(jazz piano music)
- [Narrator] We're in the Newark Museum,
standing in front of an
enormous work of art:
Joseph Stella's The Voice of the City
of New York Interpreted.
It's five panels, it's a polyptych.
It's as if we're standing
in front of an altar.
- [Narrator] There's
enough of a suggestion
of the actual architecture
of New York City
that you feel like you've been
pulled into the heart of it.
- [Narrator] But this is not photographic.
This is a moment in the
development of modernism
where there's this mix between abstraction
and what the artist is actually seeing.
Here, the abstraction seems
to be a perfect vehicle
to express the prismatic
qualities of the city.
Its energy, its dynamism.
It's almost overwhelming
in its kaleidoscopic quality.
- [Narrator] And that's actually the way
that Stella described it.
He wanted us to feel what it feels like
to encounter this new world,
Stella himself having been an immigrant
to the United States at the age of 18.
The image really doesn't
have a beginning and end
like a typical narrative.
But all the same, we
read from left to right,
and at the left, we have the port.
- [Narrator] But for all
of the power and energy
of the geometric lines that
criss-cross this panel,
the large, blue field, the
night sky, quiets this scene.
We're aware that this is a
place of tremendous activity,
but not so much at night
when we're seeing it.
And so this is a moment of quiet.
Joseph Stella wrote about this panel.
- [Narrator] "You have reached the harbor;
"you are standing where all the arteries
"of the great giant meet;
"and a quiet sea and sky overwhelm you;
"you have left the noise
and glare of Broadway;
"all the hardness and brilliance fade away
"in the stillness of the night."
- [Narrator] For a man who
grew up outside of Naples,
New York must have been
shocking in its modernity.
What's so interesting is
that this set of paintings
was made soon after the
artist returned from Europe,
where he had worked with
some of the Futurists.
This is a celebration of industry.
It's a celebration of the beauty
that man has created in the modern world.
- [Narrator] But if we
move on to The White Way,
which is the first panel
that represents Broadway,
which by 1920, was a
huge center of tourism
and, most of all,
electric lights and sound.
- [Narrator] We have almost
this heavenly explosion
of light above us.
We have this incredibly velocity
in the center area
where we seem to be able
to move back with our eyes,
along The Great White Way,
along Broadway.
But Broadway itself seems transparent.
We can see below the subway grates.
And we can see into the subterranean city.
And so the city isn't
above us, it's below us,
and it's in front of us.
- [Narrator] We feel like a part
of that pulsing collective
that makes the city so special.
- [Narrator] And Stella wrote
about this second panel, The White Way.
- [Narrator] "Here are sensations produced
"by the confusion of light and sound
"as one emerges from subterranean passages
"to the street above."
- [Narrator] And if we
think of this polyptych
as a modern version of a
traditional religious altarpiece,
in the center where we
would expect to see Christ
on a cross perhaps, we see instead
the skyscrapers of the city.
The lights that emanate
from the skyscraper
are in the center,
which itself emanates from
one of the most famous
early skyscrapers in New
York, the Flatiron Building.
It seems to fan out, but
then we have this area
of blue closer to the bottom,
which itself seem almost like streetlights
that become almost like
the wings of a bird.
The entire city, for all of
its mass and physical weight,
almost seems light, almost seems
as if it could take flight.
- [Narrator] "An
interpretation of the city's
"colossal skyscrapers blended
together in a symphony
"of lights in the shape
of a high vessel's prow."
- [Narrator] So the city
becomes like a ship.
The city is a machine,
and although this center
panel is titled "Skyscrapers",
what we're seeing are not only buildings.
We're also seeing expressions of industry.
On the right is a gas tower.
On the left, probably smokestacks.
The fourth panel from the
left mirrors its opposite
and is also called The White
Way, this is also Broadway.
- [Narrator] And Stella
writes about this piece:
"Another interpretation
of the sensations produced
"by the confusion in the streets."
- [Narrator] So that idea of
making a reference to things,
but really trying to
focus on the emotional,
the physical, the visual,
the sensory experience.
- [Narrator] Going up and
down near the bottom half
of this panel, you can
see sideways little bars
of musical notes.
I think that the point is
that music is at the heart of the city,
and it's pouring out from
the streets of Broadway.
- [Narrator] But there's
a secondary level,
which is the energy of
the city is its own music.
The hum and the buzz and
the movement of the city
creates its own beauty,
its own musicality.
At the bottom, we see a series of circles,
which to me read almost
like mechanical dynamos
that are powering the scene.
But at the same time, they
also seem to reference
the rose windows of Gothic cathedrals.
- [Narrator] Then you
have the Gothic quality
of the Brooklyn Bridge.
That double arch that
underscores the point
that many have made.
That there's something religious
about the experience of
being in the modern city.
- [Narrator] The rightmost
panel, The Bridge,
which references the Brooklyn Bridge,
is probably the most
well-known of these five.
- [Narrator] Stella wrote, "An abstract
"representation of that
engineering epic in steel,
"a sinewed span of human energy."
- [Narrator] The view that he gives us
is an impossible one.
I feel as if there's
nothing below my feet.
I have been brought into the sky
by these great Gothic arches,
by the sweep of those cables,
which is precisely what
the great Gothic cathedrals
of Europe tried to do,
they tried to elevate us.
They tried to bring our eyes, our focus,
and our religious
attention to the heavens.
This seems to succeed here also,
but now within a modern context.
- [Narrator] It feels concrete.
It feels believable, and yet we are having
kind of an out-of-body experience.
And it's nice to think about
Stella, who lived in Brooklyn,
and was part of the
culture of New York City,
walking back and forth across the bridge.
- [Narrator] Just on a personal note,
I grew up in Brooklyn and
would travel across the bridge
at night in my grandparents' car,
seeing the lights of the
skyscrapers around Wall Street.
And it felt just like this.
It was mysterious, majestic,
and almost supernatural.
(jazz piano music)
