номер 5, страница 72 - гдз по английскому языку 5-11 класс учебник Latham-Koenig, Oxenden

Seven point ten.

First of all, the program needed to know where John got the painting from in the first place.

Narrator: So, John, how did you get the painting?

John: I was given the painting by Dennis Worth Miller, who, um, was at the East Anglian School of painting and drawing with Lucian Freud. And I was given it when I was staying the weekend at, um, Dennis Worth Miller's house in Wivenhoe in Essex.

Narrator: So it was a present?

John: It was a present. Yeah.

Narrator: The program then decided to look into how Dennis Worth Miller had got hold of the painting, especially since he and Lucian Freud were not friends.

Narrator: So, John, do you think that Freud gave the painting to Dennis?

John: It was never, there was never a case that Freud had given it to Dennis. The case was that Dennis had taken it from the barn.

Narrator: The story was that during the Second World War, when Dennis and Freud were students, it was very difficult to get hold of canvases to paint on. So students often just left their used canvases in a barn at the school, and then the canvases were reused. Dennis told John that he had just picked up the canvas, Freud's painting, to reuse, but then he didn't. He just kept it.

Narrator: The next question the program focused on was who the portrait was of, in case this might give some more clues about the identity of the painter. After some research into the archives, a note in Dennis's handwriting was found, which identified the man in the portrait, the man in the black cravat, as a certain John Jameson. The program found letters written by John Jameson, which made it clear that he knew Lucian Freud quite well and had met him on a number of occasions, including at the painting school in nineteen thirty-nine. So, it was perfectly credible that Freud had painted Jameson exactly at the time that Dennis had said.

Narrator: The program then decided to focus on the canvas itself and took it to an expert in the scientific analysis of paintings, called Libby Sheldon. Sheldon put the painting under the microscope and made a fascinating discovery. There was a long hair embedded in the picture, which looked like a human hair, and which might give them some DNA evidence. The hair was removed from the picture and taken to be analyzed, and at the same time, they were able to get a DNA sample from one of Freud's cousins to compare it with.

Narrator: John, what did you think when Libby Sheldon found a hair in the painting?

John: I was absolutely gob-smacked. I hadn't even thought that there would be a possibility that anything like that could exist.

Narrator: Did you assume it was Freud's hair?

John: I didn't, I didn't assume it was Freud's.

Narrator: And when the results came back, unfortunately, it was not a match. The hair was definitely not Lucian Freud's.

Narrator: How did you feel, John, at that moment?

John: I was very disappointed when I found that it wasn't a hair from Lucian Freud's head because I got swept along with the adrenaline and excitement that goes with one of these TV shows because, of course, you're not only dealing with the presenters. You have the producers and the researchers and the film crew. We got to know each other so well at this stage, and none of us knew. So, we were all biting our nails at this moment. And as that, when that was delivered, none of us knew the result. And so we'd been sitting in the, uh, laboratory for three hours before that was delivered. And I was already biting my fingernails right down.

Narrator: The real mystery, of course, remained. If it really was a Freud painting, why had he denied it? Was it because it was an early work, and he was ashamed of it and didn't want to be associated with it? Fake or Fortune's experts contacted Freud's solicitor, Diana Rawstron, who had known him very well. They had often talked about his paintings, and when she checked back through her records, she found that in two thousand and six, they had discussed the man in the black cravat, and Freud admitted that, in fact, he had started the painting. He had painted the body, the shirt, the neck, and part of the face, but that someone else had completed it. This was very exciting. The program now had first-hand evidence that the painting was partly by Freud. So they went back to Libby Sheldon, the expert in the scientific analysis of paintings, and asked her to see whether she thought it was possible that the painting had been made by two different people. After examining all the paint pigments and the brushstrokes, she had no hesitation in saying that she was absolutely certain that the painting was done by a single artist. So, she thought that as Freud admitted to having started it, then he must have finished it too.

Narrator: John, what did you think when you heard the news that Freud had admitted to starting the painting?

John: I could have fallen over backwards. It was one of those moments when I did the action you're told not to do. I looked off camera straight at the producer, who'd been, uh, who become actually a, um, a friend, and I was very close to at that stage. Just looked to her in just utter disbelief that that this had happened.

Narrator: Finally, after collecting together all the evidence they had uncovered, the program asked three experts on Freud to give their verdict. The letter with their decision was opened live on camera at the end of the program. And this is what they said.

Seven point eleven.

Finally, after collecting together all the evidence they had uncovered, the program asked three experts on Freud to give their verdict. The letter with their decision was opened live on camera at the end of the program. And this is what they said.

We believe this to be a work that Lucian Freud did at art school. Most probably in nineteen thirty-nine.

Interviewer: John, you must have been over the moon. Why do you think Freud denied that he had done the painting?

John: I'm absolutely certain that the reason he denied having done the painting to other people was because of the war that was going on between him and Denis Worth Miller. They fell out when they were age, when he was seventeen and Miller, Denis Worth Miller was twenty-one or so. And there were times when they were together and it was okay. Dennis was certainly a very, very uh difficult character.

Interviewer: And regardless of the fact that it's by Freud, do you love the painting?

John: That's a, whether I love the painting or not is a very interesting question because a lot of people, particularly on social media, when it was seen on the television, were saying, but it's hideous, it's absolutely terrible. I love it. I've always loved it. And particularly because it just clicked straight away with me that it was so like Freud's early drawings. I love the shadows, I love the way the exaggerated face. Everything about it, uh just appeals to me greatly.

Interviewer: Would your feelings have changed if it had turned out not to be by Freud or to be a fake?

John: My feelings for the painting, uh, certainly wouldn't have changed if I found it wasn't a Freud. Because it mustn't be forgotten that I have been at that stage for many occasions. I've been to meet people, very important people, who've told me it is the most wonderful early Freud they've ever seen. And then snapped at me saying, it's a fake, three weeks later, with no explanation as to why we've gone from hot to cold. And so my emotions have gone really high thinking, wow, I now know this is a Freud, to absolutely crashing down saying it isn't. And I know from that that my emotion towards the painting has never changed.

Interviewer: Would you ever sell it?

John: What I'd always said that I was going to do with the canvas was put it into my estate and set up a trust to pay for people to go to the Royal College of Art. I was in a situation where there was no money for me to do further education. And I got a bursary, a state bursary, like a scholarship to go to the Royal College of Art. And that saw me through my time there. So it would seem appropriate that it should go towards helping someone who otherwise wouldn't be able to get there to do further education.

Interviewer: John, thank you very much.

Seven point twelve.

One.

Interviewer: John, what did you think when Libby Sheldon found a hair in the painting?

John: I was absolutely gob smacked. I hadn't even thought that there'd be a possibility that anything like that could exist.

Two.

John: I was very disappointed when I found that it wasn't a uh, a hair from Lucien Freud's head. Because I got swept along with uh adrenaline and excitement that goes with one of these TV shows.

Three.

John: So we were all biting our nails at this moment. And as that, when that was delivered, none of us knew the result.

Four.

Interviewer: John, what did you think when you heard the news that Freud had admitted to starting the painting?

John: I could have fallen over backwards.

Five.

John: I've always loved it. And particularly because it just clicked straight away with me that it was so like Freud's early drawings.