An ingenious operation. From 9 November 2011 to 5 February 2012, the National Gallery in London hosts the exhibition-event “Leonardo da Vinci. Painter at the Court of Milan”. More than three hundred thousand visitors visit it, the whole world talks about it. English documentary filmmaker Phil Grabsky (“In Search of Mozart”, “In Search of Beethoven”) had produced the filmed footage in advance. "TVs doubt there is an audience interested in art," Grabsky complained on his blog since last summer. «So they only think about filling the schedules of the networks dedicated to culture (in the United Kingdom, in the United States there aren't even those). But you and I know the TVs are wrong, don't we?"
The rhetorical question did not fall on deaf ears. The general public filled the halls and filled the National Gallery with requests. The film of the guided tour of the exhibition has come in handy, useful for fueling the fame of the event. The same documentary returns very useful, to be spent on the digital TV market. Finally, the "Live" becomes a projection-event - via satellite - in the cinemas of the cities of fifteen countries. The power of an eventisation process, explain media scholars. On the big screen, the pursuit of detail continues in nine of Leonardo's most famous paintings. One feels watched by the belle ferronnière. You are almost tempted to scratch the fur of the ermine in the lady's arms. DVD and Blu-ray releases are awaited.
“Leonardo Live”. With Mariella Frostrup and Tim Marlow. It lasts 1h25'. Distributed by Nexo.
