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Miscellaneous

Everything here from data bases on art on film to international film festivals and symposiums.

The Program for Art on Film

http://www.getty.edu/research/tools/article_databases/art_on_screen

http://www.columbia.edu/cu/artfilm/paf.html

http://www.brooklynrail.org/2013/11/criticspage/the-met-getty-program-for-art-on-film-nadine-covert-with-susan-delson

The Art of Film Data Base

http://www.artfilm.org

http://www.musefilm.org/store/art-on-film-program-1-balance

http://www.artdocentprogram.com/category/series/art-on-film

The Montreal International Festival of Films on Art (FIFA)

http://www.artfifa.com/en

“African Cinema and African Arts.” International Symposium

2—3 March 2009.

http://www.institutimagine.com/symposiums

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:

 

https://exhibitiononscreen.com/our-films

 

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

 

http://www.manfred-gruber.com

 

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.

 

http://www.christies.com/features/Tulip-Fever-Movie-inspired-by-Old-Master-painting-at-Christies-Deborah-Moggach-Judi-Dench-2-7328-1.aspx

 

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:

 

https://www.jamieroutley.com/portraits

 

A Sunday Afternoon on the Island of La Grande Jatte

Georges Seurat’s 1884 painting has put in numerous film and TV appearances:

 

-See Ferris Bueller’s Day Off under Individual Films

 

-The title for Any Wednesday (1966) is revealed as curtains are pulled back. The cast is shown in the paintings, and the names are wiped off as people walk past each painting. The four paintings demarcate the four sections of the film according to season: Seurat’s painting stands for summer, an American landscape in New England for the Indian summer, the painting for winter is Bruegel’s The Hunters in the Snow , and finally Van Gogh’s Blooming Pear Tree symbolizes spring.

 

-Inside the space capsule of Barbarella (1968) the right hand portion of the painting can be seen.

 

-In Looney Tunes: Back in Action (2003) Elmer Fudd chases Bugs Bunny through the painting

 

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Source: You Tube by tonebobb

 

-In an episode which in any case references several other famous paintings (“Mom and Pop Art”, Simpsons s10 e9 1999 see TV section), Barney Gumble offers to pay for a beer with a handmade reproduction of the painting.

 

Sesame Street recreates it

 

http://muppet.wikia.com/wiki/Georges_Seurat?file=Seurat-sesame.jpg

 

-“The Tan Aquatic with Steve Zissou” (s5 e11 2007)from the cartoon series Family Guy features a direct shot-by-shot  homage to the Seurat sequence from Ferris Bueller as Stewie makes a list of things he wants to do before he dies of the cancer he believes he has. As part of his “bucket list,” he visits the Chicago Museum of Art

 

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Source: You Tube by kemikall

 

-In the American version of The Office the cast recreates the painting (possibly s7 e9 2010)

 

http://www.destinyland.org/The_Office_Sunday_in_the_Park_George_Seurat.htm

 

-Then there is the musical Sunday in the Park with George with music and lyrics by Stephen Sondheim and book by James Lapine. The George of the title is a fictional version of Seurat, who can be seen continually working away at his painting. The Broadway production opened in 1984, and there was a revival by Jake Gyllenhaal in 2016. This version is from 1985:

 

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Source: You Tube by Great Performances en Espanol

 

See also

 

http://btacmn.org/2perform/at_theaters/schneider/images/swg-audience-guide.pdf

-The following Desperate Housewives episodes take their names from songs or lyrics from the musical: “Move On”, “Sunday in the Park with George”, “Color and Light” , “Gossip”, “Art Isn’t Easy”, “A Vision’s Just a Vision”, “Sunday”, “Chromolume No. 7”, “The Art of Making Art”, “Putting it Together” and “Finishing the Hat”.

 

-Finally, in 2006 the painting was recreated in modern dress in Beloit, WI on a Saturday afternoon on the bank of the Rock River to promote the “Saturday in the Park with Friends” event see

https://www.flickr.com/photos/oldonliner/sets/72157594185228571

 

Walerian Borowczyk 1929-2006

Born in Poland, Borowczyk emerged from a visual arts background, beginning his career studying painting and sculpture at the Academy of Fine Arts in Kraków in the early 1950s before then establishing himself as a graphic and movie poster artist. Emigrating to France at the end of that decade he made one animated feature Theatre of Mr. and Mrs. Kabal (1967) as well as several animated shorts such as Jeux des anges (1964). He sometimes designed his own sets and developed a distinctively painterly eye for highly evocative settings, his live action films often indistinguishable from his animated ones.

 

The multi-authored “A Private Universe” (see bibliography) identifies several elements of painting in Borowczyk’s work. Władysław Podkowiński’s monumental and aptly titled painting Frenzy of Exultations (Szał uniesień, 1894) can be seen on the walls in The Beast (1975). The general atmosphere of naked agitation plus the horse’s bared teeth, flared nostrils and foaming mouth along with the way the woman’s hair on the wind mixes with the horse’s mane all reflect the film’s preoccupation with bestiality—the painting caused as many scandals as did Borowczyk’s films!

https://en.wikipedia.org/wiki/Frenzy_of_Exultations#/media/File:Podkowi%C5%84ski-Sza%C5%82_uniesie%C5%84-MNK.jpg

 

Then there are the still life compositions of 1963’s Renaissance:

 

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Source: Yot Ube by Et Cetera

 

Finally, a “calculated flatness … characterizes films such as Blanche (1971) where the impact of medieval iconography is particularly evident. Borowczyk frames the shots as if they were a painting, with the characters looking out of its frame.” This can be seen in the last minute of the following trailer:

 

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A similar “shallowness of picture” is equally present in Goto, Isle of Love (1968):

 

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When Jean Cocteau was asked by Francine Weisweiller to paint her villa on the French coast (or “tattoo” it as he put it himself; a further point of reference is certainly Japanese art) he decided to put the result on celluloid. See the links for background information then the short film La villa Santo Sospir (1952).

 

http://www.faena.com/aleph/articles/the-art-of-tattooing-a-house-or-the-mansion-painted-by-cocteau-matisse-picasso-and-chagall

 

https://www.santosospir.com/histoire

 

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