My thanks go to all the authors for providing me with many moments of reflection and inspiration!


Arnheim, Rudolf. “Film and Reality.” Film as Art. Berkeley: University of California Press, 1957. 8—33.


Bazin, André. “Painting and Cinema.” What is Cinema? Volume 1. Berkeley: University of California Press, 1967. 164—172.


Kirby, Lynne. “Painting and Cinema: The Frames of Discourse.” Camera Obscura 6.3 18 (18 September 1988): 95—105.


Mulvey, Laura. Mary Kelly: An Aesthetic of Temporality. Catalogue for the Mary Kelly Retrospective, the Whitworth Art Gallery, Manchester 2001.


-. “Cosmetics and Abjection: Cindy Sherman 1977—87.” October Files: Cindy Sherman. Cambridge, Massachusetts: MIT Press 2006, 64—65.


Rosen, Robert. “Notes on Painting and Film.” Art and Film Since 1945: Hall of Mirrors: 244—61.


Tyler, Parker. “The Film Sense and the Painting Sense.” Perspectives 11 (spring 1955): 95—106.


Walker, George Graham. “Film and Fine Art.” Sight & Sound 17 (winter 1948-49): 173—74.


Allen, Steven and Laura Hubner. Ed. Framing Film: Cinema and the Visual Arts. Bristol/Chicago: Intellect, 2012.


Brougher, Kerry. Organizer. Art and Film Since 1945: Hall of Mirrors. The Museum of Contemporary Art, Los Angeles: The Monacelli Press/New York, 1996.


Chesire, Ellen. Bio-Pics: A Life in Pictures. London/New York: Wallflower Press, 2015.


Covert, Nadine, Elizabeth Scheines and Vivian Wick. Ed. Art on Screen: A Directory of Films and Videos About the Visual Arts. Boston: G.K. Hall & Co, 1992.


Dalle Vacche, Angela. Cinema and Painting: How Art is Used in Painting. Austin: University of Texas Press, 1996.


–. Ed. Film, Art, New Media: Museum without Walls? London: Palgrave Macmillan: London, 2012.


–. The Visual Turn: Classical Film Theory and Art History New Brunswick, NJ: Rutgers University Press, 2003.


Ehrlich, Linda C and David Desser. Ed. Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan. Austin: U of T, 1994.


Felleman, Susan. Art in the Cinematic Imagination. Texas: UTO, 2006.


Gerlach, Nina. Gartenkunst im Spielfilm: Das Filmbild als Argument. München: Fink, 2012.

Though its main emphasis is on the representation of garden art, design and landscaping in film, Gerlach’s study inevitably includes the painterly aspects of such filmic depictions in the films of the Lumière Brothers, Fred W. Wilcox (The Secret Garden), Jacques Tati (Mon Oncle), Stanley Kubrick (Barry Lyndon), Alain Resnais (Last Year at Marienbad), Vittorio De Sica (The Garden of the Finzi-Contini), Peter Greenaway (The Draughtsman’s Contract) and Ang Lee (Pride and Prejudice). The study also considers some filmic representations of paintings such as Magritte’s The Schoolmaster in Being There and Caspar David Friedrich’s The Monk by the Sea in Pride and Prejudice.


Germaine Greer. The Obstacle Race: The Fortunes of Women Painters and Their Work. London: Secker and Warburg, 1979.


Hensel, Thomas, Klaus Krüger and Tanja Michalsky. Das bewegte Bild: Film und Kunst. München: Fink, 2006.

This collection of articles analyses the ‘moving images’ of its title from the point of view of both art history and the newer discipline of visual cultural studies. Films by Renoir, Antonioni, Tarkovsky, Lynch, Greenaway and Jarman provide the starting point for an art historical consideration of film history, film praxis and the socio-institutional and medial-technical framework of the cinematic discourse.


Jacobs, Steven. Framing Pictures: Film and the Visual Arts. Edinburgh Studies in Film. Edinburgh: EUP, 2012.


Knowles, Kim. A Cinematic Artist: The Films of Man Ray. New York: Peter Lang, 2011.


Marschall, Susanne. Farbe im Kino. Second Edition. Marburg: Schüren, 2009.

Marschall’s study is nothing more than a (successful!) attempt to establish a theory of colours for film art, concluding with a consideration of the effect, symbolism and dramaturgy of colour in film. Particular attention should be drawn to the section on Carlos Saura’s 1999 Goya in Bordeaux, subtitled “The Spirals of Life”, including 25 colour plates to back up the investigation of the narrative context of the symbolic meaning of colour. Ultimately Marschall sees Goya in Bordeaux as a filmic homage not only to Goya, but also to one of his predecessors/role models, Rembrandt, whose two Slaughtered Ox paintings are filmically reproduced. She also convincingly demonstrates how graphic art, painting and film are continually intertwined in Saura’s film with images taking on a life of their own, ghostly figures threatening their artistic creator, and the colour red flowing out of paintings like real blood. The theatre group La Fura dels Baus provide the climax when they act in and play with Goya’s paintings: Film, theatre and painting all come together in a series of ‘living paintings’ the lighting for which is predominantly green, red and black.


McIver, Gillian. Art History for Filmmakers: The Art of Visual Storytelling. London: Bloomsbury, 2016.


Peucker, Brigitte. Incorporating Images: Film and the Rival Arts. Princeton, NJ: Princeton University Press, 1995.


Petersen, Karen and J.J. Wilson. Women Artists: Recognition and Reappraisal from the Early Middle Ages to the Twentieth Century. London: The Women’s Press Ltd., 1978.


Pollock, Griselda. Differencing the Canon: Feminism and the Writing of Art’s History. London. Routledge, 1999.


Sager, Laura M. Writing and Filming the Painting: Ekphrasis in Literature and Film. Amsterdam: Rodopi, 2008.

Volume 117 of an international research project on general and comparative literature, this interdisciplinary study compares the uses of painting in literary texts and films. While ekphrasis normally refers to a literary description of or commentary on a visual work of art, here the net is cast wider to include Goya’s Sleep of Reason in Carlos Sauras’ Goya in Bordeaux, in Lion Feuchtwanger’s This is the Hour: A Novel about Goya (1951) and Konrad Wolf’s film adaptation from 1971, Rembrandt’s Self-Portraits In Korda’s Rembrandt, and the private, aesthetic and socio-cultural identities of Vermeer’s Women in The Girl with the Pearl Earring (novel and film version).


Schönenbacher, Richard. Bildende Kunst im Spielfilm: Zur Präsentation von Kunst in einem Massenmedium des 20. Jahrhunderts. Munich: Scaneg, 2000.

Schönenbacher examines the role of works of art in film over and beyond their purely decorative function and role as props. His main thesis is that they can also have a narrative function because they provide coded background information about a film’s characters and their environment that we in turn as spectators then have to decode. In addition he demonstrates what sort of image and significance art works convey to spectators and how artists both real and fictitious are portrayed. There are further sections among others on galleries and gallery owners, forgery, art historians and art conservators. Feature films of the 1940s to 1990s form the main focus with a particular emphasis on US film productions of the 50s and 60s.


Walker, John A. Art and Artists on Screen. Manchester: MUP 1993.


Wilson, Emma. Alan Resnais. Manchester: MUP 2006.

Online Sources

Bovey, David. “Sex doesn’t dominate my life at all, really. I think painting does” (David Hockney): The emergence of the queer artist biopic.”


“Female Painters.“ The Art of Painting.


Holt, Nancy. “Robert Smithson: Films.” Robert Smithson. September 2011.


“Leonor Fini.”


Malpas, Jeff. “The Role of Memory: Image, Place and Story in the Films of Wim Wenders.” Academia Education.


Nastasi, Alison. “The Fifteen Artworks that Inspired Films.“ Flavorwire. June 29 2014.


Nield, Anthony. “Every Picture Tells a Story at the BFI Southbank in May.” The Digital Fix: Film. 25 April 2013.


“A Private Universe”


“Schamoni Film.“ Schamoni: Film und Medien GmbH.


Shafte, Sally. “On Straub-Huillet’s Une Visite au Louvre.” Senses of Cinema 53 (December 2009).


“Women and Arts: Painting.“ About Education.


“Women Artists.“ Art Cyclopedia.


“Women Artists.”


Zinman, Gregory. “Arnaldo Ginna and Bruno Corra.” Handmade Cinema.


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