The painters dealt with in the second section of this subject are Alexander Petrov, Hwang Ildong, Maria Lassnig,Yayoi Kusama and Banksy. Also worthy of consideration are Robert Smithson, James Scott, William Kentridge and Takeshi Kitano not to mention the Dalí/Disney collaboration Destino.
(1957- Russia, animator and animation director). The below are all paint-on-glass shorts.
Source: YouTube by Mikhail Tumelya
The Crow (1989)
Source: YouTube by иван ютубный
The Mermaid (1997)
The Dream of a Ridiculous Man (1992) parts 1 and 2
Source: YouTube by woodgeor v
Source: YouTube by woodgeor v
The Old Man and the Sea (1999)
Source: YouTube by sumesh somanathan
My Love (2006) is a paint-on-glass animated short
Source: YouTube by Russian animation eus347 subtitles
See also Alexander Petrov: Making of Part 1 + 2 (n.d.) where we see Petrov describing and doing his paintings
Source: YouTube by иван ютубный
Source: YouTube by majikusensei
(known as D Hwang, 1969- South Korea)
The Painter (2102)
Source: YouTube by DHwang69
The production for this film started in 1945 was not completed until 2003. It was a collaboration between Walt Disney and Salvador Dalí.
Source: YouTube by JOnas3MokaQ
For further films by Salvador Dalí see
Also worthy of consideration:
even though he has done more drawings than paintings see:
son of the painter William Scott (1913-1989) see:
(1955- South Africa)
prints, drawings and animated films.
all round artistic personality including painter. Some of his work is featured in Hana-bi (1997).
Exit through the Gift Shop (2010)
Source: YouTube by banksyfilm
The Austrian media artist started out as a figurative line painter who after coming under the influence of feminism in the US went on to have a second career first as an experimental and then as an animation film maker. Lassnig made the following films:
Chairs (1971), 16 mm, colour, sound film, two minutes; chairs move around to music as if they were people.
Source: You Tube Vodd Officiel
Selfportrait (1971), 16 mm, colour, sound film, five minutes; a life review in the form of a cartoon. Dreams and the eternal search “for the better half.”
Couples (1972), 16 mm, colour, sound film, ten minutes; a seducer and his victim talk on the telephone and in bed:
She: Why can’t you be more tender?
He: Sex is not servitude.
She: Oh, you have no heart.
He: I have my needs and desires. But you are not my universe.
Shapes (1972), 16 mm, colour, sound film, ten minutes; silhouettes of people move in time to the fast-paced harpsichord runs of J. S. Bach.
Palmistry (1973), 16 mm, colour, sound film, ten minutes:
A: A girl sings about refusing to lose wait just to please men
I like to eat, I like to drink,
so made me god, I will not shrink
I like the cakes, I like the pies
as long as you eat, you will not die, //
To starve to death, to please a man
is woman´s curse, it is a shame
because he leaves you anyway,
so why not eat, stay cheerful and gay. //
There comes a little man along,
I blow him up, I make him strong,
he eats with me from my substance,
I feed him, rear him, give him a chance,
I do not flinch when he swells up,
In surface leaves and makes a swap:
He will not live long anyway,
from borrowed strength, I can so say, //
So I go back to eat and drink
This will not hurt me, make me shrink,
I like the cakes, I like the pies,
as long as you eat, you will not die.
B: The first time for her and him
C: Hand reading—a comparison between terrible superstitions and equally terrible science
He: You like good food.
She: I’m only eating rice and noodles. (…)
He: Your lifeline is far apart from the headline, you are not dominated by the head.
She: I read Kant and Plato.
He: Your heartline is not connected with the headline, it means you don’t mix up life with love.
She: But I almost killed myself because of…
Art Education (1976), 16 mm, colour, sound film, sixteen minutes; feminist interpretations of famous paintings by among others Michelangelo and Vermeer.
Maria Lassnig Kantate (1992), 35 mm, colour, sound film, eight minutes; produced by Hubert Sielecki with Maria Lassnig responsible for the original idea, dialogue, songs, drawings and animation. In the style of a balladeer Lassnig recites in 14 verses a review of her life while images drawn by her run in the background: “Art (…) makes me ever younger, it makes the spirit hungry and then sated.”
Source: You Tube Hubert Sielecki
For short analyses of these films in German see
Kusama’s Self-Obliteration (US 1957 short film by Jud Yalkut, who was an American experimental video and filmmaker and intermedia artist, and the Japanese painter, sculptor and environmentalist Yayoi Kusama, born 1929, who also produced, wrote and starred in it. Painter at Work)
Source: You Tube Jujyfruits
The film documents Kusama’s notorious ‘polka dot happenings’, a deliberately disruptive series of immersive installations that took place around some of New York’s most conspicuous landmarks. Kusama’s 60s ‘body festivals’ quickly became highly controversial and her polka dots a metaphor of abandoning all identity and becoming one with the universe or in other words ‘self-obliterating’ see this comment about her 1954 painting Flower (D.S.P.S), which is reproduced in the link following the quotation:
One day I was looking at the red flower patterns of the tablecloth on a table, and when I looked up I saw the same pattern covering the ceiling, the windows and the walls, and finally all over the room, my body and the universe. I felt as if I had begun to self-obliterate, to revolve in the infinity of endless time and the absoluteness of space, and be reduced to nothingness. As I realized it was actually happening and not just in my imagination, I was frightened. I knew I had to run away lest I should be deprived of my life by the spell of the red flowers. I ran desperately up the stairs. The steps below me began to fall apart and I fell down the stairs straining my ankle.
In Kusama’s Self-Obliteration we follow her as she materializes and multiplies polka dots (and leaves) onto everything possible from people, trees, rivers and rocks to cats, horses, and the environment. The films also employs circles and spheres ends with more polka-dotting at a body-paint happening in a mirrored room. According to co-director Yalkut, it is a filmic “exploration of the work and aesthetic concepts of Yayoi Kusama (…) conceived in terms of an intense emotional experience with metaphysical overtones, an extension of my ultimate interest in a total fusion of the arts in a spirit of mutual collaboration.”