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cinematic artwork
Cinematic artwork
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Cinematic artwork
Cinema has often been inspired by paintings, which is unsurprising, considering both art forms are visual manifestations and manipulation of life. Both are starkly distinct and, at times, conflicting mediums. However, despite differences, filmmaking has been considered painterly and proven to be so countless times now by the incorporation of paintings in cinematic frames. Some of these incorporations are intentional, while some may be accidental, revealed only in retrospective analyses. Nevertheless, the parallels between the two forms remain intriguing in both cases.
Colville’s 1967 painting Pacific also served as a framework for Michael Mann’s 1995 crime film Heat. The painting and the film scene both focus on a gun lying on the table, with a single male figure facing away from the audience and looking out over the ocean. Influenced heavily by French existentialists Jean-Paul Sartre and Albert Camus, Colville composed a painting fraught with tension, trauma, and drama that is at the same time also extremely passive, considering that the man is turned away from the gun and the painting is innocuously named Pacific. Colville himself said, “I don’t think the painting is about suicide, I guess I think of the gun and the table as necessary parts of human life, upon which it is possible sometimes to turn one’s back.” (Dow, 1972)
Cinema has often been inspired by paintings, which is unsurprising, considering both art forms are visual manifestations and manipulation of life. Both are starkly distinct and, at times, conflicting mediums. However, despite differences, filmmaking has been considered painterly and proven to be so countless times now by the incorporation of paintings in cinematic frames. Some of these incorporations are intentional, while some may be accidental, revealed only in retrospective analyses. Nevertheless, the parallels between the two forms remain intriguing in both cases.
Colville’s 1967 painting Pacific also served as a framework for Michael Mann’s 1995 crime film Heat. The painting and the film scene both focus on a gun lying on the table, with a single male figure facing away from the audience and looking out over the ocean. Influenced heavily by French existentialists Jean-Paul Sartre and Albert Camus, Colville composed a painting fraught with tension, trauma, and drama that is at the same time also extremely passive, considering that the man is turned away from the gun and the painting is innocuously named Pacific. Colville himself said, “I don’t think the painting is about suicide, I guess I think of the gun and the table as necessary parts of human life, upon which it is possible sometimes to turn one’s back.” (Dow, 1972)
Certain elements prepare us for the spiritual, otherworldly phenomena that will shortly arise. One of them is Maureen’s quick page-turning of an exhibition catalogue, dedicated to the works of Hilma af Klint. Although this may not appear directly related at first, Klint’s art in movies is more than a mere prop in this scene. Eerily ahead of her time, the artist anticipated abstractionism and engaged with other, more spiritual forms of representation. In other words, she sets the stage for the ghosts we’ll come to meet and the mysticism that continuously guides the narrative of the film.
Paintings in films do not just allow a creative interjection but execute a dialogue between two art forms. This exploration is not just an experimental activity for the filmmaker but an intellectual activity for the audience that brings out the implicit nuances and additional meanings in all their multiplicities. There are multiple other instances of references or reflections of paintings in films, with new instances being discovered every day. Here are ten other notable examples:
Theatrical artwork
It was painted by the Venetian master Marco Ricci around 1709, and captures a rehearsal for the opera Pyrrhus and Demetrius. Among those depicted are the castrato star, Nicolò Grimaldi (usually known by his stage name ‘Nicolini’), pausing grandly in front of a harpsichord, and the celebrated soprano Francesca Margherita de L’Epine, seated behind the instrument.
Venues increased in size, too. Covent Garden Theatre had a capacity of 1,000 when it was constructed in the 1730s, making it the largest theatre London had ever seen. By the end of the century, after several rebuilds, capacity had increased to 3,000.
Theater arts have been an integral part of human culture for centuries. This multifaceted discipline combines various art forms to create a unique and immersive experience for both performers and audiences.
It was painted by the Venetian master Marco Ricci around 1709, and captures a rehearsal for the opera Pyrrhus and Demetrius. Among those depicted are the castrato star, Nicolò Grimaldi (usually known by his stage name ‘Nicolini’), pausing grandly in front of a harpsichord, and the celebrated soprano Francesca Margherita de L’Epine, seated behind the instrument.
Venues increased in size, too. Covent Garden Theatre had a capacity of 1,000 when it was constructed in the 1730s, making it the largest theatre London had ever seen. By the end of the century, after several rebuilds, capacity had increased to 3,000.
Theater arts have been an integral part of human culture for centuries. This multifaceted discipline combines various art forms to create a unique and immersive experience for both performers and audiences.
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