It is here that we find the basic difference and juxtaposition between his film aesthetics and those of Pasolini and Fellini. Pasolini raises the language of film to that of literature, writing, with its syntax, semiotics, etc. Fellini’s method, where each scene is put together in the same way as a painting is on canvas, was even more unacceptable to Tarkovsky. What will you have if, instead of a figure drawn on canvas by the artist we see a live actor? This is a surrogate painting, a “live picture”.
Scheiro Deligne on 23 Dec 09We present a new kind of web gallery. Even if many could disagree, we intend to include only those artist or painting masterpieces that we consider to be the most original, revolutionary and famous in art history. We will put aside those that were only ephemeral pieces that reflected the taste or trend of a certain period. The purpose of this web page is education, and we hope to create an anthology of the evolution of the creation of beauty and crafmanship in the field of painting.
