In 1934, impoverished painter Eben Adams (Joseph Cotten) meets a fey little girl named Jennie Appleton (Jennifer Jones) in Central Park, New York. She is wearing old-fashioned clothing. He makes a sketch of her from memory which involves him with art dealer Miss Spinney (Ethel Barrymore), who sees potential in him. This inspires him to paint a portrait of Jennie.
Cherchant à percer le mystère de la création, le cinéaste se dit : «Pour savoir ce qui se passe dans la tête d'un peintre, il suffit de suivre sa main». Un habile stratagème lui permet de réaliser son projet insensé : par transparence, chaque trait tracé par la main du célèbre artiste apparaît dans l'espace. Mais l'exécution, par Pablo Picasso, de dessins et de tableaux, ne fait que gonfler davantage le mystère qui plane autour de lui : en effet, chacun des traits qu'il effectue étonne et déconcerte. Des toreros blessés et des nus sont ainsi créés, comme par magie, fruits d'un travail acharné qui connaît parfois quelques échecs.
A reclusive famous painter, Frenhofer (Piccoli), lives quietly with his wife and former model (Birkin) in a rambling château in rural Languedoc-Roussillon. When a young artist visits him with his girlfriend, Marianne (Béart), Frenhofer is inspired to commence work once more on a painting he long ago abandoned—La Belle Noiseuse—using Marianne as his model. The film painstakingly explores Frenhofer's creative rebirth. It uses lengthy real-time takes of the artist's hand (provided by Bernard Dufour) working on paper and canvas.
Dorian Gray (Hurd Hatfield) is a handsome, wealthy young man living in 19th century London. While generally intelligent, he is naive and easily manipulated. These faults lead to his spiral into sin and, ultimately, misery.
The film consists of four episodes in the relationship of two young women: Reinette, a country girl, and Mirabelle, a Parisian. The first episode is entitled The Blue Hour and recounts their meeting. The second centers on a café and a difficult waiter. In the third, the girls discuss their differing views on society's margins: beggars, thieves and swindlers. In the fourth episode, Reinette and Mirabelle succeed in selling one of Reinette's paintings to an art dealer while Reinette pretends to be mute and Mirabelle, acting as if she does not know Reinette, does all the talking.
Maurice (Michel Simon) is a married cashier who meets Lulu (Janie Marèze), a streetwalker. Their chance meeting results in Maurice falling in love with Lulu. She, however, is in love with her boyfriend-pimp, Dédé (Georges Flamant). Together, Dédé and Lulu plot ways to get Maurice to give cash to Lulu, mostly at the urging of Dédé.
L'histoire du film est plutôt basée sur la relation du peintre avec les divers monarques d'Iran. La distribution des rôles est surtout confiée aux acteurs iraniens les plus connus comme Jamshid Mashayekhi interprétant le peintre, et Ezzatollah Entezami qui incarne Nasseredin Shah.
Tom Ripley (Dennis Hopper) is a wealthy American living in Hamburg, Germany. He is involved in an artwork forgery scheme, in which he appears at auctions to bid on forged paintings produced by an accomplice, artificially driving up the price. At one of these auctions, he is introduced to Jonathan Zimmermann (Bruno Ganz), a picture framer who is dying of a rare and unspecified blood disease. Zimmerman refuses to shake Ripley's hand when introduced, coldly saying, "I've heard of you" before walking away.
Hye-young (Jun Ji-hyun) is an artist who makes her living by sketching portraits of people for 30 euros per portrait. Park Yi (Jung Woo-sung) is a professional hit man who sees Hye-young painting in the high mountains and instantly falls in love with her.
The film is (very) loosely based on Pablo Picasso's life and death, narrated by Toivo Pawlo, who introduces himself as Elsa Beskow. It opens with a quote by Picasso himself: "Art is a lie that leads us closer to the truth."
Retired American professor (Burt Lancaster) lives a solitary life in a luxurious palazzo in Rome. He is confronted by a vulgar Italian marchesa (Silvana Mangano) and her companions: her lover (Helmut Berger), her daughter (Claudia Marsani) and her daughter's boyfriend (Stefano Patrizi) and is forced to rent to them an apartment on an upper floor of his home. From this point on, his quiet routine is turned into chaos by his tenants' machinations, and everybody's life takes an unexpected but inevitable turn.
The film follows the life of a middle-aged housekeeper, Séraphine Louis, who has a remarkable talent for painting. Untaught and following what she regards as religious inspiration she finds great appreciation in the beauty found in nature, especially her daily walks to work where she proudly and humbly stops to gaze at trees. In the beginning, it is noted that she stops to collect soil from plants as well as some blood from a dead pig. Later, in her small home lit by candles she is seen using these same ingredients while creating her art. At one point when her art begins to be seen, she is asked how she achieves the unusual effect in her "rouge" (reds). She replies that she prefers to keep that a secret.
The story takes place during a Sunday in the late summer of 1912. Monsieur Ladmiral is a painter without any real genius and in the twilight of his life. Since the death of his wife, he lives alone with Mercedes, his servant. As every Sunday, he invites Gonzague, his son, a steady young man, who likes order and propriety, accompanied by his wife, Marie-Thérèse and their three children, Emile, Lucien and Mireille. That day, Irène, Gonzague's sister, a young non-conformist, liberated and energetic woman, upsets this peaceful ritual and calls into question her father's artistic choices.
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.
Le film raconte les dernières années d'Amedeo Modigliani, de la fin de la Première Guerre mondiale à sa mort en 1920, à Montparnasse, qui est à l’époque en plein essor artistique.