>>> COMING UP ON NYC-ARTS, A VISIT TO NEW YORK HISTORICAL SOCIETY AND THE SPECIAL EXHIBITION, I'LL HAVE WHAT SHE'S HAVING.

THE JEWISH DELI.

>> NOT ONLY DOES IT SHOW WHAT WE HAVE IN THE DELI AND HOW THE DELI HAS DEVELOPED, BUT IT'S AN EXHIBITION OF MEMORIES.

YOU DON'T HAVE TO BE JEWISH TO HAVE MEMORIES OF THE DELI IN NEW YORK.

>> THEN A TRIP UP NORTH TO HYDE PARK AND THE FRANKLIN D. ROOSEVELT PRESIDENTIAL LIBRARY AND MUSEUM.

>> ROOSEVELT WANTED IT TO BE AN ARCHIVE BUT ALSO A MUSEUM WHERE PEOPLE COULD COME LEARN MORE ABOUT HIM AND HIS ADMINISTRATION.

>> AND A LOOK AT A HIGHLIGHT IN THE COLLECTION OF OUTSTANDING PAINTINGS AT THE NEW YORK HISTORICAL SOCIETY.

>> BEHIND ME IS THE RETURN OF THE 69th REGIMENT, THE IRISH REGIMENT, IN 1862 FROM THE SEAT OF WAR.

LANG HAS USED THIS AS A KIND OF SHOW PIECE TO SHOWCASE HIS ABILITY AS A GENRE PAINTER, AS A PORTRAITIST, AND AS A LANDSCAPIST.

>>> FUNDING FOR "NYC ARTS" IS MADE POSSIBLE BY -- THEA PETSCHEK IERVOLINO FOUNDATION.

JODY AND JOHN ARNHOLD.

THE LEWIS "SONNY" TURNER FUND FOR DANCE.

THE AMBROSE MONELL FOUNDATION.

THEA PETSCHEK IERVOLINO FOUNDATION.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

THE MILTON AND SALLY AVERY ARTS FOUNDATION.

THE NANCY SIDEWATER FOUNDATION.

ELROY AND TERRY KRUMHOLZ FOUNDATION.

AND ELLEN AND JAMES S. MARCUS.

THIS PROGRAM IS SUPPORTED IN PART BY PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF THIRTEEN.

"NYC ARTS" IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

>> FIRST REPUBLIC BANK PRESENTS "FIRST THINGS FIRST."

AT FIRST REPUBLIC BANK, FIRST REFERS TO OUR FIRST PRIORITY.

THE CLIENTS WHO WALK THROUGH OUR DOORS.

THE FIRST STEP?

RECOGNIZE THAT EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

FIRST DECREE.

BE A BANK WHOSE CURRENCY IS SERVICE IN THE FORM OF PERSONAL BANKING.

THIS WAS FIRST REPUBLIC'S MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON OUR MINDS.

>> AND BY SWANN AUCTION GALLERIES.

>> SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS.

OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941.

WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY.

WHETHER YOU'RE A LIFELONG COLLECTOR, FIRST-TIME BUYER, OR LOOKING TO SELL.

INFORMATION AT SWANNGALLERIES.COM.

♪ >> GOOD EVENING.

AND WELCOME TO NYC-ARTS.

I'M PAULA ZAUN ON LOCATION AT THE BARTOW-PELL MANSION MUSEUM IN THE BRONX.

JUST 10 MILES FROM MANHATTAN, THE MUSEUM IS A HIDDEN GEM SET WITHIN NEW YORK CITY'S LARGEST PARK, PELHAM BAY.

AS THE ONLY GRAND 19th CENTURY COUNTRY HOUSE STILL IN EXIST TENSE OVERLOOKING THE BAY, THE MUSEUM PROVIDES AN IMPORTANT LINK TO THE SOCIAL AND ARCHITECTURAL HISTORY OF NEW YORK CITY.

VISITORS CAN TAKE GUIDED TOURS OF THE MANSION, THE CHARACTER HOUSE, VIEW THE COLLECTION OF FURNISHINGS, FINE AND DECORATIVE ARTS, AND STROLL THE GROUNDS AND FORMAL GARDENS.

A GREAT EXAMPLE OF WHAT IT WAS LIKE TO ENJOY A PLIHAL IN THE 19th CENTURY CAN BE FOUND IN THE FAMILY DINING ROOM.

THE BARTOWES ENJOYED THE MEALS IN THIS ELEGANT SPACE.

WARM MAHOGANY FURNISHINGINGS OFFER A COMFORTABLE PLACE TO EAT.

ON VIEW IN THIS ROOM IS ALSO A PORTRAIT OF FAMILY MEMBERS SUCH AS CHARLES BEECH AND HIS SISTER EMMA.

MOST, THE GRANDFATHER OF THE CHILDREN BELOW, BUILT THE SIDE BOARD BELOW.

IT WAS MADE OF POPLAR AND MAHOGANY WITH ELOOK RATTLY CARVED COLUMNS.

COMPLETED IN 1826, IT REMAINED IN THE BART INCLUDE THE FAMILY UNTIL IT WAS PURCHASED BY THE MUSEUM.

A DINNER PARTY WAS ALWAYS AN OCCASION TO SLOW THE FAMILY'S WEALTH AND IMPECCABLE TASTE.

MANY DISHES WOULD BE SERVED.

UP THE NINE THE AT DINNER.

ALTHOUGH ROBERT BARTOW SPENT HIS DAYS AS A GENTLEMAN FARMER, HE EMPLOYED A DEDICATED STAFF TO PROVIDE A PLENTIFUL SUPPLY OF APPLES, PEARS AND GRAPES AND OTHER FRUITFUL LOCATED SO LOS TO LONG ISLAND SOUND ALSO ALLOWED THE BARTOWES TO HAVE ACCESS TO THE BEST SEAFOOD IN THE REGION FOR THEIR MAIN COURSE.

AFTER EACH COURSE, THE SERVANTS WOULD REMOVE THE DISHES AND ONE OF THE LAYERS OF THE TABLE CLOTHS.

BY THE TIME THE DESSERT WAS SERVED, THE TABLE WOULD BE BARE.

THE FINE STONEWAIVER OF THE DESSERT SERVICE, FOR EXAMPLE, WOULD HAVE BEEN BEEN MADE IN STAFFORDSHIRE, ENGLAND AT THE TIME.

IN CASE YOU'VE WORKED UP AN AM TIGHT, HERE'S A LOOK AT A CULINARY DELIGHT FOR THE AGES.

WHAT REAL NEW YORKER DOESN'T ENJOY A PAST RAMI ON RYE?

PERHAPS SOME RUGELACH FOR DESSERT?

YOU'LL LEARN ABOUT THE SIGNIFICANCE OF THESE DELICACIES AND MORE AT THE NEW YORK HISTORICAL SOCIETY'S EXHIBITION, I'LL HAVE WITH A SHE'S HAVING.

THE JEWISH DELI.

IT IS FROM THE RON-COM WHEN HARRY MET SALLY.

KATZ'S DELI.

IT IS A SENAITING EXPLORATION OF THE RICH HISTORY OF THE JEWISH IMMIGRANT EXPERIENCE THAT MADE THE DELICATESSEN SO IMPORTANT TO NEW YORK CULTURE.

>> THE JEWISH DELI IS SO VERY IMPORTANT TO THE CULTURAL HISTORY OF NEW YORK BECAUSE A LOT OF JEWISH PEOPLE IMMIGRATED HERE IN THE LATE 19th, EARLY 20th CENTURIES, AND THEY BROUGHT WITH THEM FOOD AS PART OF WHAT THEIR HERITAGE WAS.

THE IDEA OF THIS EXHIBITION IS THAT NOT ONLY DOES IT SHOW WHAT WE HAVE IN THE DELI AND HOW THE DELI IS DEVELOPED, BUT IT IS AN EXHIBITION OF MEMORIES AND YOU DON'T HAVE TO BE JEWISH TO HAVE MEMORIES OF THE DELI IN NEW YORK.

WE START WITH THE IMMIGRATION AND VARIOUS OBJECTS THAT THE IMMIGRANTS BROUGHT WITH THEM.

THEY HAD TO BE SMALL OBJECTS BECAUSE THEY SPENT WEEKS ON THE BOAT COMING OVER HERE.

A LOT OF THE IMMIGRANTS CAME WITH CANDLESTICKS.

THEY'RE SMALL.

THEY COULD BE FIT INTO A SUITCASE.

THEY'RE A VERY IMPORTANT PART OF CELEBRATING THE SABBATH AND CELEBRATING THE SHABBAT.

SO MANY FAMILIES TODAY STILL HAVE THOSE CANDLESTICKS THAT THEIR GRANDPARENT OR GREAT GRANDPARENTS BROUGHT WITH THEM WHEN THEY CAME OVER ON THE BOATS.

THE IMMIGRANTS FIRST BEGAN TO SELL FOOD ON THE FOOT CARTS.

AND REMEMBER, THE PUSH CARTS LIVED OUT IN THE RAIN AND THE SNOW AND PROBABLY ROTTED.

THIS IS A PRETTY GOOD REPLICA.

THEY DECIDED, MAYBE WE SHOULD HAVE A STORE SO WE DON'T HAVE OUTSIDE ALL THE TIME SO THEY SET UP A STORE FRONT.

THEN THEY THOUGHT, MAYBE WE'LL ADD SOME TABLES AND CHAIRS AND WE CAN HAVE A RESTAURANT AND THE DELI DEVELOPED FROM THERE.

>> SEND A SALAMI TO YOUR BOY IN THE ARMY WAS SOMETHING THAT WAS DONE BY KATZ'S DELI.

THEY WOULD SEND THEM TO THE BOYS.

THEY'RE 18, 19 YEARS OLD, FIGHTING WAR FOR US IN WORLD WAR II.

THEY WERE EATING RATIONED FOOD.

WE HAVE A LETTER FROM A GI IN ITALY AND HIS PARENTS SEND HIM A SALAMI AND HE WAS SO EXCITED ABOUT IT.

HE WROTE HIS FIANCE BACK HOME IN THE U.S. AND HE SAID, I HAD A SALAMI AND IT WAS GREAT.

AND QUITE A DIFFERENT FARE THAN WHAT THEY HAD BEEN EATING IN THE TRENCHES.

IT WAS QUITE AN EXCITING LETTER.

AFTER THE WAR ENDED, THE DELIS BECAME A HAVEN FOR SOME PEOPLE AND SOMEWHAT OF A SECULAR KIND OF SYNAGOGUE WHERE THE SURVIVORS COULD GO AND FIND COMMUNITY WITH OTHER SURVIVORS.

SOME OF THE SURVIVORS CAME AND WORKED IN THOSE DELLIES.

IT BECAME A NEW HOME AFTER THEY GOT HERE.

THIS WAS DISCOVERED IN A DUMPSTER AND RESCUED AND IT'S A BIG PRESENCE IN THE EXHIBITION.

ALL LIT UP AND RENOVATED, SO TO SPEAK.

IT'S AN EXCITING THING TO COME SEE THESE NEON SIGNS FROM THE '50s AND '60s IN ENGLISH AND HEBREW.

THEY DON'T MAKE SIGNS LIKE THAT ANYMORE.

WE KNOW THAT HERE IN NEW YORK, A LOT OF PEOPLE MOVED OUT OF TOWN IN THE SUBURBS.

THAT JEWISH CLIENTELE THAT USED TO GO TO THE DELIS CHANGED.

AND THEN WE GET SOMETHING LIKE THE LEVY'S RYE BREAD AD CAMPAIGN IN 1963 WHERE IT THAT, YOU DON'T HAVE TO BE JEWISH TO LIKE LEVY'S.

THE NUMBER OF DELIS IN NEW YORK BY THE END OF THE 20th CENTURY HAS DECLINED QUITE A BIT.

THERE WERE THUNDERSHOWERS OF DELIS IN NEW YORK AND THE BOROUGHS.

NOW THERE ARE JUST A HANDFUL.

I READ ONE REVIEW THAT SAID YOU SHOULD EAT BEFORE YOU COME TO THE SHOW OR ELSE PLAN TO GO A DELI AFTER THE SHOW BECAUSE YOU'LL BE HUNGRY.

>> FOR MORE INFORMATION ON CULTURAL EVENTS IN OUR AREA, PLEASE SIGN UP FOR OUR FREE WEEKLY EMAIL AT NYC-ARTS.ORG/EMAIL.

TOP FIVE PICKS WILL KEEP YOU UP TO DATE ALL YEAR ROUND.

AND BE SURE TO CONNECT WITH NYC-ARTS ON FACEBOOK, INSTAGRAM, AND TWITTER.

>>> NEXT WE'LL VISIT THE FRANKLIN D. ROOSEVELT PRESIDENTIAL LIBRARY AND MUSEUM.

JUST TWO HOURS NORTH OF THE CITY IN HYDE PARK, NEW YORK, THE LIBRARY AND MUSEUM IS LOCATED ON THE GROUNDS OF THE BELOVED HOME OF FRANKLIN AND ELEANOR ROOSEVELT.

THE LIBRARY IS A CENTER FOR RESEARCH WHICH REFLECTS THE LIFE AND TIME OF THESE IMPORTANT FIGURES IN AMERICAN HISTORY.

DESIGNED BY FDR HIMSELF, IT IS THE FIRST PRESIDENTIAL LIBRARY IN OUR COUNTRY, AND THE ONLY ONE EVER USED BY A SITTING PRESIDENT.

THE MUSEUM BRINGS THE ERA THE LIFE FOR MANY GENERATIONS, REAFFIRMING THE VELTS' CONTINUING IMPACT ON CONTEMPORARY SOCIETY.

>> THE THEODORE ROOSEVELT PRESIDENTIAL LIBRARY AND MUSEUM IS PART OF THE NATIONAL ARCHIVES AND RECORDS ADMINISTRATION.

THE BUILDING ITSELF WAS CREATED BY THE PRESIDENT AND OPENED IN 1941.

ROOSEVELT WANTED IT TO BE AN ARCHIVE BUT ALSO A MUST I'M WHERE PEOPLE COULD COME AND LEARN MORE ABOUT HIM AND HIS ADMINISTRATION.

THERE ARE OVER 17 MILLION PAGES OF DOCUMENTS IN THE ARCHIVE.

WE HAVE ALL OF THE PERSONAL AND PUBLIC PAPERS OF FRANKLIN ROOSEVELT AND ELEANOR ROOSEVELT AND OUR MUSEUM COLLECTION TOTALS OVER 35,000 ITEMS.

WE'RE THE ONLY PRESIDENTIAL LIBRARY TO HAVE THE ACTUAL DESK USED BY THE PRESIDENT IN THE OVAL OFFICE.

IN ADDITION TO THE DESK, WE HAVE ALL OF THE OBJECTS THAT FDR HAD ON THAT DESK AT THE TIME OF HIS DEATH IN APRIL OF 1945.

ONE OF THE THINGS THAT FDR DID WHEN HE CREATED HIS LIBRARY IN 1941 WAS HE CREATED A PRIVATE STUDY WHERE CO-COME AT ANY TIME.

DURING WORLD WAR II, HE VERY OFTEN USED THAT OFFICE AS A WORKING OFFICE.

AND WE'VE KEPT IT ALMOST EXACTLY THE WAY IT LOOKED THE LAST TIME HE WAS IN THE ROOM IN THE SPRING OF 1945 DURING HIS FINAL VISIT TO HYDE PARK.

SO YOU GET A REAL VISCERAL SENSE OF THE PRESIDENT.

IT'S ALMOST AS IF HE JUST LEFT THE ROOM.

THIS MUSEUM COVERS A WIDE SPAN OF OUR HISTORY FROM THE GREAT DEPRESSION ALL THE WAY THROUGH THE YEARS OF WORLD WAR II.

OF COURSE, HE WAS THE ONLY MAN ELECTED TO FOUR TERMS AS MANAGER'S PRESIDENT.

THIS WAS A PRESIDENT WHO PROFOUNDLY CHANGED BOTH DOMESTIC LIFE FOR AMERICANS AND OUR RELATIONSHIP TO THE WORLD.

HE WAS INSTRUMENTAL IN GETTING THE NATION TO TURN DECISIVELY AWAY FROM AN ISOLATIONIST VIEW TOWARD THE WORLD AND REALLY ENGAGING WITH THE WORLD.

AND DOMESTICALLY, IT INVOLVED ALL THE DIFFERENT INITIATIVES OF THE NEW DEAL.

THIS NEW EXHIBITION, A NEW DEAL FOR A NEW GENERATION, WAS CREATED DURING A MAJOR UNDERTAKING TO RETHINK AND REIMAGINE THE ENTIRE MUSEUM.

THE NEW DEAL WAS THE TERM THAT WAS COINED TO DESCRIBE THE WIDE VARIETY OF PROGRAMS AND POLICY THAT'S ROOSEVELT INITIATED TO COMBAT THE GREAT DEPRESSION.

EVERYTHING FROM THE TENNESSEE VALLEY AUTHORITY TO SOCIAL SECURITY TO UNEMPLOYMENT INSURANCE TO THE NOTION THAT THE FEDERAL GOVERNMENT HAS A RESPONSIBILITY TO TAKE A ROLE IN THE NATION'S ECONOMY AND ENSURE A CERTAIN MEASURE OF SOCIAL JUSTICE TO ALL AMERICANS.

INCREASINGLY NOW, WE'RE GETTING VISITORS WHO DID NOT EXPERIENCE THIS PERIOD FIRSTHAND.

SO THERE WAS A REAL NEED TO RECAST THE WHOLE STORY OF THE ROOSEVELT ERA, THE PERSONAL STORIES OF FRANKLIN AND ELEANOR ROOSEVELT, AND THEIR TIMES.

DURING THE PLANNING PROCESS, WE VERY EARLY DECIDED THAT THE BEST WAY TO TELL THE STORY OF ELEANOR ROOSEVELT WAS TO WEAVE IT THROUGHOUT THE STORY OF THE ROOSEVELT PRESIDENCY.

SHE'S SO TIGHTLY INVOLVED WITH HER HUSBAND IN ALL OF THE INITIATIVES OF THE NEW DEAL AND THE WORLD WAR II YEARS.

SO YOU'LL FIND HER EVERYWHERE IN THIS EXHIBITION.

THE STORY OF FDR'S DISABILITY IS OBVIOUSLY KEY TO UNDERSTANDING HIM AS A PERSON.

WE HAVE OVER 100,000 PHOTOGRAPHS IN OUR COLLECTIONS HERE AT THE ROOSEVELT LIBRARY.

BUT WE ONLY HAVE FOUR THAT SHOW HIM IN A WHEELCHAIR.

THERE WAS A KIND OF UNSPOKEN RULE THAT THERE NOT BE FILM OR PHOTOGRAPHY THAT SHOW THE EXTENT OF HIS DISABILITY.

IN 1921 FDR CONTRACTS POLIO.

HE REMAINS PARALYZED FROM THE WAIST DOWN THROUGH THE REST OF HIS LIFE.

WE REALLY WANTED TO GIVE PEOPLE A SENSE OF THE WEIGHT OF THOSE BRACES.

TEN POUNDS.

HE HAD TO PUT THEM ON HIS LEGS IN ORDER TO BE ABLE TO STAND.

TO WALK SHORT DISTANCES, HE WOULD THEN HAVE TO SUPPORT HIS WEIGHT ON A CANE AND LOCK ARMS WITH A STRONG COMPANION.

THEN HE WOULD LITERALLY PITCH HIS BODY FORWARD.

AND AT THE SAME TIME, HE WOULD BE SMILING AND LOOKING AROUND LIKE HE HADN'T A CARE IN THE WORLD.

WHEN IN FACT, HE WAS REALLY CONCENTRATING AS HE MOVED HIMSELF FORWARD IN THAT MANNER.

WE HAVE HERE FDR'S 1936 FORD PHAETON AUTOMOBILE.

THIS WAS ESPECIALLY MODIFIED BY A LOCAL MECHANIC SO THE PRESIDENT COULD DRIVE IT WITHOUT THE USE OF HIS LEGS.

HE DROVE VERY FAST BY ALL ACCOUNTS.

IN PARTICULAR, WE HAVE A WONDERFUL ACCOUNT FROM THE QUEEN OF ENGLAND WHEN SHE VISITED HERE IN 1939, TALKING ABOUT HOW BRACING IT WAS TO RIDE WITH THE PRESIDENT.

WHAT WE TRIED TO DO HERE IN THIS NEW MUSEUM IS TO MIX THOSE TRADITIONAL THING WOULD YOU EXPECT TO SEE IN A MUSEUM WITH AUDIO-VISUAL PRODUCTIONS, WITH IMMERSIVE EXPERIENCES WHERE YOU CAN SORT OF LITERALLY STEP INTO THE PAST.

VISITORS CAN LISTEN TO HIS FAIMS FIRESIDE CHATS THE WAY PEOPLE LISTENED TO HIM AT THE TIME.

FDR COMES INTO OFFICE IN MARCH OF 1933.

AND HIS VERY FIRST FIRESIDE CHAT WAS AT THE END OF THE VERY FIRST WEEK IN OFFICE.

YOU CAN READ ABOUT THE PRESIDENT OR THINGS, EVENTS IN WASHINGTON IN NEWSPAPERS BUT THE WAY YOU GOT THAT DIRECT CONNECTION WAS THROUGH THE RADIO.

>> WE HAVE PROVIDED THE MACHINERY TO RESTORE OUR FINANCIAL SYSTEM.

LET US UNITE IN BANISHING FEAR.

TOGETHER WE CANNOT FAIL.

>> HE'S TOUCHING PEOPLE IN A VERY POWERFUL WAY AND THEY'RE WRITING BACK TO HIM IN GREAT NUMBERS, WRITING TO HIM AS IF HE'S A FRIEND.

THIS WAS A PRESIDENT WHO INSPIRED GREAT AFFECTION AND LOVE BUT ALSO A GREAT DEAL OF CRITICISM AND EVEN HATRED AMONG HIS OPPONENTS.

IT WAS VERY IMPORTANT TO US THAT WE NOT JUST INCLUDE SUPPORTERS OF THE PRESIDENT IN THE DISPLAYS, BUT ALSO SHOW HIS OPPONENTS AS WELL.

THE SUBJECTS THAT WE LOOK AT RANGE FROM FDR'S RESPONSE TO THE HOLOCAUST TO HIS DECISION TO INTERN JAPANESE AMERICANS DURING WORLD WAR II.

WE FOCUS ON SUBJECTS THAT WERE CONTROVERSIAL IN THEIR DAY AND ARE STILL BEING DEBATED AMONG HISTORIANS.

THE LEGACY OF FRANKLIN ROOSEVELT IS SUCH A DIFFICULT THING TO PRESENT IN A SUCCINCT WAY.

ONE HISTORIAN SAYS THAT WE LIVE IN THE WORLD THAT FRANKLIN ROOSEVELT CREATED.

AND A MAJOR GOAL OF THIS NEW EXHIBITION IS TO REACH OUT TO NEW GENERATIONS OF AMERICANS AND TO DRAW OUT THE IMPORTANT CONNECTIONS BETWEEN THE ISSUES AND THE STRUGGLES OF THE 1930s AND 1940s AND ISSUES OF TODAY.

♪ >>> AND NOW ANOTHER CURATOR'S CHOICE.

>> WELCOME TO THE NEW YORK HISTORICAL SOCIETY, NEW YORK CITY'S OLDEST MUSEUM FOUNDED IN 1804.

I'M ROBERTA OLSEN.

I'M CURATOR OF DRAWINGS HERE.

BEHIND ME IS AN INCREDIBLE TOUR DE FORCE PAINTING BY LOUIS LANG WHO WAS AN IMMIGRANT FROM GERMANY WHO STUDIED IN FRANCE AND ITALY AND CAME TO NEW YORK AND WAS KNOWN SPECIFICALLY FOR GENRE AND PORTRAITS.

THIS IS REALLY HIS PIECE DE RESISTANCE.

HE DID IT NOT ON COMMISSION BUT BECAUSE HE WAS INSPIRED TO PAINT THIS WORK WHICH IS THE RETURN OF THE 69th REGIMENT.

THE IRISH REGIMENT, IN 1862 FROM THE SEAT OF WAR.

LANG HAS USED THIS AS A KIND OF SHOWPIECE TO SHOWCASE HIS ABILITY AS A GENRE PAINTER, AS A PORTRAITIST, AND AS A LANDSCAPIST.

THE CANVAS IS PRECINEMATIC.

YOUR EYE CANNOT STOP.

IT FLICKERS OVER ALL THE LITTLE VIGNETTES THAT YOU SEE HERE.

THERE ARE MANY THINGS THAT MOVE YOU AROUND IN THIS CANVAS.

NOT ONLY THE WONDERFUL, SMALL ANECDOTAL DETAILS AND NARRATIVES YOU CAN GET LOST IN.

BUT IF YOU LOOK AT THE HARBOR, YOU CAN ALMOST SEE THE SHIPS BEGINNING TO PASS.

THERE IS A FEELING OF THE RESTLESSNESS, THE SORT OF ENERGY OF NEW YORK THAT WAS PART OF THE WATER AND PART OF THE HARBOR.

ENTIRE PAINTING SHOWS A CURRENT EVENT IN A VERY HISTORICAL, MONUMENTAL WAY.

7 FEET BY 11 1/2 FEET.

HE HAS BLOWN IT UP TO NEARLY LIFE-SIZED.

THE CANVAS DEPICTS THE ARRIVAL OF THE 69th REGIMENT DOWNTOWN, NEAR BOWLING GREEN IN WHAT IS NOW BATTERY PARK.

TO THE LEFT IS CASTLE GARDEN WHICH WAS BUILT ON A FORT AND IT WAS A SORT OF CLEARING PLACE FOR IMMIGRATION BEFORE ELLIS ISLAND.

TO THE RIGHT, YOU SEE ON THE VERY FAR RIGHT THE WASHINGTON HOTEL WITH SPECTATORS CHEERING ON THIS RETURN OF THE SONS OF ERIN, THE IRISH REGIMENT, FROM NEW YORK, COMING BACK FROM THEIR SERVICE OF THREE MONTHS.

THEY HAD JUST UNDERGONE THE BATTLE OF BULL RUN WHICH WAS A LOSS FOR THE UNION CAUSE, BUT THEY HAD DONE SPECTACULARLY IN THAT AND HAD HELD OFF THE CONFEDERATES.

THERE ARE SOME MAJOR HISTORICAL FIGURES HERE.

THE MAN ON HORSEBACK RAISING HIS HAND.

THIS IS CAPTAIN MEAGHER WHO WAS ACTUALLY AN IRISHMAN, A HERO DURING THIS PARTICULAR WAR.

THE ACTUAL COMMANDER OF THE REGIMENT, BRIGADIER GENERAL CORCORAN, HE IS NOT PRESENT PHYSICALLY IN THIS PAINTING BUT HE CERTAINLY IS IN SPIRIT.

WE SEE HIM AND HIS PORTRAIT BEING HELD UP BY THE NEWS BOY AT THE FAR RIGHT WHO IS HAWKING THESE PAPERS.

HE WAS AT THE TIME WASTING AWAY IN A CONFEDERATE PRISON.

HE HAD BEEN CAPTURED AT THE BATTLE OF BULL RUN.

BUT HE IS STILL HERE INSPIRING THE HEROES OF THE REGIMENT.

IT'S A PATRIOTIC PAINTING.

NOTICE ALL THE AMERICAN FLAGS HERE.

YOU ALSO HAVE IRISH FLAGS.

IT'S A DOCUDRAMA.

IT IS FILLED WITH SENTIMENT.

IT HAS ALL OF THESE THINGS WHICH ENGAGE THE VIEWER BOTH EMOTIONALLY, INTELLECTUALLY, AND ALSO IN TERMS OF CURRENT EVENTS.

AMONG THE COMPELLING VIGNETTES IS THE MOTHER IN THE YELLOW DRESS WELCOMING HOME HER WOUNDED SON.

YOU SEE THE TWO BOYS FIGHTING OVER THE RIFLE IN THE FOREGROUND.

YOU WILL SEE OTHER THINGS.

YOU WILL SEE A SOLDIER COMING DOWN WITH HIS LEG BANDAGE AND THERE IS A PRIEST MINISTERING TO THE PEOPLE.

AND THEN DEAD CENTER, YOU HAVE THE MARCH.

YOU HAVE ALL THE YOUNG DRUMMER BOYS AND YOU CAN ALMOST HEAR THE DRUMS GOING RAT TAT TAT AS THEY MARCH UP BROADWAY IN THIS PROCESSION THAT IS MEANT TO CELEBRATE HEROES OF THE UNION CAUSE.

LANG'S MONUMENTAL CANVAS IS A MICROCOSM TO LOOK AT THE MACROCOSM OF THE LARGER PAINTING COLLECTION.

IT IS KIND OF A PORTAL, A LENS IN WHICH TO JUMP INTO THE REST OF THE OFFERINGS AT THE NEW YORK HISTORICAL SOCIETY.

>>> NEXT WEEK ON NYC-ARTS, A VISIT TO THE BROOKLYN STUDIO OF A MODERN DAY VIOLIN MAKER TO DISCOVER THE UNIQUE SKILLS INVOLVED FOR CREATING AN OUTSTANDING INSTRUMENT.

>> EVERY VIOLIN I MAKE I KEEP REALLY EXHAUSTIVE RECORDS ON EVERY ASPECT.

>> AND A LOOK AT THE EXHIBITION, ART OF NATIVE AMERICA.

THE CHARLES AND VALERIE DIKER COLLECTION.

NOW ON VIEW AT THE MET.

>> NATIVE-AMERICAN ART IS FOUNDATIONAL TO OUR CULTURAL HERITAGE.

EXHIBITIONS LIKE THIS ARE MEANT TO MOVE PEOPLE OUTSIDE OF THAT IDEA THAT ALL NATIVE PEOPLES ARE THE SAME.

HOMOGENEOUS.

THEY WERE NOT AT ANY TIME AND THEY'RE CERTAINLY NOT TODAY.

>> I HOPE YOU ENJOYED OUR PROGRAM TONIGHT.

I'M PAULA ZAUN ON LOCATION AT THE BARTOW-PELL MANSION MUSEUM IN THE BRONX.

THANKS FOR WATCHING US.

GOOD NIGHT.

TO ENJOY MORE OF YOUR FAVORITE SEGMENTS ON NYC-ARTS, VISIT OUR WEBSITE AS NYC-ARTS.ORG.

>> WHEN I LISTEN TO THE LYRICS.

IN, I SUDDENLY THOUGHT, THAT'S WHAT I WANT TO DO WITH MY LIFE.

>> MY PICTURES RESIDE IN VERY INTIMATE, VERY PRIME MINISTER MOMENTS.

MY PRIMARY WAY OF PLAYING PIANO IS BY IMPROVISING.

>> YOU ARE IN SOME RESPECTS ON SACRED GROUND.

>> A WOMAN CAME TO SEE ME PERFORM AND SAID, HOW WOULD YOU LIKE TO PLAY BILLIE HOLIDAY?

>> I THINK ONE OF THE ESSENTIAL THINGS WE LEARNED IS THAT MATISSE USED PENS.

>> THE CARDBOARD GUITAR IS THE VERY FIRST MOMENT OF THAT REALIZATION.

>> SUDDENLY YOU COME AND PRESENT SOMETHING AND YOU GET APPLAUSE.

GREAT, YOU KNOW?

>>> FUNDING FOR "NYC ARTS" IS MADE POSSIBLE BY -- THEA PETSCHEK IERVOLINO FOUNDATION.

JODY AND JOHN ARNHOLD.

THE LEWIS "SONNY" TURNER FUND FOR DANCE.

THE AMBROSE MONELL FOUNDATION.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

THE MILTON AND SALLY AVERY ARTS FOUNDATION.

THE NANCY SIDEWATER FOUNDATION.

ELROY AND TERRY KRUMHOLZ FOUNDATION.

AND ELLEN AND JAMES S. MARCUS.

THIS PROGRAM IS SUPPORTED IN PART BY PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF THIRTEEN.

"NYC ARTS" IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

>> FIRST REPUBLIC BANK PRESENTS "FIRST THINGS FIRST."

AT FIRST REPUBLIC BANK, FIRST REFERS TO OUR FIRST PRIORITY.

THE CLIENTS WHO WALK THROUGH OUR DOORS.

THE FIRST STEP?

RECOGNIZE THAT EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

FIRST DECREE.

BE A BANK WHOSE CURRENCY IS SERVICE IN THE FORM OF PERSONAL BANKING.

THIS WAS FIRST REPUBLIC'S MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON OUR MINDS.

>> AND BY SWANN AUCTION GALLERIES.

>> SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS.

OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941.

WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY.

WHETHER YOU'RE A LIFELONG COLLECTOR, FIRST-TIME BUYER, OR LOOKING TO SELL.

INFORMATION AT SWANNGALLERIES.COM.