original art
Original art
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Cinematic artwork
During the film’s denouement, as the angry mobs crash the gates of Versailles, an image of Napoleon flashes on screen. He is seated on his horse, rearing back in a victorious pose that mirrors the famous painting by Jacques-Louis David. In what may be intended as a momentary erotic fantasy, the infamous Frenchman is portrayed by the actor who also plays Antoinette’s lover in the film (Jamie Dornan).
Painting, for example, is a medium that has been around for thousands of years, while Cinema is relatively new, mainly in existence from the 20th century onwards. And, yet while paintings have inspired cinema, with their composition and drama, and influence on the framing of the moving image, likewise, movies have come to inspire paintings, such is the predominance of their influence on visual art.
Visual art references in the film have a proclivity of being symbolic, lending depth of understanding of themes and motivation in a film. For instance, in The Cook, the Thief, His Wife & Her Lover (1989), Peter Greenaway uses compositions inspired by Rembrandt and Caravaggio to convey themes of power, decadence, and moral corruption. The painterly edge of the film and its chiaroscuro lighting provide imagery that makes its intensity stronger.
Where mediums intersect there is often a blur. A blur of fine lines and artistry that doesn’t truly belong to one medium or the other. Cinema and painting hold their own respective places in artistic history and yet they share many of the same objectives, leaving their boundaries ambiguous and open to interpretation.
Cinematographers don’t only recreate specific images, of course; sometimes, they turn to a broader group of paintings in search of a mood no movie has managed to capture. The period film Barry Lyndon (1975) was shot by John Alcott, the gifted cinematographer behind two science-fiction classics, 2001: A Space Odyssey and A Clockwork Orange. In fact, it can be useful to think of Barry Lyndon as an sci-fi adventure set in the 18th century. To convey an era at once familiar and “other,” Alcott immersed himself in the landscapes of Thomas Gainsborough, born in 1727, as well as the caricatures of William Hogarth, born in 1697.
Promotional image
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