National Gallery: The Virgin of the Rocks
Journey to the heart of a London institution, with Frederick Wiseman's National Gallery. In this excerpt, a curator from The National Gallery discusses what makes an exhibition magical.
National Gallery: Christ in the House of Martha
Journey to the heart of a London institution, with Frederick Wiseman's National Gallery. In this excerpt, a National Gallery Museum expert contemplates the meaning behind the painting Christ in the House of Martha and Mary, by Diego Velázquez.
National Gallery: Christina of Denmark
Journey to the heart of a London institution, with Frederick Wiseman's National Gallery. In this excerpt, a museum guide discusses the significance of the painting Christina of Denmark Duchess of Milan.
National Gallery: The Finding of Moses
Journey to the heart of a London institution, with Frederick Wiseman's National Gallery. In this excerpt, a museum guide talks to a group of children about the painting The Finding of Moses, by Orazio Gentileschi, and about other "stories" in the museum.
National Gallery: Adoring Saints
Journey to the heart of a London institution, with Frederick Wiseman's National Gallery. In this excerpt, a museum guide has visitors imagining themselves inside the painting The San Pier Maggiore Altarpiece, by Jacopo di Cione and workshop.
National Gallery: Trailer
National Gallery journeys behind the scenes of a London institution, to the heart of a museum, filled with masterpieces of Western art, dating back to the Middle Ages. Frederick Wiseman's film is the portrait of a place, its way of working and relations with the world, its staff and public, and its paintings. In a perpetual and dizzying game of mirrors, film watches painting watches film.
A National Gallery Restorer at Work
"In an abstract way the film tries to compare different ways of telling a story. Every form, whether it be a painting, movie, dance, play, poem, or novel, is different. The abstract issues–characterization, passage of time, creation of metaphor–are the same. NATIONAL GALLERY, in an abstract way, tries to suggest how these common issues are dealt with in different forms, particularly in film."
An Artist Sketching in the National Gallery
"There is a big difference in the way my documentaries are made compared to a fiction film. Generally a fiction film is made from a script, written in advance and then filmed. My process is the reverse. When I start I have no idea of the themes or point of view. I take a gamble that over time I will collect enough sequences out of which I can make a film. I discover the film in the editing."
People Watching at the National Gallery
"It was fascinating to not only have the chance to film paintings from one of the world's great collections but also to have the opportunity to film aspects of the work involved in the study, restoration, exhibition, and public education related to the National Gallery's superb collection.?"
Cleaning the National Gallery
"I am trying to make films about as many different aspects of contemporary life as possible. Every film is like a trip to Las Vegas. I roll the dice with the choice of subject matter and hope that I find enough interesting sequences out of which I can make a film.?"
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