MONDAY 20 SEPTEMBER 2021

MON 19:00 Great British Railway Journeys (b09m8hnk)
Series 9

Newport to Clevedon/Yatton/Bristol Channel

Steered by his early 20th-century Bradshaw's guide, Michael discovers the birthplace of British aviation in Bristol and prepares an Airbus 380 for a smooth landing at Filton. In Newport, he uncovers the heroism of a young boy who rescued a workman from a dock disaster in which many died. Michael admires the Albert Medal awarded to the brave Tom Lewis, now in the proud possession of his great grandson, the 385th Mayor of Newport.

Michael discovers the home of a forward-thinking Edwardian family at Eagle House in Batheaston. Frieda Roberts remembers the suffragettes who campaigned for votes for women in the early 20th century and found refuge at the house after their release from prison.

And in the Somerset town of Clevedon, Michael goes to the movies in a perfectly preserved cinema dating from 1912 and hears about the first film to be shown there, in aid of survivors of the Titanic disaster.


MON 19:30 The Joy of Painting (m000zwpk)
Series 4

Enchanted Falls Oval

Create an extraordinary waterfall with Bob Ross and capture its intriguing magic in a painting that you will be proud to display anywhere.


MON 20:00 Secrets of the Museum (m000fjg5)
Series 1

Episode 3

Inside every museum is a hidden world, and now, cameras have been allowed behind the scenes at the world-famous Victoria and Albert Museum in London.
Only a small part of the two million wonders in the collection are on display to the public. But in this new series we go behind closed doors to explore all the treasures of art, design and performance the museum has to offer.
We follow experts and conservators at work in this treasure trove of the nation’s favourite objects, as they breathe new life into fragile marvels, uncover hidden stories, and battle to keep the past alive.
This week, we join curators Steph and Jenny as they plan a major new exhibition celebrating the work of innovative British fashion designer Mary Quant. They want to illustrate how the designer shook up women’s fashion in the 1960s with clothing that liberated women from decades of corsetry. Although the museum has a big archive of Quant dresses already, Steph has a critical gap in the collection. After an appeal to the public, a woman from Yorkshire comes forward with a dress that could be perfect to show how off exactly how Quant hiked hemlines higher than ever before.
Jenny Fenwick was 17 years old when she bought her mustard-coloured Mary Quant mini-dress from the Sheffield branch of Topshop. But after years of hard partying, the dress will need all the love and skill that conservator Frances can muster in order to make it exhibition-ready.
When the Quant exhibition opens, Jenny arrives to see her dress in pride of place - and is moved to think that these dresses meant freedom for her, and a whole generation of women.
Meanwhile, curator Julius is delving deep into the stores to uncover some of the very first objects ever given to the museum. He tracks down a hand-painted writing case, made in Kashmir in the 1850s, that once belonged to Queen Victoria, who donated it to the museum. We’ll see inside the beautiful handmade piece, including the original knife and scissors the Queen used to cut and sharpen her quill pens. The writing case will join a spectacular serving dish, or salver, made from fine silver and gold filigree, in a special display to mark 200 years since Victoria and Albert were born.
The museum also receives donations today, just as it did when it first started. A woman from west London, Shalaleh, has offered the V&A her treasured family collection of rare saris, dating back to the 1930s. Shalaleh’s grandmother was part of the Indian aristocracy in the days of the Raj, and travelled to Paris in order to buy fabrics from the top fashion houses of the day for her saris.
These beautiful chiffons and silks are a welcome addition to curator Divia’s collection. With no daughters to give the saris to, Shalaleh knows her grandmother would be delighted to see the saris join the museum for the public to enjoy.
But modern-day objects are just as important as historic items to the museum’s collection. We’ll see Rapid Response curator Corinna hit the streets as she gather the most significant designs of today - that could become the treasures of tomorrow. The team have are hoping to acquire the flags and logo of climate change activists Extinction Rebellion. When they join the collection, these contemporary pieces will sit alongside other emblems of social change now - such as an umbrella from the Hong Kong protest movement, and a burqini.
We’ll also follow conservators as they prepare for the return of a huge Victorian masterpiece to the galleries. ‘The Pilgrim Outside the Garden of Idleness’, by renowned Pre-Raphaelite artist Edward Burne-Jones, is from 1898. But the heavy and extremely valuable artwork is in its delicate original frame and calls for careful conservation to preserve the fragile gilt construction. For 100 years the museum has kept the painting safe, but it’s now down to tech services Allen and a team specialists to manhandle the artwork up several flights of stairs to its original place on the gallery wall.


MON 21:00 Inside America's Treasure House: The Met (m000zwpm)
Series 1

Episode 2

The Met's 150th anniversary year has been derailed by Covid-19. Then in May 2020, the murder of George Floyd, only the latest in a litany of killings of African Americans by white police officers, forces America to confront, once again, inequalities in social justice.

At the museum, the executive are examining their historical record on inclusion, exclusion and diversity, in art and staffing, and find it wanting. In an open letter, questions have been raised and accusations levelled about systemic racism at all New York arts institutions. CEO Dan Weiss has been wrong-footed by anger from within the museum about a postcolonial state of mind expressed in some of the Met's most treasured objects.

In the American Wing, Weiss ponders a 21st-century question: some of the art reflects 19th-century tastes and attitudes to other cultures, in particular the First Nations, who were moved off their homelands even as the museum was being built. It's not just indigenous peoples; most citizens of New York are not Caucasian - where are their stories? How do black and brown visitors feel about their representation in an art house that says it wants to be all things to all people?

The programme moves on with a chronicle of a visit to the Met by Connecticut resident and mum of two Tracy-Ann Samuel. The African American community worker grew up in the city. For her and husband Cleon the Met was more than a museum; it was a portal to other cultures, ideas and, of course, beauty. She wants her girls, Kristen, ten, and Kelsie, four, to see positive depictions of people who look like them, and to ask questions about art that makes statements and assumptions about gender, power and race.

The theme of art and politics as indivisible begins. The Samuel family analyses the messaging in one of the Met's keystone treasures, Emanuel Leutze's Washington Crossing the Delaware. It's a celebrated depiction of heroism, idealising a pivotal moment in the struggle to create the republic, which forms part of the national narrative displayed in the American Wing. Kristen Samuel is a dispassionate viewer, but finds little to interest her.

In contrast, Wooden Boat People, two works by Cree artist Kent Monkman, speak directly to the family. Provocatively positioned in the Great Hall, the paintings were commissioned by the Met, who invited Monkman to look for inspiration in the collections. Leutze's Washington portrait was his choice. The works feature Monkman's gender-fluid alter ego, Miss Chief Testickle.

We see the Canadian artist in his rural studio near Toronto to hear of his relationship with the Met, colonial attitudes and the activities of the slave-owning, native-baiting Washington.

At the museum, there's more political comment, long hidden but now revealed by x-ray analysis of Jacques-Louis David's portrait of scientists Mr and Mrs Lavoisier. Painted just before the French Revolution, it had depicted the bourgeois couple as clever but chic, but was hurriedly overpainted to save them from the guillotine.

But should stories of the old, white and dead take precedence in the museum? And should it concern itself with anything more than the beauty of the exhibits? These issues are discussed by Head of Modern and Contemporary Art Sheena Wagstaff, who proactively promotes the work of African American and other unrepresented artists. She's just added Rashid Johnson's Five Broken Men to the collection.

The issue, says Mary Rockefeller, whose family have long been Met donors, is respect. Her father Nelson was so obsessed with what was once called ‘Primitive Art’ that he gave the Met his personal collection and then built a vast wing to house it. Named for Mary's twin David, who disappeared in Papua New Guinea, the collection of arts of Africa, Oceania and the Americas is the setting for the existential question facing all museums: shouldn't the exhibits be given back?

Puerto Rican artist Miguel Luciano has taken the discussion a step forward by 3D modelling a 1,000-year-old wooden devotional statue from the Rockefeller collection. He's not for taking it back, but for re-contextualising an object designed to be handled. We are with him as he unveils it to veteran social photographer Hiram Maristany. Luciano is working on a Met programme that aims to use artefacts to build links with communities who might feel that the museum, and its collections, have little to say to them.

At the end of their visit, the Samuel family find that the season's stand-out exhibition, The American Struggle, speaks volumes to them. Thirty panels by Jacob Lawrence, leading African American painter of the postwar period, celebrate the contribution of black citizens to the birth of the nation. Tracy-Ann sees the Met has a long way to go, but the journey to greater diversity, fairer representation and visibility has begun.


MON 22:00 imagine... (m0006wh6)
2019

Faith Ringgold: Tell It Like It Is

Harlem-born artist, author and activist Faith Ringgold painted some of the most truthful and empowering representations of African Americans during the civil rights and women’s movements of the 1960s and 1970s.

At the time, the art establishment dismissed her seminal American People series as political art by a woman, and a black woman at that. Undeterred, Ringgold continued to tell her story using numerous art forms, including traditional quilts which have their roots in the slave culture of the South. Ringgold reinterpreted their function to tell politically charged stories, something she has also done with her illustrated children’s books.

Now in her late 80s, Ringgold is considered one of the most important African American artists, whose work is increasingly relevant today. imagine… spends time with this impassioned feminist, civil rights activist and champion of imagination, following her in her New Jersey studio and in the heart of Harlem as she prepares for her London show at the Serpentine Gallery.


MON 23:10 Art of America (b017j25v)
Modern Dreams

In the second part of his fascinating journey exploring American art, Andrew Graham-Dixon gets under the skin of the modern American metropolis. Starting his journey at the foot of the Statue of Liberty, which he describes as a pioneering early skyscraper, Andrew discovers how the ambitions of visionary artists and architects helped America remove itself from the shadow of Europe and become the most advanced civilisation on earth.

Andrew travels to downtown Manhattan to explore the grimy world of early 20th-century painters John Sloan and George Bellows, and visits Stockbridge in Massachusetts to find out how the world of Norman Rockwell is not as sentimental as it first seems. In Chicago, he explores the visionary mind of architect Louis Sullivan and travels to the decaying outskirts of the city to see the underside of the American dream.

He uncovers the impact the Great Depression had on artists such as Edward Hopper and Arshile Gorky, and finds out how this struggle inspired America's first internationally acclaimed art movement - Abstract Expressionism. He pays a pilgrimage to Jackson Pollock's perfectly preserved studio in Long Island to discover the secrets of his unique drip technique, before flying across America to take in one of modern art's most moving experiences, Mark Rothko's chapel in Houston, Texas.


MON 00:10 Mark Gatiss on John Minton: The Lost Man of British Art (b0bfnlj2)
John Minton was for a time one of the most popular 20th-century British artists, more famous than his contemporaries Francis Bacon and Lucian Freud. He has also been something of an obsession for actor and writer Mark Gatiss since he first saw one of his paintings as a teenager at the National Portrait Gallery. Mark Gatiss plunges back into Minton's world to celebrate his remarkable life and work, but also to find out why he remains all but forgotten.

As well as being a central figure in the postwar British neo-romantic movement, alongside the likes of Graham Sutherland and John Piper, John Minton was also one of the leading lights of Soho during the 1940s and 50s - a bohemian enclave where he felt at ease with fellow artists and models. In the only known footage of Minton, he is caught fleetingly, dancing wildly in a club, like a crazed marionette. It is a captivating, poignant glimpse of a man who was once at the very centre of this world.

He was a prolific painter of both landscapes and portraits, and as a gay man, Mark has always been particularly drawn to his sensitive depictions of striking young men. Minton too was gay but struggled with his sexuality during a highly repressive era when homosexuality was still illegal. However, as Mark discovers, it wasn't just his sexuality that plagued Minton, but his very standing as an artist and his desire to be considered first and foremost a painter rather than an illustrator, which is how he really found fame. On a balcony overlooking the same glorious view, Mark explains how Minton's vibrant jacket design for Elizabeth David's A Book of Mediterranean Food in 1950 was really what attracted people to buy it, as the author herself declared. But it was the 1948 publication of Time Was Away: A Notebook in Corsica that really established Minton, and it became something of a cult book for a new generation of illustrators. Following in his footsteps, Mark travels to Corsica and visits some of the original locations captured so vividly by Minton.

As well as discovering unseen photographs of the artist and previously unknown works by him, the film also gives Mark the chance to hear Minton's voice for the first time in a rare broadcast he made for the BBC Third Programme in 1947. The connections deepen further as Mark meets some of those who knew him well - former models such as actor Norman Bowler recall posing for Minton, and fellow artist David Tindle discusses the rivalries between Minton and his contemporaries, particularly Francis Bacon.

Drawing on all these remarkable first-hand reminiscences, Mark explores the reasons behind Minton's fall from grace and the tragic circumstances of his death at the age of just 39.


MON 01:10 Great British Railway Journeys (b09m8hnk)
[Repeat of broadcast at 19:00 today]


MON 01:40 Inside America's Treasure House: The Met (m000zwpm)
[Repeat of broadcast at 21:00 today]


MON 02:40 Secrets of the Museum (m000fjg5)
[Repeat of broadcast at 20:00 today]