Fitness studio Marbella
Theatrical paintings represented a kind of win-win arrangement for actor and artist. The former benefited from an image that would enhance his or her celebrity — particularly as engravings were often made after a painting, so as to cater for the mass market how to tell if a cartier bracelet is real.
Everyone can recognize the look of the theater stage. The lighting is dynamic with sharp contrast, the figures are starkly illuminated, and almost everything is exaggerated in some way, whether in costume or in gesture or both. The theatre carries a wonderful notion of story-telling and imagination with it that creates a framework for imagination. The dark curtains and raised platforms of the stage create the illusion that scenes that play before the viewer are in fact real, and that the audience is merely intruding on a story that would have happened regardless of whether or not they were listening in. This, to me, is the essence of the stage. In a sense, nearly all artistic arrangements of figures within a piece draw from the same principles that make up the ways in which a director would position actors within a scene. Paintings of interactions between people can be created to have an almost cinematic feel, drawing from that same notion that what is happening within the image would happen by itself, regardless of whether or not the viewer was there to see it. These images aren’t static; the events depicted are motion-oriented, and the viewer is almost always left wondering what might happen next within the scene. These works in particular create their own “stages”, where some of the details of the locale are shrouded through tenebrism or infinite space, placing more importance on the figures and their implied actions. This gallery is a collection of Renaissance and Baroque paintings that depict events happening within their own stages, alluding to the idea of being in theater.
Venues increased in size, too. Covent Garden Theatre had a capacity of 1,000 when it was constructed in the 1730s, making it the largest theatre London had ever seen. By the end of the century, after several rebuilds, capacity had increased to 3,000.
Cinematic artwork
Finally, Wes Craven's 'Scream' finds its iconic mask in Edvard Munch's 'The Scream'. The movie’s memorable mask is a direct descendant of Munch's agonized figure, turning a painting into a pop culture phenomenon.
Finally, Wes Craven's 'Scream' finds its iconic mask in Edvard Munch's 'The Scream'. The movie’s memorable mask is a direct descendant of Munch's agonized figure, turning a painting into a pop culture phenomenon.
In this painting the colour elements represent the present, and the black and white elements represents the past. Painting and cinema go hand in hand here, where most of the same rules and concepts apply. Going to movies in this instance is like looking at a painting only the moving image is in our minds, and not on the screen or canvas. Glimpse Into The Past painting by Theo Michael January 2014
From classical paintings to movies, visual storytelling is an energetic vehicle for storytelling, which binds all arts. With historical paintings in a movie, a director, aside from expressing respect for master painters of a past time, in doing so, provides new levels of interpretation for current viewers. For its beauty, richness of storytelling, or for its symbolic attractiveness, famous paintings continue making a contribution towards a movie experience, making storytelling part of it generation by generation.
As with David’s painting, Napolean is depicted as an overtly masculine and handsome young man, casting a lustful glance toward the viewer. Here, Coppola doubles down on the naivete of her titular character, who even in the last throes of her reign, struggles to imagine the reality of her situation.
Framed in a discussion between the characters Joe and Seligman, Lars von Trier informs almost every scene of his film with the idea of the lure. Seligman’s enthusiasm for fly fishing compares with Joe’s sexual lures to sate her own passions. But is Seligman what he seems to be? Joe constantly reminds him that she is not a good person, and that his sentiments will change once her story has been told. So to does director von Trier cast his own lure, with Seligman revealing his true nature once Joe completes her story.
Retro graphic
The feeling of nostalgia is a powerful force when it comes to influencing how your design is perceived. According to Nostalgia and Its Value to Design Strategy: Some Fundamental Considerations, a paper presented at the Proceedings of the Tsinghua-DMI International Design Management Symposium, “Cognitive theorists believe that emotions have a strong influence on human behavior, that is, people will be attracted by the objects that evoke positive emotions and forced away from those things that evoke negative emotions. Nostalgia, like other positive emotions, when it is evoked by certain stimulus (e.g., products, brands), will incite people to approach (e.g., to purchase or to interact with) it.”
The retro design also goes by the name “modern retro”, which excels at giving the viewer a feeling of nostalgia. More specifically, it tends to focus on designs from the eras of the 60s and 70s, though there are “niche” genres of retro design that are stirred by other decades, from the 20s (art deco) to the 90s (blues, pinks, mint greens, and blocky shapes in arrangements that are best described as “unconventionally attractive”).
While it first emerged in the late 1950s, Pop Art continued well into the 1960s, popping up everywhere from advertising and comic books to fine art. The trend was made famous by the movement’s leading figures, Andy Warhol and Roy Lichtenstein, and their iconic Pop Art pieces.
While the psychedelic genre continued well into the 70s, the introduction of jazz, disco and funk – as well as the iconic Woodstock Festival – gave the 70s its groovy reputation. Dominated by mega famous musicians such as ABBA, The Bee Gees, and Pink Floyd, the 70s was a defining decade for music that continues to influence musicians to this day.
Classic artwork
Marked by lush brushwork yet icy gaze, Edouard Manet’s painting ignited both outrage and acclaim when exhibited in 1865 Paris. In portraying a confrontational nude courtesan attended by a black maid, Manet jettisoned High Art niceties. Instead, he adapted painterly Old Masters grandeur to brazen depictions of modern Parisian ennui and alienation. Outraged critics deemed Olympia’s unabashed nudity and in-your-face sexuality indecent.
Painted between 1503 and 1517, Da Vinci’s alluring portrait has been dogged by two questions since the day it was made: Who’s the subject and why is she smiling? A number of theories for the former have been proffered over the years: That she’s the wife of the Florentine merchant Francesco di Bartolomeo del Giocondo (ergo, the work’s alternative title, La Gioconda); that she's Leonardo’s mother, Caterina, conjured from Leonardo's boyhood memories of her; and finally, that it's a self-portrait in drag. As for that famous smile, its enigmatic quality has driven people crazy for centuries. Whatever the reason, Mona Lisa’s look of preternatural calm comports with the idealized landscape behind her, which dissolves into the distance through Leonardo’s use of atmospheric perspective.
It is rumored that she was a last-minute replacement for the model whom Whistler intended to paint on that day. Whistler’s Mother, number 53 on the list of the most famous paintings of all time, is regularly exhibited at museums around the world but is the property of Musee d’Orsay.
Gracefully adorning the ceiling of the Vatican’s Sistine Chapel, Michelangelo’s The Creation of Adam brings the Genesis narrative of humanity’s divine origins to breathtaking life. As part of Michelangelo’s expansive Sistine Ceiling fresco commissions, The Creation of Adam depicts the pivotal instance when God gifts Adam with the spark of life.
This painting is what is known as a ‘tronie’. This means that although it is a depiction of a head, it is not meant to be a portrait. Also, the painting was restored in 1994, and the intimacy of the girl’s gaze toward the viewer was greatly enhanced.