Toiles sur toiles, painters at the movies

When it was born, the cinematograph was the brainchild of a painter who had made his fortune in the production of photographic plates and understood the advantages of showing animated photographic "views" on canvas. Thus, the invention of the Lumière brothers initially adopted the painters' codes for staging space, with the same vocabulary (frame, foreground, perspective) and the same subjects (daily life, religion, landscapes...). In the end, the filmmakers filmed the painters themselves: their lives, their work, their works. And what if behind these films lay a mise en abyme of their own quest to render reality, and even of their condition as artists? By Lionel Lacour, lecturer at the Institut Lumière and documentary filmmaker.
Registration by e-mail to lecture@divonne.fr or on site until the day before. Free of charge.

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