Everything here from data bases on art on film to international film festivals and symposiums.
The Program for Art on Film
The Art of Film Data Base
The Montreal International Festival of Films on Art (FIFA)
“African Cinema and African Arts.” International Symposium
2—3 March 2009.
Exhibition on Film
This is a series filmed for cinema at the world’s biggest art exhibitions and on location and the brainchild of the award-winning arts documentary filmmaker Phil Grabsky, who also directed many of the films. Meticulously researched including interviews with art historians and experts, new research findings as well as insights into the life and works of individual artists, great care and attention is also paid to minutely studying the individual paintings. For a list of the films so far almost all of which have gone virtually straight to DVD after their release see:
Ich und Kaminski (2015 Germany Wolfgang Becker) Based on the novel of the same title by Daniel Kehlmann, Me and Kaminiski tells the story of how the unsuccessful journalist Sebastian Zöllner tries to make the big breakthrough by writing a biography of the painter Manuel Kaminski, no longer in the public eye and possibly senile yet many years ago the talk of the art world at least for a while, fostered by Picasso and Matisse then famous for both a Pop Art exhibition and the fact that he is blind: He always signed his paintings “Painted by a blind man.“ The real painter behind the fictional Kaminski is Manfred Gruber, who completed 350 paintings and drawings for the film some of which have since been exhibited see
Tulip Fever (2017 UK/US by Justin Chadwick) Set in the 17th century Dutch Golden Age (though filmed entirely in England) and based on the novel of the same name by English writer Deborah Moggach, the title refers to the explosion in then dramatic collapse of tulip prices in a kind of version of our modern-day speculative economic bubbles. The artist Jan van Loos falls in love with Sophia Sandvoort while commissioned to paint her portrait by her husband, the wealthy merchant Cornelis Sandvoort. The lovers eventually invest in the tulip bulbs market. See the link below for how Deborah Moggach’s purchase of a painting attributed to the circle of the Haarlem painter Job Adriaenszoon Berckheyde (1630-1693) eventually led to the adaptation of her novel. On once being asked in general what sort of film she would like to make, she answered that she would walk into a Vermeer painting:
[Dutch] paintings themselves tell you everything about the lives of those people: what they were wearing and eating, practically what they were thinking. Those moments of quiet drama are like film stills — the wife at the virginal, the maid sweeping. You feel that if you blinked they would all start moving away into the rooms and you could follow them. That’s what I meant when I said I wanted to walk into a painting… The sets [for Tulip Fever] were incredibly beautiful — dark and smoky and atmospheric. I know, because I was an extra: I did walk into a Dutch painting.
While the film’s painter Jan van Loos is fictitious, a Jacob van Loo (1614-1670) did exist, a Dutch artist specializing in history paintings and nudes. The original portraits in the film were painted by the Jamie Routley see link for more of his work: