a sort of idea really, that,
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if you owned a vase like this,
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then there was really only one fate possible.
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(Laughter)
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So, there I was -- in a sort of paroxysm of horror.
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But I took the job and I went on looking at these vases.
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I sort of had to because they're on a through route in the Met.
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So, almost anywhere I went, there they were.
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They had this kind of odd sort of fascination,
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like a car accident.
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Where I couldn't stop looking.
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And as I did so, I started thinking:
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Well, what are we actually looking at here?
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And what I started with was understanding this
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as really a supreme piece of design.
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It took me a little time.
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But, that tutu for example --
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actually, this is a piece that does dance in its own way.
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It has an extraordinary lightness
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and yet, it is also amazing balanced.
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It has these kinds of sculptural ingredients.
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And then the play between --
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actually really quite carefully disposed color and gilding, and the sculptural surface,
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is really rather remarkable.
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And then I realized that this piece went into the kiln
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four times, at least four times in order to arrive at this.
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How many moments for accident can you think of
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that could have happened to this piece?
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And then remember, not just one, but two.
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So he's having to arrive at two exactly matched
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vases of this kind.
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And then this question of uselessness.
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Well actually, the end of the trunks were originally candle holders.
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So what you would have had were candles on either side.
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Imagine that effect of candlelight on that surface.
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On the slightly uneven pink, on the beautiful gold.
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It would have glittered in an interior,
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a little like a little firework.
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And at that point, actually, a firework went off in my brain.
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Somebody reminded me that, that word 'fancy' --
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which in a sense for me, encapsulated this object --
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actually comes from the same root as the word 'fantasy.'
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And that what this object was just as much in a way,
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in its own way, as a Leonardo da Vinci painting,
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is a portal to somewhere else.
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This is an object of the imagination.
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If you think about the mad 18th-century operas of the time -- set in the Orient.
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If you think about divans and perhaps even opium-induced visions of pink elephants,
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then at that point, this object starts to make sense.
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This is an object which is all about escapism.
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It's about an escapism that happens --
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that the aristocracy in France sought
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very deliberately
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to distinguish themselves from ordinary people.
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It's not an escapism that
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we feel particularly happy with today, however.
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And again, going on thinking about this,
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I realize that in a way we're all victims
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of a certain kind of tyranny
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of the triumph of modernism
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whereby form and function in an object
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have to follow one another, or are deemed to do so.
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And the extraneous ornament is seen as really,
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essentially, criminal.
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It's a triumph, in a way, of bourgeois values rather than aristocratic ones.
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And that seems fine.
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Except for the fact that it becomes a kind of sequestration of imagination.
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So just as in the 20th century, so many people
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had the idea that their faith
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took place on the Sabbath day,
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and the rest of their lives --
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their lives of washing machines and orthodontics --
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took place on another day.
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Then, I think we've started doing the same.
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We've allowed ourselves to
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lead our fantasy lives in front of screens.
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In the dark of the cinema, with the television in the corner of the room.
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We've eliminated, in a sense, that constant
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of the imagination that these vases represented in people's lives.
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So maybe it's time we got this back a little.
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I think it's beginning to happen.
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In London, for example,
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with these extraordinary buildings
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that have been appearing over the last few years.
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Redolent, in a sense, of science fiction,
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turning London into a kind of fantasy playground.
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It's actually amazing to look out of a high building nowadays there.
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But even then, there's a resistance.
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London has called these buildings the Gherkin, the Shard, the Walkie Talkie --
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bringing these soaring buildings down to Earth.
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There's an idea that we don't want these
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anxious-making, imaginative journeys to happen in our daily lives.
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I feel lucky in a way,
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I've encountered this object.
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(Laughter)
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I found him on the Internet when I was looking up a reference.
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And there he was.
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And unlike the pink elephant vase,
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this was a kind of love at first sight.
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In fact, reader, I married him. I bought him.
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And he now adorns my office.
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He's a Staffordshire figure made in the middle of the 19th century.
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He represents the actor, Edmund Kean, playing Shakespeare's Richard III.
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And it's based, actually, on a more elevated piece of porcelain.
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So I loved, on an art historical level,
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I loved that layered quality that he has.
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But more than that, I love him.
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In a way that I think would have been impossible
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without the pink Sèvres vase in my Leonardo days.
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I love his orange and pink breeches.
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I love the fact that he seems to be going off to war,
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having just finished the washing up. (Laughter)
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He seems also to have forgotten his sword.
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I love his pink little cheeks, his munchkin energy.
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In a way, he's become my sort of alter ego.
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He's, I hope, a little bit dignified,
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but mostly rather vulgar. (Laughter)
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And energetic, I hope, too.
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I let him into my life because the Sèvres pink elephant vase allowed me to do so.
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And before that Leonardo,
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I understood that this object could become part of a journey for me every day,
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sitting in my office.
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I really hope that others, all of you,
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visiting objects in the museum,
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and taking them home and finding them for yourselves,
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will allow those objects to flourish in your imaginative lives.
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Thank you very much.
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(Applause)
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