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Well, hi, everyone.
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Thanks again for joining us today
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for our webinar featuring the Art of the USS Monitor.
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And we're going to apologize up front,
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but Kyra with The Mariners' Museum is having a little bit
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of technical difficulty trying to get her webcam to work.
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Her presentation is fine.
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The museum had an outage about 15 minutes
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before this broadcast was supposed to start,
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so we're just experiencing a little bit
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of technical difficulty,
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but we do welcome you today
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and we're so happy that you could join us.
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So I'm Shannon Ricles,
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the Education and Outreach Coordinator
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for Monitor and Mallows Bay National Marine Sanctuaries,
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and I'm gonna be your host today along with Mark Losavio,
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the Media and Outreach Coordinator for Monitor and Mallows.
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This webinar is brought to you
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by NOAA's Monitor National Marine Sanctuary
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in collaboration with the North Carolina Office
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of State Archeology.
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Now, partnering since 1975,
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NOAA and the State of North Carolina work to research,
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honor and protect the hallmarks
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of North Carolina's underwater cultural heritage,
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which are shipwrecks.
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These shipwrecks hold information
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about the ever-changing technologies
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and cultural and physical landscapes.
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They serve as uniquely accessible underwater museums
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as a memorial to generations of mariners who lived,
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died, worked, and fought off the shores.
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This is one of the many webinars that we will host
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in the coming months
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for the "Submerged North Carolina Webinar Series"
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in collaboration with the North Carolina Office
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of State Archeology.
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Now, Monitor is just one of 15 national marine sanctuaries
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and two marine national monuments
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in the National Marine Sanctuary System.
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Now, this system encompasses more than 620,000 square miles
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of Marine and Great Lakes waters
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from Washington State to the Florida Keys
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and from Lake Huron to American Samoa.
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Now, during this presentation,
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all attendees will be in listen only mode.
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Now, you are welcome to type questions
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for the presenter into the question box
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at the bottom of the control panel,
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which is on the right hand side of your screen.
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And this is the same area that you can let us know
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about any technical issues you might be having
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that we can help you with.
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We'll be monitoring incoming questions and technical issues,
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and we'll respond to them just as soon as we can.
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We are recording this session
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and we will share the recording
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with registered participants via the webinar archive page.
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A URL for this page will be provided
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at the end of the presentation.
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So without further ado, we want to welcome Kyra Duffley,
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a Multimedia Production Specialist
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at The Mariners Museum and Park in Newport News, Virginia.
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And Kyra, I'm now going turn it over to you.
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So I'm going make you presenter.
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Wonderful.
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[Shannon] And let you go from there.
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Thank you so much.
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[Shannon} You're welcome.
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And I want to make sure
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that y'all are seeing my screen behind me.
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I do apologize for the outage today.
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As Shannon said, we are having a little bit
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of a technical difficulty over here,
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but it actually works out with this being a presentation
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about art because this is not really about seeing me,
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this is about seeing the works in our collection.
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So I'm really, really glad to have you guys here with me.
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So many of us know the story of the small ship
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with a short but mighty life that launched,
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and fought, and sank, and was lost and then found,
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the ship that became immortal, an enigma and an icon.
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The technical marvel, the cheese box on a raft,
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the little ship that saved the nation, USS Monitor.
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But the story of USS Monitor is more than the story
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of a ship, or a battle, or a sinking or a shipwreck.
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It's more than a story of technology or a turret.
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It's a story of looking towards the future,
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of seeking and searching,
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of discovery, of achievement and loss.
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It's a story of people and inspiration.
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So if you've seen the video series
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that my team and I produce here
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at The Mariners Museum and Park called "Beyond the Frame,"
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you'll already know
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that this is not going to be an art history lecture.
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For those of you who have not seen the series,
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our goal with "Beyond the Frame" is to make viewing art,
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especially maritime art,
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accessible, approachable and engaging.
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We use little bits of the context surrounding the works
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to help illustrate the narrative
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that I truly believe anyone can see.
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So as I mentioned a moment ago,
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this is not going to be an art history lecture.
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In our "Beyond the Frame" series,
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we believe that you don't have to know all of the facts
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surrounding every single piece
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to be able to appreciate or understand it.
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You just need time,
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a little bit of curiosity and an open mind,
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because when you use those to look at a work of art,
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I truly believe that you can uncover a world of connections.
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So with this in mind,
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I invite you to join me in an exploration of that spark
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of inspiration that USS Monitor has lit in so many artists
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through the ages.
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We're gonna look at these works, yes,
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with the basic facts and context,
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but especially from the lens of inspiration.
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And in seeking the story that these works can tell,
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I hope that you'll be open to forming
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and exploring your own connections to the artist
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or to the point in Monitor story that these works depict.
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I also hope that we can, together,
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celebrate the individual flames of inspiration
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that show in these works through these artists,
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through their artistic treatment
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and then their similarities and differences.
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So today, as you can see on screen,
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we're going to look at a selection of four works
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that depict key points in USS Monitor's story.
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First is going to be a work showing the Battle
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of Hampton Roads.
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Next is going to be two paintings of the sinking
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and the final is an intimate moment on the sea floor
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of the Monitor National Marine Sanctuary
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during the 2002 turret recovery mission.
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So these works are incredible.
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They have a span of 1892 to 2013,
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and none of these belong solely to any specific art style.
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They're truly unique,
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and inspired and reflect facets of Monitor's story
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that so clearly have touched the artists.
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So I hope we can enjoy this and get started.
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With a crack and a bang, another shot is fired.
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It explodes mid-air.
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Shrapnel punches down
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sending water splashing around the vessels.
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They're clouded in a swirl of white and black smoke.
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The acrid sting of gun powder fills the air
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and shots ring out deafeningly.
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In the background ships of sail can be seen,
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one battered and sinking.
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They watch as the next generation of warships dance
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in front of them.
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It's an ungraceful and dizzying one,
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but the encounter is important.
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It is a battle for the ages,
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the clash of the ironclads.
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This is Worden Wood's 1925 watercolor on paper
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depicting the "Battle of the Ironclads."
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But it's possible
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that this story carries an even deeper significance
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to the artist.
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Worden George Leveret Wood was born
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on February 1st, 1876.
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He served in the Naval Reserve,
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and then was later called up to the US Navy.
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And according to his family, as we can see here,
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he was a member of Teddy Roosevelt's Rough Riders
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during the Spanish-American War.
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I do also think that it's worth noting
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that Worden Wood is the father of Hunter Alexander Wood,
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who also served as a fantastic combat and marine artist
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and served in the Coast Guard.
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We featured his work in "Beyond the Frame,"
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episode seven called "The Rescuers."
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So if you're interested in learning more about Hunter Wood,
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you can feel free to check that out afterwards.
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But it's the artist's name that might ring a bill
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for those familiar with USS Monitor's story, Worden.
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It echos the memory of the famous Union Naval Rear Admiral,
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John Lorimer Worden, who captained USS Monitor
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during the Battle of Hampton Roads.
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And according to family resources
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and several outside sources,
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Worden Wood is believed to be his grandson.
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I do have to add the caveat here that we are still working
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to solidify that connection,
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but nonetheless it seems likely that
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in Wood's naming there was that influence there.
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In addition to Wood's military service,
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he was a very skilled artist.
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His technical abilities in watercolor really shine through
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in his treatment of all of his works,
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especially his ability to depict action and excitement.
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We can see in these two travel ad prints
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the glowing excitement that comes
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from those rosy tinted clouds,
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the feathery brushstrokes and the dazzling colorful waves.
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And this work is no different.
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Of course, as is imaginable,
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The Mariners' has many works in all types of media
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regarding USS Monitor,
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but especially surrounding the Battle of Hampton Roads.
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But so many of the works are actually set
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from this high angle like we can see
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in these two prints on screen.
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They look down and show the battle
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as if it's seen from a hill on shore or this stylized,
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almost bird's eye view perspective.
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It's a little hard to connect with a piece,
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and it seems unrealistic.
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In this work, Worden has actually set us at a low angle
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as if we're in a water on a ship just nearby,
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watching this firsthand.
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We see those plumes of water splashing in the foreground.
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And that water, it ripples with the purples and blues.
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The peachy tone of the paper in the background contrasts
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and simultaneously seems to compliment the blue,
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creating the effect of light reflecting on the water.
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The billows of smoke drift from a heavy smog
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to a light vapor.
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Monitor fires a shot at CSS Virginia,
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and we see a glint of orange suggesting the action
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that we are seeing.
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A bomb explodes midair there in the foreground.
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And it's in almost a comic like shape,
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like something that we would see in a comic book.
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And the structure of this explosion
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not only shows us the action,
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but in an almost onomatopoeic-like way
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we can hear it too.
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Of the works of the battle,
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this one has really stuck out to me.
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And I think that it's because of the romanticized action
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and the excitement that Wood has brought to it.
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We see his skillful composition and artistic choices.
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And through those, Wood has transported us into this scene
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to be observers, but also to reflect on the significance,
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to watch part of this historic battle unfold,
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this battle that was possibly part of his own heritage.
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So as we move into our next piece,
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I do have to say that this work has additional significance
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to me because it was the very first "Beyond the Frame"
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I ever wrote.
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And in fact it was this painting
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that I chose to start the whole series.
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And I do love opportunities like this
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because although we're not able to connect via video,
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you can see the screen
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and we can sort of pull back the curtain a little bit
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and share a little bit more than I get the opportunity
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to do in the videos.
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And if you're familiar with the series
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then you might remember this work.
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And though it was the first script I wrote,
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it actually became the third episode in the series.
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The topic of USS Monitor,
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yes, is a thematically appropriate starting point
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for The Mariners', but we felt that the weight
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that this work carries was a bit too heavy
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for the opening of a new series.
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Its poignance is echoed in all elements of this work.
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Kyra?
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Yes ma'am.
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Okay, we were not seeing anything,
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just a green screen.
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I just wanted to make sure
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that's what we were supposed to be seeing.
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Oh yes, sorry, I was pausing between the images.
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Okay, just wanted to make sure, yep.
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I appreciate it.
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00:11:57.780 --> 00:11:59.760
So as we look at this piece,
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the piercing moonlight begins to emanate
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from the canvas like a siren song.
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00:12:04.890 --> 00:12:09.210
It calls us closer, pulling us in as we approach this piece.
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The wind whips around us, the clouds envelope us,
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the waves engulf us.
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There seems to be no escape.
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00:12:17.070 --> 00:12:18.750
It's too late.
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00:12:18.750 --> 00:12:21.420
And personally I'm a sucker for chiaroscuro.
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It's that intense contrast of darkness and light
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that creates drama in the work of art.
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00:12:26.910 --> 00:12:30.000
We see it here in the waves that are illuminated
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00:12:30.000 --> 00:12:32.640
and the waves that are shrouded in darkness.
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00:12:32.640 --> 00:12:34.830
It's one of the things that drew me to this piece
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in the first place.
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00:12:35.850 --> 00:12:37.830
And in fact, I really did fall in love
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with this piece the moment that I saw it.
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00:12:40.410 --> 00:12:42.720
And I have to admit that despite its location
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within our Monitor Center,
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I did not really even put two and two together
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to realize that this was a Civil War work.
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00:12:51.000 --> 00:12:53.190
In the darkness, the drama,
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the haunting blue-green colors of the stormy waves
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and the intensely mesmerizing moon,
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00:12:58.080 --> 00:12:59.760
I was lured in.
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00:12:59.760 --> 00:13:02.100
And looking at this work, "Rescue of the Crew
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00:13:02.100 --> 00:13:06.990
of USS Monitor by USS Rhode Island, December 31st, 1862"
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00:13:06.990 --> 00:13:11.100
or alternatively titled "The Sinking of USS Monitor"
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00:13:11.100 --> 00:13:13.440
by artist William Richardson Tyler,
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00:13:13.440 --> 00:13:16.500
it's a piece that's best, excuse me,
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00:13:16.500 --> 00:13:18.300
it's an experience that's best enjoyed
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00:13:18.300 --> 00:13:20.250
over a few minutes, at least.
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00:13:20.250 --> 00:13:21.330
With the darkness here,
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00:13:21.330 --> 00:13:23.670
you need a second to let your eyes adjust
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00:13:23.670 --> 00:13:26.040
like they do when you flip off the lights.
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00:13:26.040 --> 00:13:29.133
But once they do, a dramatic scene plays out.
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00:13:30.180 --> 00:13:32.760
The moonlight illuminates a ship with a red light
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00:13:32.760 --> 00:13:36.600
on the center right of the canvas, USS Rhode Island.
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00:13:36.600 --> 00:13:38.160
It rolls to its port side
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00:13:38.160 --> 00:13:40.770
and the bow is lost in the darkness of the waves.
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00:13:40.770 --> 00:13:44.220
Its stern and masks are silhouetted against the deep blue
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00:13:44.220 --> 00:13:46.320
of the dark sky.
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00:13:46.320 --> 00:13:48.540
We can see that the masks create
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00:13:48.540 --> 00:13:51.090
these long intense diagonals.
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00:13:51.090 --> 00:13:53.850
I've shown those here with those arrows.
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00:13:53.850 --> 00:13:56.820
And then those diagonals are also mirrored in the waves.
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00:13:56.820 --> 00:13:58.890
They crisscross and intersect.
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00:13:58.890 --> 00:14:01.560
And that choice to use diagonals
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00:14:01.560 --> 00:14:03.810
in a composition creates drama,
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00:14:03.810 --> 00:14:06.540
which is precisely what the artist has done here
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00:14:06.540 --> 00:14:10.113
through the use of that chiaroscuro and these diagonals.
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00:14:11.160 --> 00:14:13.260
We can see that the ship is being tossed
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00:14:13.260 --> 00:14:15.150
by the rough waves of a storm,
329
00:14:15.150 --> 00:14:18.090
but somehow there's a calm, there's a stillness,
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00:14:18.090 --> 00:14:21.030
like this is a moment frozen in time.
331
00:14:21.030 --> 00:14:24.420
But then we have to pause and ask ourselves,
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00:14:24.420 --> 00:14:28.110
what moment is artist trying to freeze?
333
00:14:28.110 --> 00:14:31.710
Luckily, with a little bit of context from the catalog entry
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00:14:31.710 --> 00:14:33.270
and of course the title,
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00:14:33.270 --> 00:14:35.010
we're given context:
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00:14:35.010 --> 00:14:36.930
this is a scene of a rescue mission
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00:14:36.930 --> 00:14:40.410
during the final moments of USS Monitor.
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00:14:40.410 --> 00:14:42.990
And if we look closely just left of center,
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00:14:42.990 --> 00:14:45.450
we can see a tiny boat filled with figures.
340
00:14:45.450 --> 00:14:46.530
And let me tell you,
341
00:14:46.530 --> 00:14:49.320
if you come to the galleries and look at this in person,
342
00:14:49.320 --> 00:14:51.780
it's so hard to see the boat
343
00:14:51.780 --> 00:14:54.150
and its passengers are really just a few dabs
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00:14:54.150 --> 00:14:56.550
of paint consumed by the darkness.
345
00:14:56.550 --> 00:14:59.010
But if you look very, very closely,
346
00:14:59.010 --> 00:15:02.130
you can see the spray crashing around this boat
347
00:15:02.130 --> 00:15:04.470
as it's headed for the Rhode Island.
348
00:15:04.470 --> 00:15:05.910
So then we go back to the title,
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00:15:05.910 --> 00:15:09.157
okay, "Rescue of the Crew of USS Monitor."
350
00:15:09.157 --> 00:15:12.870
"But where is USS Monitor?"
351
00:15:12.870 --> 00:15:14.670
We'll ask ourselves,
352
00:15:14.670 --> 00:15:17.910
and then we see it ever so slightly there
353
00:15:17.910 --> 00:15:20.340
in the darkness off to the left,
354
00:15:20.340 --> 00:15:23.070
the waves are swallowing it already.
355
00:15:23.070 --> 00:15:25.650
It's lost, and some of the crew are escaping
356
00:15:25.650 --> 00:15:27.600
in that little boat.
357
00:15:27.600 --> 00:15:29.490
But the artist has actually done something
358
00:15:29.490 --> 00:15:30.930
really peculiar here.
359
00:15:30.930 --> 00:15:34.710
So typically the use of chiaroscuro highlights the subject
360
00:15:34.710 --> 00:15:37.770
or emphasizes something important in the work of art,
361
00:15:37.770 --> 00:15:40.410
but here the waves are a part that's illuminated.
362
00:15:40.410 --> 00:15:43.410
And when I first started looking at this piece
363
00:15:43.410 --> 00:15:46.200
and working on it, I was just racking my brain
364
00:15:46.200 --> 00:15:48.390
thinking what is the artist trying to show?
365
00:15:48.390 --> 00:15:50.730
You know, because this initially seems
366
00:15:50.730 --> 00:15:52.170
really counterintuitive.
367
00:15:52.170 --> 00:15:56.250
Every bit of the subject that he's included
368
00:15:56.250 --> 00:15:58.650
in the title or that we have in the context
369
00:15:58.650 --> 00:16:02.760
of this work seems to point to USS Rhode Island
370
00:16:02.760 --> 00:16:04.770
as being the subject.
371
00:16:04.770 --> 00:16:08.490
But then with that illuminated space
372
00:16:08.490 --> 00:16:11.640
between the small rescue boat and the Rhode Island,
373
00:16:11.640 --> 00:16:16.640
we realize that the subject is instead the act
374
00:16:17.700 --> 00:16:19.920
of escaping to safety.
375
00:16:19.920 --> 00:16:22.110
And through his use of drama,
376
00:16:22.110 --> 00:16:23.580
through his use of chiaroscuro,
377
00:16:23.580 --> 00:16:26.190
Tyler has actually frozen this moment
378
00:16:26.190 --> 00:16:29.190
that makes us ask, "Will they make it?
379
00:16:29.190 --> 00:16:32.130
And then what is going to happen next?"
380
00:16:32.130 --> 00:16:36.960
This drama has created tension like a cliffhanger
381
00:16:36.960 --> 00:16:38.913
at the end of your favorite show.
382
00:16:39.930 --> 00:16:42.120
So of course, as if this painting wasn't eerie enough,
383
00:16:42.120 --> 00:16:44.160
we see something strange,
384
00:16:44.160 --> 00:16:48.120
and I would ask for you to look closely at your screens.
385
00:16:48.120 --> 00:16:52.980
So ever so slightly just off the back of the Rhode Island,
386
00:16:52.980 --> 00:16:56.250
we can see something strange like a shadow
387
00:16:56.250 --> 00:16:59.430
of the Rhode Island ever so slightly more centered
388
00:16:59.430 --> 00:17:02.850
on the canvas than where the Rhode Island is now.
389
00:17:02.850 --> 00:17:06.480
So it looks like the shape has been changed.
390
00:17:06.480 --> 00:17:08.760
That is called pentimento.
391
00:17:08.760 --> 00:17:12.270
The artist has actually gone in and painted over part
392
00:17:12.270 --> 00:17:14.760
of the image to change the composition
393
00:17:14.760 --> 00:17:17.610
so we can still see sort of the ghostly outline,
394
00:17:17.610 --> 00:17:21.150
the figure of the ship where the original composition was.
395
00:17:21.150 --> 00:17:22.530
And I love this little bit.
396
00:17:22.530 --> 00:17:24.420
This was actually one of my favorite things
397
00:17:24.420 --> 00:17:26.040
when I first saw the pieces.
398
00:17:26.040 --> 00:17:28.530
And I have to thank one of our former conservators
399
00:17:28.530 --> 00:17:30.090
for pointing it out to me
400
00:17:30.090 --> 00:17:32.820
because I would've probably missed it.
401
00:17:32.820 --> 00:17:36.180
And that pentimento actually achieves two things
402
00:17:36.180 --> 00:17:40.170
that help to amplify the drama, even unintentionally.
403
00:17:40.170 --> 00:17:43.803
First, the artist has actually changed the narrative.
404
00:17:44.940 --> 00:17:48.030
He's moved the ship further away from that lifeboat.
405
00:17:48.030 --> 00:17:50.970
He's actually added space in between them,
406
00:17:50.970 --> 00:17:53.970
and he's made that, will they, won't they moment
407
00:17:53.970 --> 00:17:55.590
even more intense
408
00:17:55.590 --> 00:17:58.773
by adding more treacherous water in between.
409
00:17:59.730 --> 00:18:02.790
Secondly, it creates motion in the peace.
410
00:18:02.790 --> 00:18:06.630
In moving that and having this ghostly blur,
411
00:18:06.630 --> 00:18:08.550
it creates motion,
412
00:18:08.550 --> 00:18:11.880
almost like a blurry photo of a moving object.
413
00:18:11.880 --> 00:18:14.190
The lifeboat remains frozen in time
414
00:18:14.190 --> 00:18:17.310
while the Rhode Island drifts further and further away
415
00:18:17.310 --> 00:18:19.140
in this storm.
416
00:18:19.140 --> 00:18:20.760
So we ask ourselves, you know,
417
00:18:20.760 --> 00:18:22.380
will they ever make it?
418
00:18:22.380 --> 00:18:23.970
Or will they ever catch it?
419
00:18:23.970 --> 00:18:26.620
Or will it always be just beyond the grasps
420
00:18:27.540 --> 00:18:30.930
of those sailors who are so desperate for safety?
421
00:18:30.930 --> 00:18:34.110
And then ominously, if we look towards the Rhode Island,
422
00:18:34.110 --> 00:18:36.093
we can see that red light.
423
00:18:37.140 --> 00:18:39.180
We see the fate of USS Monitor
424
00:18:39.180 --> 00:18:40.920
and part of the crew symbolized
425
00:18:40.920 --> 00:18:43.350
by that red light on the Rhode Island.
426
00:18:43.350 --> 00:18:47.850
And that fiery dab of red contrasts against the deep blues
427
00:18:47.850 --> 00:18:49.650
and it glistens in the water,
428
00:18:49.650 --> 00:18:51.300
it pierces through the darkness
429
00:18:51.300 --> 00:18:54.120
and the reflection really seems to sink further
430
00:18:54.120 --> 00:18:55.770
and further into the water
431
00:18:55.770 --> 00:18:58.173
until the light is lost to the sea.
432
00:18:59.370 --> 00:19:02.130
Of course, for those of us who know the story of Monitor,
433
00:19:02.130 --> 00:19:05.400
we know that the eyewitnesses of this fateful night say
434
00:19:05.400 --> 00:19:08.400
that the last thing that could be seen of USS Monitor
435
00:19:08.400 --> 00:19:11.160
was its red emergency signal lantern
436
00:19:11.160 --> 00:19:13.410
before it too slipped below the waves
437
00:19:13.410 --> 00:19:15.780
to rest on the sea floor.
438
00:19:15.780 --> 00:19:18.600
And this work on its own is stunning and haunting.
439
00:19:18.600 --> 00:19:20.610
But the story of why this work was made
440
00:19:20.610 --> 00:19:24.600
beyond depicting this historic event truly amplifies it.
441
00:19:24.600 --> 00:19:27.000
Our catalog records note that this work was donated
442
00:19:27.000 --> 00:19:28.740
by the Carl Espy family
443
00:19:28.740 --> 00:19:32.790
in memory of Eloise Geer Gardner Espy,
444
00:19:32.790 --> 00:19:35.520
who is the great-granddaughter of George Geer.
445
00:19:35.520 --> 00:19:38.700
It was actually commissioned by Geer before his death,
446
00:19:38.700 --> 00:19:41.280
and is actually noted in his obituary.
447
00:19:41.280 --> 00:19:43.830
So here on screen we can see artist,
448
00:19:43.830 --> 00:19:46.410
William Richardson Tyler, of this city is at work
449
00:19:46.410 --> 00:19:48.630
on an oil painting that will show the rescue
450
00:19:48.630 --> 00:19:50.220
of the crew of the Monitor
451
00:19:50.220 --> 00:19:53.040
by the Steamer Road Island when the Monitor was sinking
452
00:19:53.040 --> 00:19:57.090
in the gale off Cape Hatteras in 1863.
453
00:19:57.090 --> 00:19:59.580
And it says, "The artist received most of his data
454
00:19:59.580 --> 00:20:01.320
for the scene from Mr. Geer.
455
00:20:01.320 --> 00:20:03.570
The remains will be brought to Troy for internment."
456
00:20:03.570 --> 00:20:04.860
Not the remains of the painting,
457
00:20:04.860 --> 00:20:06.813
but the remains of Mr. Geer.
458
00:20:08.730 --> 00:20:11.520
So though it's likely that the artist's composition
459
00:20:11.520 --> 00:20:14.280
was influenced actually from this image,
460
00:20:14.280 --> 00:20:17.550
this print from "Frank Leslie's Illustrated News"
461
00:20:17.550 --> 00:20:20.850
on January 24th, 1863,
462
00:20:20.850 --> 00:20:22.410
as mentioned in the article,
463
00:20:22.410 --> 00:20:24.690
it is said to have been informed directly
464
00:20:24.690 --> 00:20:26.970
by Geer's firsthand account.
465
00:20:26.970 --> 00:20:28.230
And I don't know about you,
466
00:20:28.230 --> 00:20:31.950
but to me that brings so much additional weight
467
00:20:31.950 --> 00:20:33.870
to this painting.
468
00:20:33.870 --> 00:20:36.120
And in this work, the artist has
469
00:20:36.120 --> 00:20:39.540
so successfully narrated Geer's harrowing story
470
00:20:39.540 --> 00:20:41.820
through his techniques, through that chiaroscuro,
471
00:20:41.820 --> 00:20:43.380
through the use of diagonals
472
00:20:43.380 --> 00:20:45.960
and even through changing his composition
473
00:20:45.960 --> 00:20:48.600
that even if we knew nothing about this story
474
00:20:48.600 --> 00:20:51.390
or its tragic ending, we can just be caught.
475
00:20:51.390 --> 00:20:53.370
We're just wrapped up in this piece.
476
00:20:53.370 --> 00:20:55.950
We're sucked in, tossed in those waves
477
00:20:55.950 --> 00:20:57.630
as if we're almost on a third ship
478
00:20:57.630 --> 00:21:00.090
watching this scene play out.
479
00:21:00.090 --> 00:21:02.460
We're set here, helpless spectators,
480
00:21:02.460 --> 00:21:05.010
already mourning the loss of the first ironclad
481
00:21:05.010 --> 00:21:07.650
and the brave men who went down with the ship,
482
00:21:07.650 --> 00:21:09.210
and we are desperately hoping
483
00:21:09.210 --> 00:21:11.460
that these few survivors can make it across
484
00:21:11.460 --> 00:21:14.880
that dangerous moon-lit water to reach safety.
485
00:21:14.880 --> 00:21:18.720
And he has just so amplified this
486
00:21:18.720 --> 00:21:20.880
that he really just leaves us asking,
487
00:21:20.880 --> 00:21:23.163
will they make it?
488
00:21:24.180 --> 00:21:27.093
So will they, or won't they?
489
00:21:31.830 --> 00:21:34.620
Sorry, I know I'm on a blank slide as we transition here,
490
00:21:34.620 --> 00:21:37.890
but before we move into our next work,
491
00:21:37.890 --> 00:21:40.623
I wanted to note that, you know,
492
00:21:41.635 --> 00:21:44.130
one of the things that I really try to do
493
00:21:44.130 --> 00:21:45.850
with the "Beyond the Frame" series
494
00:21:47.280 --> 00:21:50.460
is break down these preconceived notions
495
00:21:50.460 --> 00:21:52.560
surrounding maritime art.
496
00:21:52.560 --> 00:21:54.840
And one of the things that's really amazed me about working
497
00:21:54.840 --> 00:21:57.150
with the maritime art in our collection here
498
00:21:57.150 --> 00:22:00.180
is that so many people, myself included,
499
00:22:00.180 --> 00:22:04.320
believe that maritime art is realistically painted sure.
500
00:22:04.320 --> 00:22:07.170
It depicts either the broad side of a ship or a battle scene
501
00:22:07.170 --> 00:22:10.350
and they all look the same.
502
00:22:10.350 --> 00:22:11.183
And I get it.
503
00:22:11.183 --> 00:22:14.010
I thought so too before I really started working
504
00:22:14.010 --> 00:22:15.780
with the art in our collection
505
00:22:15.780 --> 00:22:19.350
or before I truly understood what maritime art is
506
00:22:19.350 --> 00:22:21.000
and what it can be.
507
00:22:21.000 --> 00:22:24.600
But one of my goals with the "Beyond the Frame" series
508
00:22:24.600 --> 00:22:27.930
and in having the opportunity to talk about maritime art
509
00:22:27.930 --> 00:22:31.980
is being able to work towards dispelling that notion.
510
00:22:31.980 --> 00:22:34.290
So my response to somebody who would say
511
00:22:34.290 --> 00:22:36.270
that all maritime works look the same
512
00:22:36.270 --> 00:22:38.070
would be to show them the previous work
513
00:22:38.070 --> 00:22:39.870
by William Richardson Tyler
514
00:22:39.870 --> 00:22:42.243
and our next work side by side.
515
00:22:44.220 --> 00:22:45.810
A heft of dark blue clouds,
516
00:22:45.810 --> 00:22:48.270
like fingers begin to grip the sky,
517
00:22:48.270 --> 00:22:49.740
engulfing it and threatening
518
00:22:49.740 --> 00:22:51.570
to squash out the last semblance
519
00:22:51.570 --> 00:22:54.240
of the bright orange moon's illumination.
520
00:22:54.240 --> 00:22:56.280
Despite the shrouded light from the background,
521
00:22:56.280 --> 00:22:58.830
this scene is fully illuminated.
522
00:22:58.830 --> 00:23:02.910
Two stylized ships roll in the turning abstract waves.
523
00:23:02.910 --> 00:23:04.740
It's a scene we might recognize,
524
00:23:04.740 --> 00:23:06.570
USS Monitor's famous sinking
525
00:23:06.570 --> 00:23:10.050
on the night of December 31st, 1862.
526
00:23:10.050 --> 00:23:12.480
But it's depicted in a style so unique
527
00:23:12.480 --> 00:23:15.090
that it makes us take a deeper second look
528
00:23:15.090 --> 00:23:16.983
begging us to search further.
529
00:23:17.970 --> 00:23:20.730
So art styles are really funny things.
530
00:23:20.730 --> 00:23:23.850
They're more like Venn diagrams, in my mind,
531
00:23:23.850 --> 00:23:26.190
or kind of like drops of watercolor.
532
00:23:26.190 --> 00:23:29.820
They seep into each other overlapping and mixing,
533
00:23:29.820 --> 00:23:33.630
sometimes forming something entirely new in the process.
534
00:23:33.630 --> 00:23:36.300
They're not always as linear and defined
535
00:23:36.300 --> 00:23:38.370
as textbooks may make them seem.
536
00:23:38.370 --> 00:23:40.680
And of course, yes, some movements paved the way
537
00:23:40.680 --> 00:23:41.520
for the next,
538
00:23:41.520 --> 00:23:44.340
and some artists formed groups that adhered
539
00:23:44.340 --> 00:23:47.190
to a set of artistic standards or principles,
540
00:23:47.190 --> 00:23:50.820
but so many more simply painted what inspired them
541
00:23:50.820 --> 00:23:53.520
and they painted it in whatever way they liked.
542
00:23:53.520 --> 00:23:58.410
And in 1979, Robert Turner Ewell painted this inspired work.
543
00:23:58.410 --> 00:23:59.970
And when first looking at it,
544
00:23:59.970 --> 00:24:01.830
you might have a sense of deja vu,
545
00:24:01.830 --> 00:24:04.140
especially if you're particularly interested in
546
00:24:04.140 --> 00:24:07.680
or familiar with the story of USS Monitor.
547
00:24:07.680 --> 00:24:11.490
If we were to strip away the vivid color and stylization,
548
00:24:11.490 --> 00:24:15.090
we can see that this scene is replicated almost exactly
549
00:24:15.090 --> 00:24:19.470
from the January 24th, 1863 edition of "Harper's Weekly,"
550
00:24:19.470 --> 00:24:21.933
depicting the wreck of Ironclad Monitor.
551
00:24:23.220 --> 00:24:25.050
Robert Turner Ewell was born and raised
552
00:24:25.050 --> 00:24:26.340
in Norfolk, Virginia,
553
00:24:26.340 --> 00:24:27.570
served in the Coast Guard
554
00:24:27.570 --> 00:24:29.310
and then later worked for many years
555
00:24:29.310 --> 00:24:32.250
at the Norfolk Naval Shipyard here in Portsmouth.
556
00:24:32.250 --> 00:24:34.650
I had the opportunity to speak with his daughter, Linda,
557
00:24:34.650 --> 00:24:38.130
and she told me of her father's expansive curiosity,
558
00:24:38.130 --> 00:24:40.440
about how he was an avid learner fascinated
559
00:24:40.440 --> 00:24:42.357
by technology and history.
560
00:24:42.357 --> 00:24:43.680
But most importantly,
561
00:24:43.680 --> 00:24:46.680
and the thing that really always touches me the most
562
00:24:46.680 --> 00:24:50.280
is the joy he found in art and creating things
563
00:24:50.280 --> 00:24:51.573
with his own hands.
564
00:24:53.400 --> 00:24:54.510
As she described him,
565
00:24:54.510 --> 00:24:57.300
the unique elements of his work truly began
566
00:24:57.300 --> 00:24:59.670
to fall into place making so much sense,
567
00:24:59.670 --> 00:25:03.210
you know, they reflect these inspirations in Ewell's life:
568
00:25:03.210 --> 00:25:06.420
history, industry and creativity.
569
00:25:06.420 --> 00:25:07.620
So of course as we spoke,
570
00:25:07.620 --> 00:25:10.470
I had to ask the question, "Why Monitor?"
571
00:25:10.470 --> 00:25:12.030
And I mean, that's what we're here for.
572
00:25:12.030 --> 00:25:13.410
Why Monitor?
573
00:25:13.410 --> 00:25:15.960
Linda told me that it was likely her father's connection
574
00:25:15.960 --> 00:25:19.320
to his home here in Hampton Roads' local history
575
00:25:19.320 --> 00:25:21.750
and his particular interest in the Civil War
576
00:25:21.750 --> 00:25:24.090
that drew him to the subject matter.
577
00:25:24.090 --> 00:25:26.820
This lifelong study of history is very possibly
578
00:25:26.820 --> 00:25:30.630
what drove him to use the "Harper's Weekly" woodblock print
579
00:25:30.630 --> 00:25:32.340
as his starting place.
580
00:25:32.340 --> 00:25:35.340
But the thing that fascinates me the most about all of this
581
00:25:35.340 --> 00:25:38.250
is the way in which he painted this work.
582
00:25:38.250 --> 00:25:40.710
The style is just so compelling.
583
00:25:40.710 --> 00:25:43.230
And I love this photograph actually from the family.
584
00:25:43.230 --> 00:25:45.510
We can see that all four of the works
585
00:25:45.510 --> 00:25:49.230
that are shown there have this wonderfully unique style.
586
00:25:49.230 --> 00:25:51.220
It's segmented and broken down
587
00:25:52.298 --> 00:25:54.690
and it's totally individual,
588
00:25:54.690 --> 00:25:56.340
but it's one that seems to be drawn
589
00:25:56.340 --> 00:25:58.863
from his interests and life experiences.
590
00:25:59.880 --> 00:26:01.440
Ewell was a burner and a welder
591
00:26:01.440 --> 00:26:03.720
at Norfolk Naval Shipyard for many years,
592
00:26:03.720 --> 00:26:06.920
and he loved reading about industry and innovation.
593
00:26:06.920 --> 00:26:09.690
So it's likely that those influences were a source
594
00:26:09.690 --> 00:26:13.680
of inspiration for the highly mechanized feel of this work.
595
00:26:13.680 --> 00:26:17.070
We see a riveted metal depiction of USS Monitor.
596
00:26:17.070 --> 00:26:20.010
Yes, we know now it's artistic liberty,
597
00:26:20.010 --> 00:26:23.220
but it emphasizes the Ironclad name.
598
00:26:23.220 --> 00:26:26.220
We see these heavy puffs of smoke that rise from the ship,
599
00:26:26.220 --> 00:26:29.250
and they appear solid and almost metallic.
600
00:26:29.250 --> 00:26:31.740
I actually really love the smoke
601
00:26:31.740 --> 00:26:33.390
coming out of this smoke stack.
602
00:26:33.390 --> 00:26:37.410
It looks almost like a geode or a rock to me.
603
00:26:37.410 --> 00:26:41.130
So it just really carries that heft and weight.
604
00:26:41.130 --> 00:26:44.460
And then we look back at USS Rhode Island in the background,
605
00:26:44.460 --> 00:26:49.460
and the side wheel on the Rhode Island looks very gear-like
606
00:26:49.530 --> 00:26:50.490
on the gray ship
607
00:26:50.490 --> 00:26:54.360
and especially amongst the rest of the mechanical aspects
608
00:26:54.360 --> 00:26:55.920
of this painting.
609
00:26:55.920 --> 00:26:57.810
Even the waves too,
610
00:26:57.810 --> 00:26:59.730
that both of these vessels are being tossed
611
00:26:59.730 --> 00:27:02.970
and look like they could be welded or fabricated.
612
00:27:02.970 --> 00:27:06.930
The dark lines between them, they create this weight.
613
00:27:06.930 --> 00:27:09.480
The scene is still and stagnant.
614
00:27:09.480 --> 00:27:11.820
Those heavy outlines bring a separation
615
00:27:11.820 --> 00:27:13.020
that makes this work feel
616
00:27:13.020 --> 00:27:16.470
almost more sculptural than painterly.
617
00:27:16.470 --> 00:27:19.350
So then of course being here at a museum,
618
00:27:19.350 --> 00:27:22.380
we have to ask the question, how do we classify this?
619
00:27:22.380 --> 00:27:24.960
You know, we look at the industrialism,
620
00:27:24.960 --> 00:27:26.370
the color and abstraction
621
00:27:26.370 --> 00:27:27.720
and we're racked with this question,
622
00:27:27.720 --> 00:27:29.250
what do we call this style?
623
00:27:29.250 --> 00:27:31.590
How do we put this in a box?
624
00:27:31.590 --> 00:27:34.710
And sure, there's a lot of potential options:
625
00:27:34.710 --> 00:27:37.650
pop art, psychedelic, maybe even steampunk.
626
00:27:37.650 --> 00:27:41.520
I know, especially personally this piece reminds me a lot
627
00:27:41.520 --> 00:27:46.520
of Peter Max or even the Beatles' "Yellow Submarine" cover,
628
00:27:46.740 --> 00:27:50.670
but none of those fit quite right.
629
00:27:50.670 --> 00:27:52.890
Folk art comes a little bit closer
630
00:27:52.890 --> 00:27:55.890
in that it's this reflection of local culture.
631
00:27:55.890 --> 00:27:59.010
But this work, you know, it's individual,
632
00:27:59.010 --> 00:28:00.300
it's singular and unique
633
00:28:00.300 --> 00:28:03.690
even though it draws from many different influences.
634
00:28:03.690 --> 00:28:05.790
We can see that it's born from this spark
635
00:28:05.790 --> 00:28:08.130
of Ewell's creativity.
636
00:28:08.130 --> 00:28:11.010
So his daughter told me of his artistic passion,
637
00:28:11.010 --> 00:28:13.470
how he loved to make things with his hands.
638
00:28:13.470 --> 00:28:15.990
He was an occasional artist and sold a number of pieces.
639
00:28:15.990 --> 00:28:19.650
And I wanted to go back to this photograph of him here
640
00:28:19.650 --> 00:28:22.170
because he's actually working on selling
641
00:28:22.170 --> 00:28:25.170
some of his pieces at an art show in Murphysboro,
642
00:28:25.170 --> 00:28:27.540
North Carolina in 1980.
643
00:28:27.540 --> 00:28:30.570
And I think it's wonderful to get to see the artist
644
00:28:30.570 --> 00:28:34.320
and this work together here in person.
645
00:28:34.320 --> 00:28:37.410
But she told me that, you know, he never really,
646
00:28:37.410 --> 00:28:39.660
truly thought much of his work,
647
00:28:39.660 --> 00:28:41.430
and that's I think such a shame
648
00:28:41.430 --> 00:28:44.580
because she told me that he would just light up
649
00:28:44.580 --> 00:28:46.410
when someone liked one of his pieces.
650
00:28:46.410 --> 00:28:48.510
And then when inspiration struck,
651
00:28:48.510 --> 00:28:51.030
he created using a wide range of media
652
00:28:51.030 --> 00:28:53.703
from drawing and painting to woodcarving.
653
00:28:54.870 --> 00:28:56.250
So in the case of this work,
654
00:28:56.250 --> 00:29:00.450
it was Monitor's story that sparked Ewell's creative flame.
655
00:29:00.450 --> 00:29:03.120
By 1979 when Ewell painted this work,
656
00:29:03.120 --> 00:29:05.730
the wreck of USS Monitor had been discovered,
657
00:29:05.730 --> 00:29:07.350
its resting place designated
658
00:29:07.350 --> 00:29:10.170
as the very first National Marine Sanctuary,
659
00:29:10.170 --> 00:29:12.810
and its famous Red Lantern had been recovered
660
00:29:12.810 --> 00:29:15.510
with a second expedition underway.
661
00:29:15.510 --> 00:29:18.180
And it seems that the excitement surrounding Monitor story
662
00:29:18.180 --> 00:29:20.580
had been rediscovered as well.
663
00:29:20.580 --> 00:29:23.250
And that's an amazing aspect of this story.
664
00:29:23.250 --> 00:29:26.400
But, you know, with Ewell being a local artist,
665
00:29:26.400 --> 00:29:28.110
I think there's something more
666
00:29:28.110 --> 00:29:30.900
that brings an amazing personal touch to this.
667
00:29:30.900 --> 00:29:35.280
And that's because before there was a USS Monitor Center,
668
00:29:35.280 --> 00:29:37.800
before the turret and other artifacts were raised
669
00:29:37.800 --> 00:29:40.140
and brought here, Ewell walked the galleries
670
00:29:40.140 --> 00:29:41.760
of The Mariners' Museum.
671
00:29:41.760 --> 00:29:43.530
He actually brought his family here.
672
00:29:43.530 --> 00:29:47.670
Linda told me about how he brought them here time
673
00:29:47.670 --> 00:29:49.230
and time again.
674
00:29:49.230 --> 00:29:50.640
She said he loved it here.
675
00:29:50.640 --> 00:29:53.850
And I think perhaps he wanted his children to experience
676
00:29:53.850 --> 00:29:56.160
that same spark of curiosity
677
00:29:56.160 --> 00:29:59.730
that drove him to seek further and to create.
678
00:29:59.730 --> 00:30:02.160
And the thing about Monitor's story is that there are
679
00:30:02.160 --> 00:30:05.040
so many faces and facets of its life.
680
00:30:05.040 --> 00:30:06.120
Like I said at the beginning,
681
00:30:06.120 --> 00:30:09.630
it's not only the story of a ship, or a battle or a sinking,
682
00:30:09.630 --> 00:30:11.700
it's so many stories in one,
683
00:30:11.700 --> 00:30:13.410
it's multifaceted life,
684
00:30:13.410 --> 00:30:15.600
whether in its inception and duty,
685
00:30:15.600 --> 00:30:17.160
in it's sinking and mystery
686
00:30:17.160 --> 00:30:19.200
or in its discovery and recovery
687
00:30:19.200 --> 00:30:22.050
has the ability to inspire connection.
688
00:30:22.050 --> 00:30:23.850
And that's what I think Ewell has showed us
689
00:30:23.850 --> 00:30:25.560
in this painting.
690
00:30:25.560 --> 00:30:29.880
He's really captured the thrill he finds in innovation,
691
00:30:29.880 --> 00:30:32.010
mirrored in Monitor's story.
692
00:30:32.010 --> 00:30:34.650
We see a tale of humanity possibly reflected
693
00:30:34.650 --> 00:30:38.610
from his own service and a piece of his own local history
694
00:30:38.610 --> 00:30:40.890
that he's studied so avidly.
695
00:30:40.890 --> 00:30:42.480
And in the boldness of this work,
696
00:30:42.480 --> 00:30:46.860
Ewell's many connections to USS Monitor and its story shine.
697
00:30:46.860 --> 00:30:51.510
But in it too, he shared his inspirations and his story
698
00:30:51.510 --> 00:30:54.060
and he's wrapped it all together in a way
699
00:30:54.060 --> 00:30:56.673
that is purely his own to share with us.
700
00:30:57.840 --> 00:31:01.680
These past two works were created 87 years apart
701
00:31:01.680 --> 00:31:03.810
by artists of entirely separate backgrounds
702
00:31:03.810 --> 00:31:05.340
and life experiences.
703
00:31:05.340 --> 00:31:07.320
And yes, they painted the exact same night,
704
00:31:07.320 --> 00:31:09.120
the exact same subject,
705
00:31:09.120 --> 00:31:13.800
and both of them are based on news accounts,
706
00:31:13.800 --> 00:31:16.410
but they turned out worlds differently.
707
00:31:16.410 --> 00:31:18.240
And they are beautiful and unique
708
00:31:18.240 --> 00:31:20.550
in their similarities and differences.
709
00:31:20.550 --> 00:31:22.110
So the next time somebody tells you
710
00:31:22.110 --> 00:31:24.630
that Maritime artworks all look the same,
711
00:31:24.630 --> 00:31:28.143
I encourage you to remind them of these two pieces.
712
00:31:29.700 --> 00:31:33.510
So as we're going to transition into our last piece,
713
00:31:33.510 --> 00:31:37.290
I want to talk about individual experiences and inspirations
714
00:31:37.290 --> 00:31:42.240
because so often it's these experiences like Ewell's
715
00:31:42.240 --> 00:31:45.000
that lead artists to create.
716
00:31:45.000 --> 00:31:47.820
And painting one's life or culture dates back millennia.
717
00:31:47.820 --> 00:31:49.980
It's one of the most human instincts there is,
718
00:31:49.980 --> 00:31:52.080
just like we like to capture important moments
719
00:31:52.080 --> 00:31:53.820
on camera or video.
720
00:31:53.820 --> 00:31:56.040
And for artists, it can be these big moments
721
00:31:56.040 --> 00:31:58.440
that influence their works the most.
722
00:31:58.440 --> 00:32:00.030
So for our next artist,
723
00:32:00.030 --> 00:32:02.190
it was an experience with USS Monitor
724
00:32:02.190 --> 00:32:04.980
that few in this world can say that they have
725
00:32:04.980 --> 00:32:08.193
that drove his desire to create, to remember.
726
00:32:11.250 --> 00:32:14.100
He sinks down deeper and deeper
727
00:32:14.100 --> 00:32:18.960
all around him it's blue, blue, blue, blue.
728
00:32:18.960 --> 00:32:20.340
At this depth all red,
729
00:32:20.340 --> 00:32:23.100
yellow and orange light is filtered out.
730
00:32:23.100 --> 00:32:24.870
It's dark like you're in a gray room
731
00:32:24.870 --> 00:32:26.580
with only two small windows.
732
00:32:26.580 --> 00:32:30.600
And then there it is, it begins to come into view.
733
00:32:30.600 --> 00:32:32.730
It's hulking and cave-like,
734
00:32:32.730 --> 00:32:35.550
upside down and covered in marine growth.
735
00:32:35.550 --> 00:32:37.050
It could almost look natural
736
00:32:37.050 --> 00:32:39.540
if you didn't know what this was.
737
00:32:39.540 --> 00:32:41.490
He steps along the sea floor,
738
00:32:41.490 --> 00:32:44.100
it's solid, but the sediment still billows slightly
739
00:32:44.100 --> 00:32:45.600
with each step.
740
00:32:45.600 --> 00:32:47.130
Then he moves forward,
741
00:32:47.130 --> 00:32:50.820
slowly, gently, hand outstretched.
742
00:32:50.820 --> 00:32:53.250
Hand meets iron.
743
00:32:53.250 --> 00:32:55.140
In this fleeting moment of connection,
744
00:32:55.140 --> 00:32:57.600
he imagines the history,
745
00:32:57.600 --> 00:32:59.760
the sailors who had preceded him in service
746
00:32:59.760 --> 00:33:02.910
to their country 140 years before,
747
00:33:02.910 --> 00:33:06.420
some whose remains lay resting here at this sanctuary.
748
00:33:06.420 --> 00:33:08.760
He snaps back to the present.
749
00:33:08.760 --> 00:33:10.500
He has work to do.
750
00:33:10.500 --> 00:33:12.480
He is Boatswain's mate first class,
751
00:33:12.480 --> 00:33:15.900
diver first class, Michael Simo Simonetti,
752
00:33:15.900 --> 00:33:18.770
and he is working to help raise USS Monitors turret
753
00:33:18.770 --> 00:33:21.240
in the summer of 2002.
754
00:33:21.240 --> 00:33:23.100
But before he gets back to his work,
755
00:33:23.100 --> 00:33:27.870
he thinks, "This is a moment I'll never forget."
756
00:33:27.870 --> 00:33:30.090
Art is fascinating in the way that it allows us
757
00:33:30.090 --> 00:33:32.490
to peer into the mind of an artist,
758
00:33:32.490 --> 00:33:34.470
see the world through their eyes,
759
00:33:34.470 --> 00:33:36.990
through the lens of their creativity.
760
00:33:36.990 --> 00:33:38.550
But there's something very special
761
00:33:38.550 --> 00:33:41.730
about an artist allowing us to peek into their memory,
762
00:33:41.730 --> 00:33:44.580
especially a life changing one like this,
763
00:33:44.580 --> 00:33:47.613
one that we have never had the opportunity to see.
764
00:33:48.480 --> 00:33:50.850
These works can have a different feeling to them.
765
00:33:50.850 --> 00:33:52.800
The artist paints them with the emotions
766
00:33:52.800 --> 00:33:54.360
that they felt at the time:
767
00:33:54.360 --> 00:33:58.020
excitement, anticipation, poignance.
768
00:33:58.020 --> 00:34:00.330
And yeah, sometimes these works are slightly different
769
00:34:00.330 --> 00:34:03.900
from the exact memory depicting not just how something was,
770
00:34:03.900 --> 00:34:07.290
but instead how it felt in that moment.
771
00:34:07.290 --> 00:34:08.123
In this work,
772
00:34:08.123 --> 00:34:11.820
"USS Monitor Wreck, 2002, Graveyard of the Atlantic"
773
00:34:11.820 --> 00:34:16.170
by Michael Simon Simonetti, we see a scene, a memory,
774
00:34:16.170 --> 00:34:18.990
but from a sort of out of body experience.
775
00:34:18.990 --> 00:34:21.810
The artist and the viewer watch actually from a distance
776
00:34:21.810 --> 00:34:24.510
as the artist's past self experiences,
777
00:34:24.510 --> 00:34:29.160
this defining moment touching USS Monitor's iconic turret
778
00:34:29.160 --> 00:34:32.250
before it was raised from its resting place 20 years ago
779
00:34:32.250 --> 00:34:35.280
on August 5th, 2002.
780
00:34:35.280 --> 00:34:36.960
On this day during this mission,
781
00:34:36.960 --> 00:34:40.308
Simonetti was on a mixed gas heliox dive
782
00:34:40.308 --> 00:34:42.720
235 feet to the sea floor
783
00:34:42.720 --> 00:34:45.423
of the Monitor National Marine Sanctuary.
784
00:34:46.470 --> 00:34:48.840
There in the Sanctuary with him was a master diver
785
00:34:48.840 --> 00:34:51.420
and two other saturation divers.
786
00:34:51.420 --> 00:34:53.310
He had two important jobs:
787
00:34:53.310 --> 00:34:56.130
to run a cable around the hull so it could later be cut away
788
00:34:56.130 --> 00:34:58.620
and allow the turret to be raised to the surface,
789
00:34:58.620 --> 00:35:01.083
and then secondly, to look for artifacts.
790
00:35:02.047 --> 00:35:02.880
in this painting, though,
791
00:35:02.880 --> 00:35:04.650
despite the reality of the situation,
792
00:35:04.650 --> 00:35:08.340
Simonetti has presented himself alone.
793
00:35:08.340 --> 00:35:10.470
One of my favorite things about getting to work with the art
794
00:35:10.470 --> 00:35:12.690
and the collection in this way is not just connecting
795
00:35:12.690 --> 00:35:15.000
with the works, but also like in the last piece,
796
00:35:15.000 --> 00:35:16.440
the Ewell's piece,
797
00:35:16.440 --> 00:35:18.150
sometimes I have the opportunity
798
00:35:18.150 --> 00:35:21.210
to connect with the artists' families
799
00:35:21.210 --> 00:35:23.040
or the artists themselves.
800
00:35:23.040 --> 00:35:27.150
And this work was especially special in my research
801
00:35:27.150 --> 00:35:28.740
because I had the opportunity
802
00:35:28.740 --> 00:35:30.480
to speak with Mr. Simonetti.
803
00:35:30.480 --> 00:35:31.980
And I do have to mention
804
00:35:31.980 --> 00:35:34.690
because it is absolutely worth noting
805
00:35:35.880 --> 00:35:38.280
that this was the very first living artist
806
00:35:38.280 --> 00:35:40.860
that has been featured in "Beyond the Frame."
807
00:35:40.860 --> 00:35:42.540
So it was really incredible
808
00:35:42.540 --> 00:35:46.290
getting to hear Mr. Simonetti's story firsthand
809
00:35:46.290 --> 00:35:51.290
told by, you know, in the way that only he can tell it.
810
00:35:51.570 --> 00:35:55.320
And so when I asked him why he chose to paint this work
811
00:35:55.320 --> 00:35:57.720
and this way, he described to me the feeling
812
00:35:57.720 --> 00:36:00.030
of privacy he had.
813
00:36:00.030 --> 00:36:02.860
He told me about how the hard dive helmet he wore
814
00:36:04.672 --> 00:36:05.700
limited his field of vision,
815
00:36:05.700 --> 00:36:08.010
which was already obscured by the water.
816
00:36:08.010 --> 00:36:11.883
He said it was dark and murky, almost like a cloudy day.
817
00:36:12.750 --> 00:36:16.080
So in this work, he set the scene as he felt in that moment,
818
00:36:16.080 --> 00:36:19.230
like there was nothing but him and this piece of history.
819
00:36:19.230 --> 00:36:21.630
And he told me too, that as a sailor himself,
820
00:36:21.630 --> 00:36:23.220
he felt a connection.
821
00:36:23.220 --> 00:36:24.060
This ship, you know,
822
00:36:24.060 --> 00:36:26.670
it was part of his heritage as a sailor.
823
00:36:26.670 --> 00:36:29.640
But also in this moment he was thinking,
824
00:36:29.640 --> 00:36:32.340
this is every little kid's dream,
825
00:36:32.340 --> 00:36:34.920
diving on a sunken shipwreck.
826
00:36:34.920 --> 00:36:37.257
And that's what we feel in this work.
827
00:36:37.257 --> 00:36:39.420
And the contrast of the shadowy hull
828
00:36:39.420 --> 00:36:41.760
against the intense blue with the light
829
00:36:41.760 --> 00:36:44.010
from the surface trickling down on this wreck,
830
00:36:44.010 --> 00:36:48.420
we feel the significance, the excitement and the adventure.
831
00:36:48.420 --> 00:36:50.700
This is like something out of a storybook,
832
00:36:50.700 --> 00:36:54.570
a tale to pass on, something to remember.
833
00:36:54.570 --> 00:36:56.190
And one of the things that I loved most
834
00:36:56.190 --> 00:36:57.990
about getting to talk to Mr. Simonetti
835
00:36:57.990 --> 00:37:01.050
about this work was just his sheer excitement
836
00:37:01.050 --> 00:37:02.610
in talking about this.
837
00:37:02.610 --> 00:37:04.020
It really came through
838
00:37:04.020 --> 00:37:04.950
even on the phone
839
00:37:04.950 --> 00:37:07.893
and I think it comes through in this piece as well.
840
00:37:09.060 --> 00:37:11.820
Mr. Simonetti began his naval career
841
00:37:11.820 --> 00:37:13.590
in helicopter search and rescue.
842
00:37:13.590 --> 00:37:17.340
But he told me how he applied to dive school three times
843
00:37:17.340 --> 00:37:19.590
to get out of this field.
844
00:37:19.590 --> 00:37:20.580
He poignantly told me
845
00:37:20.580 --> 00:37:21.990
about how this decision came
846
00:37:21.990 --> 00:37:23.970
after losing far too many friends
847
00:37:23.970 --> 00:37:26.640
and attending far too many funerals.
848
00:37:26.640 --> 00:37:28.950
But he said that in dive school,
849
00:37:28.950 --> 00:37:31.500
and as his diving career began,
850
00:37:31.500 --> 00:37:33.727
he told me about how much fun he had.
851
00:37:33.727 --> 00:37:36.390
"High adventure," he told me laughing.
852
00:37:36.390 --> 00:37:38.040
He thought back to when he was a little kid
853
00:37:38.040 --> 00:37:39.750
and he would watch Jacques Cousteau
854
00:37:39.750 --> 00:37:42.270
and dream of being an oceanographer.
855
00:37:42.270 --> 00:37:45.900
And of course as for art that started in childhood too.
856
00:37:45.900 --> 00:37:47.640
He told me he always loved drawing
857
00:37:47.640 --> 00:37:50.190
and later would do commissions for friends.
858
00:37:50.190 --> 00:37:52.080
Once his time in the Navy was done,
859
00:37:52.080 --> 00:37:53.820
Simonetti dove fully into art,
860
00:37:53.820 --> 00:37:56.640
actually pursuing a degree in painting and printmaking
861
00:37:56.640 --> 00:37:58.860
at San Diego State University.
862
00:37:58.860 --> 00:38:01.717
And this work came from his school portfolio.
863
00:38:01.717 --> 00:38:03.937
"The prompt," he told me was,
864
00:38:03.937 --> 00:38:06.897
"paint a memory that will always be with you."
865
00:38:08.316 --> 00:38:10.050
In this work, Simonetti reflects on the moment
866
00:38:10.050 --> 00:38:12.690
when he stretched out his black glove hand
867
00:38:12.690 --> 00:38:15.180
touching the algae covered chocolatey brown
868
00:38:15.180 --> 00:38:18.630
and rust-colored hull of USS Monitor.
869
00:38:18.630 --> 00:38:21.420
It was this moment that he saw the indentations
870
00:38:21.420 --> 00:38:23.160
on the turret made by cannonballs
871
00:38:23.160 --> 00:38:26.820
during battle 140 years earlier.
872
00:38:26.820 --> 00:38:29.280
It was the moment that he connected with the crew
873
00:38:29.280 --> 00:38:31.350
and with the legacy of those who had served
874
00:38:31.350 --> 00:38:32.970
and gone before him.
875
00:38:32.970 --> 00:38:35.550
He painted this work to commemorate the history
876
00:38:35.550 --> 00:38:39.180
that he touched, that he was helping to save.
877
00:38:39.180 --> 00:38:42.690
And not only that, but also to celebrate this memory,
878
00:38:42.690 --> 00:38:45.330
a story that he told me he would be proud to share
879
00:38:45.330 --> 00:38:47.100
with his little granddaughter.
880
00:38:47.100 --> 00:38:49.200
She was two at the time that we spoke.
881
00:38:49.200 --> 00:38:51.720
And I just love the thinking about
882
00:38:51.720 --> 00:38:53.313
that precious interaction.
883
00:38:54.690 --> 00:38:56.370
Simonetti's service in the Navy,
884
00:38:56.370 --> 00:38:58.950
both before in Helicopter Search and Rescue
885
00:38:58.950 --> 00:39:02.400
and later as a part of the USS Monitor recovery team
886
00:39:02.400 --> 00:39:07.020
of divers is a part of his story, his legacy,
887
00:39:07.020 --> 00:39:08.880
but it's also so much bigger than that,
888
00:39:08.880 --> 00:39:12.210
because he and the role that he played in his two weeks
889
00:39:12.210 --> 00:39:15.900
on this mission affected not just his own personal history,
890
00:39:15.900 --> 00:39:17.400
but also became entwined
891
00:39:17.400 --> 00:39:21.960
with USS Monitor's 160-year history.
892
00:39:21.960 --> 00:39:24.840
On this mission too, he told me about "The conga line
893
00:39:24.840 --> 00:39:28.230
of divers from all over the world," as he described them,
894
00:39:28.230 --> 00:39:30.210
and how they became close.
895
00:39:30.210 --> 00:39:33.090
They became joined together through their shared dedication
896
00:39:33.090 --> 00:39:35.970
and commitment to this incredible feat.
897
00:39:35.970 --> 00:39:38.250
The service of all of the expedition participants
898
00:39:38.250 --> 00:39:40.830
over the years, NOAA, the US Navy,
899
00:39:40.830 --> 00:39:43.080
the archeologists, engineers, the divers,
900
00:39:43.080 --> 00:39:45.270
our own museum team and so many more
901
00:39:45.270 --> 00:39:47.850
made this incredible mission possible.
902
00:39:47.850 --> 00:39:50.070
Together, they realized the amazing feat
903
00:39:50.070 --> 00:39:53.190
of finding USS Monitor and recovering its turret
904
00:39:53.190 --> 00:39:55.920
as well as countless other artifacts.
905
00:39:55.920 --> 00:39:58.800
And they laid the foundation for the preservation,
906
00:39:58.800 --> 00:40:01.890
conservation and stewardship of these objects
907
00:40:01.890 --> 00:40:03.780
so that we can better understand them
908
00:40:03.780 --> 00:40:06.600
and share their story with the world.
909
00:40:06.600 --> 00:40:09.210
And that, for Simo and so many others,
910
00:40:09.210 --> 00:40:11.310
is something to be proud of.
911
00:40:11.310 --> 00:40:13.860
That is a story to pass on.
912
00:40:13.860 --> 00:40:16.110
That is something to remember.
913
00:40:16.110 --> 00:40:20.100
And the story of USS Monitor is something to pass on,
914
00:40:20.100 --> 00:40:21.390
something to remember,
915
00:40:21.390 --> 00:40:24.180
something that has influenced for so many years
916
00:40:24.180 --> 00:40:26.610
and will continue to influence further.
917
00:40:26.610 --> 00:40:29.430
And I look forward to seeing the works that come from that.
918
00:40:29.430 --> 00:40:31.200
So thank you all so much for your time.
919
00:40:31.200 --> 00:40:34.890
I do hope you enjoyed our journey together today,
920
00:40:34.890 --> 00:40:36.660
despite our technical difficulties.
921
00:40:36.660 --> 00:40:37.890
I do apologize again,
922
00:40:37.890 --> 00:40:40.023
but like I said, it was about the art.
923
00:40:41.690 --> 00:40:46.260
And I do hope that through experiencing works like this,
924
00:40:46.260 --> 00:40:50.100
you've maybe found or deepened connections to USS Monitor
925
00:40:50.100 --> 00:40:51.690
that may have existed
926
00:40:51.690 --> 00:40:56.690
or maybe even you became connected to today.
927
00:40:59.370 --> 00:41:01.410
[Shannon] All right, thank you, Kyra.
928
00:41:01.410 --> 00:41:03.210
That's awesome.
929
00:41:03.210 --> 00:41:06.363
I am going to take my screen back.
930
00:41:08.130 --> 00:41:11.700
And Mark, if you wanna go ahead and turn on,
931
00:41:11.700 --> 00:41:13.200
since Kyra's not gonna be on screen,
932
00:41:13.200 --> 00:41:15.180
if you wanna turn on your webcam as well.
933
00:41:15.180 --> 00:41:16.353
I'll turn on mine.
934
00:41:17.970 --> 00:41:20.340
All right, this is the time that we have
935
00:41:20.340 --> 00:41:21.960
for the questions and answers.
936
00:41:21.960 --> 00:41:23.820
So if you've not put your question
937
00:41:23.820 --> 00:41:25.740
into the question box yet,
938
00:41:25.740 --> 00:41:27.990
we definitely encourage you to do so
939
00:41:27.990 --> 00:41:30.420
so Kyra can answer your questions.
940
00:41:30.420 --> 00:41:32.580
I do have one question for you, Kyra,
941
00:41:32.580 --> 00:41:34.380
to start out with.
Yes.
942
00:41:34.380 --> 00:41:36.870
How many paintings does the museum have
943
00:41:36.870 --> 00:41:38.640
that actually relate to the Monitor?
944
00:41:38.640 --> 00:41:41.070
Do you have a a number?
945
00:41:41.070 --> 00:41:43.623
[Kyra] I would have to check on that, because,
946
00:41:44.550 --> 00:41:49.050
so our painting collection alone is over 1200 works of art.
947
00:41:49.050 --> 00:41:53.040
I know that we do have quite a number of paintings
948
00:41:53.040 --> 00:41:54.180
in our painting storage,
949
00:41:54.180 --> 00:41:58.170
but if we were to actually count all of the watercolors,
950
00:41:58.170 --> 00:42:00.270
the lithographs, the prints
951
00:42:00.270 --> 00:42:01.920
that we do have in the collection,
952
00:42:01.920 --> 00:42:04.950
I'm sure it adds up quite a bit.
953
00:42:04.950 --> 00:42:09.810
So I would be interested to get a number to you,
954
00:42:09.810 --> 00:42:12.690
but it's probably a lot. (laughs)
955
00:42:12.690 --> 00:42:14.820
Okay, perfect.
956
00:42:14.820 --> 00:42:15.653
Not a problem.
957
00:42:15.653 --> 00:42:18.930
Mark, do you have a question that you would like to ask
958
00:42:18.930 --> 00:42:20.103
that somebody's asked?
959
00:42:23.280 --> 00:42:25.230
[Mark] I'm sorry, I have myself on mute.
960
00:42:25.230 --> 00:42:27.543
We do have a question in the audience.
961
00:42:28.867 --> 00:42:33.240
"For the, I think, for the newer paintings,
962
00:42:33.240 --> 00:42:37.380
how long did it take them to paint them?"
963
00:42:37.380 --> 00:42:38.760
The last two, I believe.
964
00:42:38.760 --> 00:42:39.860
The last two.
965
00:42:40.890 --> 00:42:45.240
You know, I actually don't have a timeframe on those.
966
00:42:45.240 --> 00:42:50.240
Mr. Simonetti was painting his Monitor work here,
967
00:42:51.180 --> 00:42:55.920
as I mentioned, about for a part of his art school work,
968
00:42:55.920 --> 00:42:58.803
so I'm sure that was a shorter timeframe.
969
00:42:59.640 --> 00:43:02.340
As for Ewell, I'm not entirely sure,
970
00:43:02.340 --> 00:43:06.120
but those outlines are actually, and I'll go way back,
971
00:43:06.120 --> 00:43:08.190
sorry, if I'm making people dizzy, (laughs)
972
00:43:08.190 --> 00:43:09.023
there we go,
973
00:43:09.023 --> 00:43:11.190
those outlines, very interestingly,
974
00:43:11.190 --> 00:43:13.900
I believe they're actually done with paint pen
975
00:43:15.729 --> 00:43:17.379
if we look closely at that piece.
976
00:43:19.725 --> 00:43:22.080
And so even just outlining those waves
977
00:43:22.080 --> 00:43:24.210
would take a very long time
978
00:43:24.210 --> 00:43:27.243
because this piece is actually larger than you would expect.
979
00:43:28.350 --> 00:43:31.080
And it is worth mentioning that there will be more details
980
00:43:31.080 --> 00:43:34.020
of this piece because y'all got a little bit
981
00:43:34.020 --> 00:43:36.300
of a sneak preview today.
982
00:43:36.300 --> 00:43:39.030
This episode or this painting is featured
983
00:43:39.030 --> 00:43:43.110
in January's episode of "Beyond the Frame,"
984
00:43:43.110 --> 00:43:46.350
and so there will be some more detail shots
985
00:43:46.350 --> 00:43:49.410
that can show that closer up.
986
00:43:49.410 --> 00:43:52.980
But really just seeing how thickly the paint was applied
987
00:43:52.980 --> 00:43:56.880
and then how meticulously that he went around
988
00:43:56.880 --> 00:43:59.730
with probably the paint pen.
989
00:43:59.730 --> 00:44:02.520
I mean, I can imagine that this piece would've taken,
990
00:44:02.520 --> 00:44:03.780
you know, several days or,
991
00:44:03.780 --> 00:44:06.333
you know, possibly even a couple of weeks to do.
992
00:44:07.470 --> 00:44:08.790
Wow, thank you.
Okay.
993
00:44:08.790 --> 00:44:09.660
Yeah.
994
00:44:09.660 --> 00:44:12.540
Now, to go with that, in the Civil War time,
995
00:44:12.540 --> 00:44:14.430
do you know about how long it took
996
00:44:14.430 --> 00:44:16.680
before those news illustrations that you showed,
997
00:44:16.680 --> 00:44:19.800
the "Harper's Weekly" and I forget what the other one was,
998
00:44:19.800 --> 00:44:21.960
how long it took for those to actually be done?
999
00:44:21.960 --> 00:44:24.450
Were they fairly quickly after the battle
1000
00:44:24.450 --> 00:44:25.440
or after the sinking?
1001
00:44:25.440 --> 00:44:26.400
Did they get published?
1002
00:44:26.400 --> 00:44:28.320
Or were they many years later?
1003
00:44:28.320 --> 00:44:31.660
So those were actually printed fairly quickly
1004
00:44:33.539 --> 00:44:34.372
after the event.
1005
00:44:34.372 --> 00:44:35.340
What's really interesting
1006
00:44:35.340 --> 00:44:39.363
with some of those historic woodblock prints, like the,
1007
00:44:41.580 --> 00:44:43.020
oh goodness,
1008
00:44:43.020 --> 00:44:46.650
like the "Frank Leslie's" and the "Harper's Weekly,"
1009
00:44:46.650 --> 00:44:49.770
those, let me get back to it,
1010
00:44:49.770 --> 00:44:52.770
so when they were done in woodblock prints,
1011
00:44:52.770 --> 00:44:55.590
because they wanted illustrated magazines
1012
00:44:55.590 --> 00:44:59.970
and illustrated newspapers wanted visual depictions
1013
00:44:59.970 --> 00:45:02.280
to go out as quickly as possible,
1014
00:45:02.280 --> 00:45:05.520
sometimes there would be multiple artists
1015
00:45:05.520 --> 00:45:09.300
that would actually take a quarter of the scene
1016
00:45:09.300 --> 00:45:10.133
that was depicted.
1017
00:45:10.133 --> 00:45:12.360
So somebody would sketch up a design
1018
00:45:12.360 --> 00:45:16.230
of what the print block was going to look like,
1019
00:45:16.230 --> 00:45:18.780
and then they divided it into four pieces.
1020
00:45:18.780 --> 00:45:21.600
And so then there would be four print makers
1021
00:45:21.600 --> 00:45:26.250
who were all carving the wood blocks very quickly
1022
00:45:26.250 --> 00:45:27.990
and simultaneously, and that made it
1023
00:45:27.990 --> 00:45:32.490
so that they could be produced a little bit more quickly.
1024
00:45:32.490 --> 00:45:36.150
And there were even portable lithography stones
1025
00:45:36.150 --> 00:45:39.930
that were used to depict battle scenes and things like that.
1026
00:45:39.930 --> 00:45:42.630
So some of these could actually be turned around
1027
00:45:42.630 --> 00:45:44.340
in a matter of days.
1028
00:45:44.340 --> 00:45:46.530
So we do have depictions of the sinking.
1029
00:45:46.530 --> 00:45:50.100
These are from January 24th, 1862,
1030
00:45:50.100 --> 00:45:53.493
so, you know, less than a month after the sinking.
1031
00:45:55.140 --> 00:45:59.220
And, you know, for a woodblock carved print,
1032
00:45:59.220 --> 00:46:01.350
you know, that's pretty impressive,
1033
00:46:01.350 --> 00:46:03.233
the speed that they would do that with.
1034
00:46:04.290 --> 00:46:05.253
Okay. Mark?
1035
00:46:06.570 --> 00:46:09.630
So we have a couple of questions mentioning
1036
00:46:09.630 --> 00:46:14.630
that the Rhode Island looked different in each picture.
1037
00:46:15.240 --> 00:46:19.740
And so I guess the question is how accessible were,
1038
00:46:19.740 --> 00:46:22.110
like, pictures or photographs or representations
1039
00:46:22.110 --> 00:46:24.630
of the USS Rhode Island to these artists
1040
00:46:24.630 --> 00:46:26.760
when they were making their artwork?
1041
00:46:26.760 --> 00:46:28.170
So that, I'm not entirely sure,
1042
00:46:28.170 --> 00:46:29.760
but that was actually something that,
1043
00:46:29.760 --> 00:46:31.530
you know, I asked myself, you know,
1044
00:46:31.530 --> 00:46:34.920
even in this print here,
1045
00:46:34.920 --> 00:46:37.500
we can see that things don't look exactly
1046
00:46:37.500 --> 00:46:39.050
how we thought they might look.
1047
00:46:40.050 --> 00:46:43.540
And I had a lot of questions for our conservation staff
1048
00:46:44.820 --> 00:46:47.670
who have worked with some of the technical depictions,
1049
00:46:47.670 --> 00:46:49.320
both of Monitor and, you know,
1050
00:46:49.320 --> 00:46:52.290
as I was going back through some historical documents.
1051
00:46:52.290 --> 00:46:54.240
I think there comes a point where we do have
1052
00:46:54.240 --> 00:46:56.700
to accept that, you know,
1053
00:46:56.700 --> 00:46:58.527
yes, there was photography at the time,
1054
00:46:58.527 --> 00:46:59.890
but it was very limited
1055
00:47:01.380 --> 00:47:06.380
and so the depictions would have likely come from retellings
1056
00:47:07.620 --> 00:47:12.390
of this story mixed sort of with people
1057
00:47:12.390 --> 00:47:16.088
who might have seen these ships before,
1058
00:47:16.088 --> 00:47:17.700
you know, they're in a situation like this.
1059
00:47:17.700 --> 00:47:20.520
So somebody might have seen the Rhode Island at one point
1060
00:47:20.520 --> 00:47:23.850
in time or seen the Monitor at one point in time
1061
00:47:23.850 --> 00:47:26.850
and so they're just depicting it how they saw it
1062
00:47:26.850 --> 00:47:28.650
or how somebody told them that they saw it.
1063
00:47:28.650 --> 00:47:32.433
So sometimes it becomes a little bit of a game of telephone.
1064
00:47:33.930 --> 00:47:38.321
But, you know, yeah,
1065
00:47:38.321 --> 00:47:42.250
mostly historic accounts can sort of warp
1066
00:47:44.142 --> 00:47:46.143
how these ships are actually depicted.
1067
00:47:47.700 --> 00:47:51.540
And there does, like I mentioned,
1068
00:47:51.540 --> 00:47:53.310
we do have to take it with a grain of salt,
1069
00:47:53.310 --> 00:47:56.733
the sort of artistic license that comes in there.
1070
00:47:58.320 --> 00:47:59.640
Okay.
1071
00:47:59.640 --> 00:48:03.540
One other question, Kyra, is in the Ewell's painting,
1072
00:48:03.540 --> 00:48:05.520
the one that looked very different,
1073
00:48:05.520 --> 00:48:08.670
there was a little spot of coral color in the center.
1074
00:48:08.670 --> 00:48:11.040
Did that represent anything?
1075
00:48:11.040 --> 00:48:12.960
That is actually the moon.
1076
00:48:12.960 --> 00:48:14.880
And one of the things that I really,
1077
00:48:14.880 --> 00:48:17.550
really love about the moon there
1078
00:48:17.550 --> 00:48:22.550
is kind of like with the William Richardson Tyler piece,
1079
00:48:22.710 --> 00:48:26.970
we've just got this one teeny speck of red,
1080
00:48:26.970 --> 00:48:29.550
but in looking at complimentary colors
1081
00:48:29.550 --> 00:48:31.053
or contrasting colors,
1082
00:48:32.100 --> 00:48:34.710
blues and reds or like blue and orange
1083
00:48:34.710 --> 00:48:37.890
are going to be compliments across the color wheel
1084
00:48:37.890 --> 00:48:38.790
from each other.
1085
00:48:38.790 --> 00:48:41.133
And so in using those compliments,
1086
00:48:43.702 --> 00:48:46.170
it really like allows that color to pop
1087
00:48:46.170 --> 00:48:49.050
and become brighter on the canvas
1088
00:48:49.050 --> 00:48:51.630
just from simply being placed next to each other.
1089
00:48:51.630 --> 00:48:54.480
So, you know, if we had a lot of, you know,
1090
00:48:54.480 --> 00:48:59.480
rosy reds or purples that were included in those clouds,
1091
00:49:00.300 --> 00:49:03.720
then that moon that is just really barely peeking out
1092
00:49:03.720 --> 00:49:06.630
from behind those clouds would be so much less visible.
1093
00:49:06.630 --> 00:49:10.170
But in Ewell's use of the blues,
1094
00:49:10.170 --> 00:49:12.000
and the greens and the grays
1095
00:49:12.000 --> 00:49:15.090
and then utilizing this high contrast
1096
00:49:15.090 --> 00:49:16.770
corally orange color,
1097
00:49:16.770 --> 00:49:20.220
it allows that moon to just kind of punch through
1098
00:49:20.220 --> 00:49:22.830
so that we understand that it's there in the background.
1099
00:49:22.830 --> 00:49:24.330
You know, and that's one of the things
1100
00:49:24.330 --> 00:49:27.363
that I do love about the color choice in this piece,
1101
00:49:28.470 --> 00:49:31.620
is like I said, he could have treated the clouds differently
1102
00:49:31.620 --> 00:49:34.350
or he could've depicted the moon as being white,
1103
00:49:34.350 --> 00:49:37.050
and it would've totally changed the effect
1104
00:49:37.050 --> 00:49:39.300
of the moon in this piece.
1105
00:49:39.300 --> 00:49:43.260
So those little ticky things like composition, color choice,
1106
00:49:43.260 --> 00:49:46.620
line choice, they really do have such an incredible effect
1107
00:49:46.620 --> 00:49:47.883
on these works of art.
1108
00:49:49.990 --> 00:49:51.033
Okay. Mark?
1109
00:49:52.140 --> 00:49:55.110
Yes, you said that-
1110
00:49:55.110 --> 00:49:55.943
Sorry.
1111
00:49:55.943 --> 00:49:57.870
You were talking about one of the photos
1112
00:49:57.870 --> 00:50:00.243
of the sinking was in the Monitor Center.
1113
00:50:01.178 --> 00:50:02.011
Yes.
1114
00:50:02.011 --> 00:50:06.060
If I wanted to see all four of these paintings,
1115
00:50:06.060 --> 00:50:08.070
where would I go to see them?
1116
00:50:08.070 --> 00:50:10.890
Well, so this work by William Richardson Tyler
1117
00:50:10.890 --> 00:50:13.320
is actually the only one of these four works
1118
00:50:13.320 --> 00:50:15.270
that is actually on display in our galleries.
1119
00:50:15.270 --> 00:50:17.550
But this one, if you come to the museum
1120
00:50:17.550 --> 00:50:19.920
for just $1 admission
1121
00:50:19.920 --> 00:50:23.220
and you head into our USS Monitor Center
1122
00:50:23.220 --> 00:50:26.550
and you kind of follow it back and in,
1123
00:50:26.550 --> 00:50:30.360
you'll pass through the crew quarter type area
1124
00:50:30.360 --> 00:50:33.930
and pass to the, what we call the Battle Theater.
1125
00:50:33.930 --> 00:50:38.930
It's a video showing the Battle of Hampton Roads,
1126
00:50:39.720 --> 00:50:43.410
and then off to the left or as you exit the doors
1127
00:50:43.410 --> 00:50:44.490
of the Battle Theater,
1128
00:50:44.490 --> 00:50:46.890
this piece is gonna be right in front of you.
1129
00:50:46.890 --> 00:50:49.500
And it's kind of in a little hallway-type area,
1130
00:50:49.500 --> 00:50:52.050
and it's got a glass vitrine around it.
1131
00:50:52.050 --> 00:50:53.160
But it is stunning.
1132
00:50:53.160 --> 00:50:55.680
And let me tell you, it is far more stunning in person,
1133
00:50:55.680 --> 00:50:58.110
so I do highly recommend anybody who's local
1134
00:50:58.110 --> 00:51:00.330
or planning a trip to Newport News,
1135
00:51:00.330 --> 00:51:01.980
please do come and see it.
1136
00:51:01.980 --> 00:51:06.980
Now, these other three works are actually in our storage.
1137
00:51:07.800 --> 00:51:11.400
So the Ewell piece, as I mentioned,
1138
00:51:11.400 --> 00:51:14.940
will be featured in "Beyond the Frame's,"
1139
00:51:14.940 --> 00:51:16.440
in the episode of "Beyond the Frame"
1140
00:51:16.440 --> 00:51:20.220
that airs Friday, January 5th, I believe.
1141
00:51:20.220 --> 00:51:22.260
It's the first Friday in January.
1142
00:51:22.260 --> 00:51:26.860
And then the Michael Simonetti work
1143
00:51:27.724 --> 00:51:31.290
of USS Monitor on the sea floor is actually our episode
1144
00:51:31.290 --> 00:51:34.320
from August that we featured.
1145
00:51:34.320 --> 00:51:37.860
And really cool, it just so happened that it fell
1146
00:51:37.860 --> 00:51:40.260
on the anniversary of the turret recovery.
1147
00:51:40.260 --> 00:51:42.330
So that was a really, really special anniversary
1148
00:51:42.330 --> 00:51:44.370
to get to celebrate with this piece.
1149
00:51:44.370 --> 00:51:46.260
So you can find those two online.
1150
00:51:46.260 --> 00:51:48.780
You can also head to the museum's catalogs
1151
00:51:48.780 --> 00:51:52.890
at catalogs.marinersmuseum.org
1152
00:51:52.890 --> 00:51:57.300
to find more works in our collection.
1153
00:51:57.300 --> 00:52:00.660
You can filter down and search further from there.
1154
00:52:00.660 --> 00:52:03.840
And some of them do have images associated with them
1155
00:52:03.840 --> 00:52:06.210
as well as information about the artists,
1156
00:52:06.210 --> 00:52:07.590
about the work, about the sinking
1157
00:52:07.590 --> 00:52:09.690
and about some of the vessels depicted.
1158
00:52:09.690 --> 00:52:14.370
So for any of these pieces that aren't accessible
1159
00:52:14.370 --> 00:52:16.410
either through "Beyond the Frame" episodes
1160
00:52:16.410 --> 00:52:19.980
or through coming and visiting them in our galleries,
1161
00:52:19.980 --> 00:52:22.830
I do highly recommend y'all go online and check them out.
1162
00:52:23.910 --> 00:52:25.680
Okay, and with that I'll just go ahead
1163
00:52:25.680 --> 00:52:30.330
and remind everybody to download Kyra's bio in the chat box
1164
00:52:30.330 --> 00:52:32.820
because in that bio we put most of those links
1165
00:52:32.820 --> 00:52:34.200
that she just mentioned.
1166
00:52:34.200 --> 00:52:36.210
We put those in that bio
1167
00:52:36.210 --> 00:52:39.540
so you can get all that information there.
1168
00:52:39.540 --> 00:52:40.860
Any last minute questions?
1169
00:52:40.860 --> 00:52:42.963
I think we have time for maybe one more.
1170
00:52:48.690 --> 00:52:50.130
Let's see.
1171
00:52:50.130 --> 00:52:55.130
Can you tell me in the photo of the first photo you showed
1172
00:52:55.140 --> 00:52:57.150
with the sinking of the Monitor,
1173
00:52:57.150 --> 00:52:58.470
and I think you did talk about this,
1174
00:52:58.470 --> 00:53:01.020
but could you explain a little bit more about what
1175
00:53:01.020 --> 00:53:03.360
that bright light is on the Rhode Island
1176
00:53:03.360 --> 00:53:05.760
and the shadowy area of the photo?
1177
00:53:05.760 --> 00:53:07.020
Yes, absolutely.
1178
00:53:07.020 --> 00:53:10.320
So that red lantern
1179
00:53:10.320 --> 00:53:13.890
on the Rhode Island is Rhode Island's signal lantern.
1180
00:53:13.890 --> 00:53:16.680
And I believe just as Monitor would've had,
1181
00:53:16.680 --> 00:53:19.500
you know, the red signal lantern as well.
1182
00:53:19.500 --> 00:53:21.210
But I just think stylistically
1183
00:53:21.210 --> 00:53:24.210
it's so poignant and so beautiful
1184
00:53:24.210 --> 00:53:28.230
that we see it on USS Rhode Island
1185
00:53:28.230 --> 00:53:31.800
and in the same way that the orange of the moon
1186
00:53:31.800 --> 00:53:36.150
in Ewell's depiction of the sinking really stood out.
1187
00:53:36.150 --> 00:53:39.279
The red here creates a contrast that allows
1188
00:53:39.279 --> 00:53:43.560
that teensy, teensy, tiny little dab of red to stick out
1189
00:53:43.560 --> 00:53:46.380
even more so that, you know,
1190
00:53:46.380 --> 00:53:49.680
those of us who do know about the sinking,
1191
00:53:49.680 --> 00:53:52.830
who do know about the red lantern,
1192
00:53:52.830 --> 00:53:55.140
you know, can kind of get that immediately.
1193
00:53:55.140 --> 00:53:58.390
But this work is in our galleries
1194
00:54:01.159 --> 00:54:03.450
right near the lantern from USS Monitor.
1195
00:54:03.450 --> 00:54:06.540
And so I do hope that for those who come and see the work
1196
00:54:06.540 --> 00:54:10.173
in the galleries, they can sort of make that connection.
1197
00:54:11.520 --> 00:54:14.160
Okay, well, thank you, Kyra.
1198
00:54:14.160 --> 00:54:16.710
This was most fascinating.
1199
00:54:16.710 --> 00:54:19.230
Now, if we did not get to your question
1200
00:54:19.230 --> 00:54:20.640
or if you have additional ones,
1201
00:54:20.640 --> 00:54:22.620
you can all always send them to Kyra.
1202
00:54:22.620 --> 00:54:25.620
And her email address is listed here on the screen.
1203
00:54:25.620 --> 00:54:27.180
We also invite you to learn more
1204
00:54:27.180 --> 00:54:29.190
about visiting The Mariners Museum's website,
1205
00:54:29.190 --> 00:54:31.190
which is also listed here on the screen.
1206
00:54:32.610 --> 00:54:35.340
A video recording of this presentation will be available
1207
00:54:35.340 --> 00:54:37.740
on the sanctuary's webinar archives page,
1208
00:54:37.740 --> 00:54:39.930
and that's going to be found at that long URL
1209
00:54:39.930 --> 00:54:41.370
that's listed at the top of the page.
1210
00:54:41.370 --> 00:54:43.890
But don't worry, we're going to send it to you.
1211
00:54:43.890 --> 00:54:45.810
In addition, the webinar will be archived
1212
00:54:45.810 --> 00:54:49.050
on Monitor National Marine Sanctuary's website.
1213
00:54:49.050 --> 00:54:51.180
You'll just click on the multimedia tab section
1214
00:54:51.180 --> 00:54:53.250
in the toolbar to access the webinar box.
1215
00:54:53.250 --> 00:54:56.700
You'll also find future webinars in that same section.
1216
00:54:56.700 --> 00:54:57.960
And as I said, don't worry,
1217
00:54:57.960 --> 00:54:59.730
all of this information is gonna be sent to you
1218
00:54:59.730 --> 00:55:02.670
in a follow up email once the recording is ready to view,
1219
00:55:02.670 --> 00:55:04.680
and that usually takes about a week
1220
00:55:04.680 --> 00:55:06.960
before we get this up online.
1221
00:55:06.960 --> 00:55:09.813
So it will be up probably within a week or so.
1222
00:55:11.280 --> 00:55:12.870
But we do also host,
1223
00:55:12.870 --> 00:55:16.410
I'm sorry, we do also encourage you to join us back
1224
00:55:16.410 --> 00:55:19.230
in January, January 31st at 1:00 PM,
1225
00:55:19.230 --> 00:55:22.170
Captain Bobbie Scholley, US Navy retired,
1226
00:55:22.170 --> 00:55:26.310
who led the 2002 expedition to recover the Monitor's turret,
1227
00:55:26.310 --> 00:55:27.180
will be joining us.
1228
00:55:27.180 --> 00:55:29.880
And so come hear about the challenges the expedition faced,
1229
00:55:29.880 --> 00:55:31.560
and the triumphs and more
1230
00:55:31.560 --> 00:55:36.243
as she tells us the story of her leading the expedition.
1231
00:55:38.130 --> 00:55:40.830
And of course we invite you to follow us on social media.
1232
00:55:40.830 --> 00:55:42.180
So just stay in touch
1233
00:55:42.180 --> 00:55:44.460
and see what's happening within the Sanctuary.
1234
00:55:44.460 --> 00:55:46.293
We're on both Facebook and Twitter.
1235
00:55:47.640 --> 00:55:49.410
And lastly, as you exit the webinar,
1236
00:55:49.410 --> 00:55:52.560
there is a short survey for formal and informal educators.
1237
00:55:52.560 --> 00:55:55.860
So if you are an educator, NOAA would really appreciate it,
1238
00:55:55.860 --> 00:55:57.900
If you just take a minute or two to complete the survey.
1239
00:55:57.900 --> 00:56:00.180
I think there's like five or six questions.
1240
00:56:00.180 --> 00:56:02.640
Your answers will help NOAA develop future webinars
1241
00:56:02.640 --> 00:56:03.473
to meet your needs.
1242
00:56:03.473 --> 00:56:05.190
And your participation is voluntary
1243
00:56:05.190 --> 00:56:07.293
and your answers are completely anonymous.
1244
00:56:08.790 --> 00:56:10.440
So once again, we want to thank Kyra
1245
00:56:10.440 --> 00:56:12.180
for a great presentation.
1246
00:56:12.180 --> 00:56:14.460
And thank you for taking the time to join us today.
1247
00:56:14.460 --> 00:56:15.570
Have a wonderful day.
1248
00:56:15.570 --> 00:56:17.220
And this concludes the broadcast.