Set in Paris in 1919, this biopic presents the life of Italian artist Amedeo Modigliani, centering, artistically, on his relationship to and rivalry with Pablo Picasso when they both lived in Paris. Modigliani, an Italian Jew from Livorno, has fallen in love with Jeanne, a young and beautiful French Catholic girl. The couple has a child, and Jeanne's bigoted father sends the baby to a faraway convent to be raised by nuns. Modigliani is distraught but needs money to rescue and raise his child. Paris' annual art competition is in the offing. Prize money and a guaranteed career await the winner.
Sebastian Zöllner, jeune critique d'art ambitieux mais dans une situation très précaire, convainc son éditeur de lui financer un voyage pour aller rencontrer Manuel Kaminski, un peintre dont la renommée égalait les plus grands artistes du XX siècle et qui vit reclus dans les Alpes depuis qu'il est devenu aveugle. Zöllner fait le pari que vu l'âge très avancé de Kaminski, ce dernier n'a forcément plus longtemps encore à vivre. Il a l'ambition d'écrire sa biographie dont la sortie coïnciderait avec le décès de Kaminski, ce qui lui permettrait d'atteindre la gloire et la fortune...
Moi, Van Gogh propose une vision tout à fait nouvelle de l'artiste.
Cette vision est celle de Peter Knapp et de François Bertrand qui ont voulu un film à la fois centré sur le travail du peintre, construisant une relation intime avec l'homme, et résolument spectaculaire dans son traitement graphique grâce au procédé 70 mm/15 perforations - IMAX.
In 1943 during World War II, the Allies are making good progress driving back the Axis powers in Italy. However, Frank Stokes (George Clooney) persuades the American President that victory will have little meaning if the artistic treasures of Western civilization are lost in the fighting. Stokes is directed to assemble an Army unit nicknamed the "Monuments Men", comprising seven museum directors, curators, and art historians to both guide Allied units and search for stolen art to return it to its rightful owners.
In 1890 Paris, as crowds pour into the Moulin Rouge nightclub, young artist Henri de Toulouse-Lautrec finishes a bottle of cognac and sketches the dancers as they perform. The nightclub's regulars each stop by: singer Jane Avril teases Henri charmingly, dancers La Goulue and Aicha fight, and owner Maurice Joyant offers Henri free drinks for a month in exchange for painting a promotional poster. At closing time, Henri waits for the crowds to disperse before standing to reveal his four-foot six-inch body. As he walks to his Montmartre apartment, he recalls the events that led to his disfigurement. It is learned Lautrec falls down a flight of stairs, where his legs fail to heal due to a genetic weakness resulting from his parents being first cousins. His legs stunted and pained, Henri loses himself in his art, while his father leaves his mother, the countess, to ensure they have no more children. Henri is a bright, happy child, revered by his father, the Count de Toulouse-Lautrec. As a young adult he proposes to the woman he loves, but when she tells him no woman will ever love him, he leaves his childhood home in despair to begin a new life as a painter in Paris.
After his friend, a successful young artist, is killed in a car accident, Tom Ripley (Pepper) and his friends hide his body and concoct a scheme in which they forge his paintings, eventually making a great deal of money. When an art collector (Dafoe) complains that a painting he bought from the gallery is a fake, Ripley must use his inimitable talents to defuse the problem by whatever means necessary.
A look at the last quarter century of the great British painter J. M. W. Turner. Profoundly affected by the death of his esteemed father, loved by his housekeeper, Hannah Danby, whom he takes for granted and occasionally exploits sexually, he forms a close and loving relationship with a seaside landlady with whom he eventually lives incognito in Chelsea, where he dies.
La grand majorité des scènes du film sont plans des peintures murales dans Los Angeles, souvent avec des peintres et des modèles des murales situés en face de les murales comment tableaux artistiques. Le film alterne entre une narration d'Agnès Varda et des commentaires des peintres et aussi des commentaires des gens qui vivent dans les quartiers où se déroule le film.
The film opens with Christy Brown, who has cerebral palsy, being taken to a charity event, where he meets his handler, a nurse named Mary Carr. She begins reading his autobiography. Christy could not walk or talk, but still received love and support from his family, especially his mother. One day, while Christy was still a young boy, he is the only person home to see his mother fall down a flight of stairs while in labor. He is able to get the attention of some neighbors, who come to his mother's rescue. His father, who had never really believed in Christy, becomes a supporter when, one day, when he is about ten, Christy uses his left foot (the only part of his body he can fully control) to write the word "mother" on the floor with a piece of yellow chalk.
Nello is a young boy whose mother died when he was a child. He lives with his grandfather, Jehan Daas (Jack Warden). They live a poor existence, eking out a living delivering milk. On the way home they find a Bouvier des Flandres dog beaten and left on the side of the path for dead. Nursed back to health, this working dog of Flanders becomes Nello's companion throughout the movie.
In the summer of 2007, Kim Seong-nam, a painter in his forties, travels to Paris, France to escape arrest for smoking marijuana, leaving his wife behind in Korea. While there he meets an ex-girlfriend, Min-seon, and is introduced to a small community of Korean artists.
Wilkinson had a life partner, Fannie. But her family lawyer was taking her money, and her artwork almost became lost when she was committed to an insane asylum, where she spent the last thirty years of her life. After she was sent to the institution, her artwork as well as all her other things were put in trunks and shipped to a relative in West Virginia, where they were kept in an attic for forty years.
Ce film va à la rencontre d'œuvres réalisées clandestinement à l'intérieur des camps nazis ; des dessins, des lavis, des peintures aujourd'hui conservés dans les musées en Allemagne, en Pologne, en Israël, notamment. Le réalisateur dialogue avec quatre artistes déportés encore vivants : Yehuda Bacon, José Fosty, Walter Spitzer, Samuel Willenberg, qui évoquent les circonstances dans lesquelles ces œuvres ont été produites, et les souvenirs qui s'y attachent. Ces œuvres souvent anonymes représentent principalement la vie quotidienne dans les camps : l'appel, le travail forcé, les baraques, la soupe, les exécutions, le ramassage des morts... Entre méditation sur les lieux d'anciens camps, comme Auschwitz ou Treblinka, et visites de réserves de musées, en Allemagne, en Pologne, en Israël, ce film interroge sur la notion de beauté et sur ce que signifie l'honneur d'être un artiste à travers le geste fragile du dessin au cœur de cette tragédie humaine que furent les camps de concentration et d'extermination.