Hitchcock, Visconti, Ford, Dreyer, Saura, Scott, Minnelli, Kubrick. They are directors, absolute masters. Their aesthetic is recognizable and magical. It is an everlasting enchantment. Frames that settle in the memory of those who have seen them, and remain there. Because these authors have entrusted themselves to other masters, those of painting, they have recognized the prevalence of that noble art and have brought that great added value to their films.
Hitchcock explored Hopper: Psycho's Creepy House. Visconti drew from Hayez: the famous kiss in Senso. Ridley Scott's Gladiator is simply a painting by Gérôme. Kubrick “reconstructed” eighteenth-century Englishmen, such as Hogarth, in Barry Lyndon and showed contemporary works (Brancusi) in A Clockwork Orange. John Ford has "remade" Remington, great painter of the West in Wild Paths. Saura animates Goya (The Shooting on the Mountain) in his Goya. Dreyer's characters in Dies irae literally come out of Rembrandt's paintings.
Artists like those mentioned, applied to films: therefore sensational, unrepeatable, no longer traceable "scenographers". The Oscars wouldn't have been enough.
The painting that lived twice offers the key to understanding this extraordinary reciprocity between great painting and great cinema.
Rossella Farinotti, degree in Cultural Heritage Sciences at the University of Milan (specialization in cinema) and diploma at the Brera Academy (contemporary art). From the age of 21 he has been working with cinema and in art. After starting as an assistant gallery owner, she works for the art critic Marco Meneguzzo, and after 2 years at the Milan Department of Culture, today she is an independent critic and curator. Co-author of the Dictionary of Cinema il Farinotti which he carries on with his father.
Collaborate on the site Mymovies and to the magazine Art. You have started a blog on contemporary art, cinema and culture in general entitled Labrouge.
