Not Signed-In
Which clippings match 'Theodore Gericault' keyword pg.1 of 1
27 JANUARY 2014

BEAUTY: animating Western romantic paintings

CREDITS: Director RINO STEFANO TAGLIAFIERRO Assistant Director LAILA SONSINO 2nd Assistant Director CARLOTTA BALESTRIERI Editing – Compositing – Animation RINO STEFANO TAGLIAFIERRO Sound Design ENRICO ASCOLI Art Direction RINO STEFANO TAGLIAFIERRO Historiographer GIULIANO CORTI.

1
2

3

4

TAGS

2D space • Adrien Henri Tanoux • Albert Bierstadt • Andrea Vaccaro • animated painting • Arnold Bocklin • art history • Asher Brown Durand • Augustin Theodule Ribot • beauty • Carlotta Balestrieri • Caspar David Friedrich • classical subjects • Claude Lorrain • Correggio • Elizabeth Jane Gardner Bouguereau • enliven • Enrico Ascoli • Enrique Simonet • Felice Boselli • figuration • figure painting • Franz von Stuck • Fritz Zuber-Buhle • Gabriel Cornelius von Max • Gabriel von Max • Gioacchino Pagliei • Giuliano Corti • Guido Reni • Guillaume Seignac • Gustave Dore • Herbert Draper • homage • Hugues Merle • Ilya Repin • interpretation • Ivan Shishkin • Jacques-Luois David • Jakub Schikaneder • James Sant • Jan Lievens • Jan van Huysum • Johannes VermeerJohn Everett Millais • John William Godward • Joseph Rebell • Jules Joseph Lefebvre • Laila Sonsino • living paintingliving pictures • Louis Jean Francois Lagrenee • Luca Giordano • Luis Ricardo Falero • Marcus Stone • Martin Johnson Heade • Martinus Rorbye • Michelangelo Merisi da Caravaggio • motion painting • movementmoving paintingpainting • Paul Delaroche • Paul Hippolyte Delaroche • Paul Peel • Peter Paul Rubens • Pierre Auguste Cot • Pieter ClaeszreenactmentRembrandt van Rijnremediation • Rino Stefano Tagliafierro • Roberto Ferri • salon painter • Sophie Gengembre Anderson • tableau vivanttableaux changeanttableaux mouvantsTheodore Gericault • Thomas Cole • Thomas Eakins • Thomas Hill • Tiziano • Victor Karlovich Shtemberg • William-Adolphe Bouguereau

CONTRIBUTOR

Simon Perkins
03 DECEMBER 2009

Re-constructing the Raft of the Medusa

Fig.1 Théodore Géricault, Le Radeau de la Méduse, 1818–19

Fig.2 Bruce High Quality, Raft of the Medusa, 2007

1

2

CONTRIBUTOR

Simon Perkins
03 DECEMBER 2009

Tableaux vivants inspired by or involving pre-existing images

"Tableaux vivants inspired by or involving pre–existing images have become Hannah's stock–in–trade, yet he continues to subtly alter how he approaches and restages history. He typically presents the viewer with projected videos that at first glance appear to be still photographic images. The slight quivering of his models, who are often holding strenuous or otherwise difficult poses, reveals the reality behind the images."

(Mark Clintberg, Canadian Art)

Fig.1 Adad Hannah 'The Raft of the Medusa' (100 Mile House) 2009 Produced with assistance from the community of 100 Mile House Courtesy Pierre–François Ouellette art contemporain

1

TAGS

2009 • Adad Hannah • artCanadaconstructioncreative practicegraphic representationhistoryMedusaphotographyraftRaft of the Medusa • re-stage • shipwreckspectacletableau vivant • tableaux vivant • Theodore Gericaultvideovideo artvisual depiction

CONTRIBUTOR

Simon Perkins
03 DECEMBER 2009

a critique of consumer goods and advertisement imagery

Hu Jieming's "highly acclaimed photo–manipulated images Raft of the Medusa (2002) he references to Théodore Géricault's seminal and allegorical image, the Raft of the Medusa (1819). The historical painting serves as a mytho–poetic memorial of the 150 lost souls onboard the raft after a fatal shipwreck, from which only 15 survived. The painting very elegantly undermines the traditional heroic 19th century historical painting, and, instead, conveys a society in sinking collapse. Hu Jieming parallels this historic occurrence to the regime of the Cultural Revolution with all its sinister cruelty. His Raft of the Medusa, thus, is more than just a reference to the past: The photos are composed of today's excessive amount of consumer goods and advertisement imagery. Additionally, Hu Jieming juxtaposes pictures of today's youth in gestures of self–indulgent hedonism with monochrome grey pictures of the suppressed people in traditional mao–uniforms. These compositions made of images appropriated from different socio–political realities signify a strong critical engagement with both history and the present – it is a concern ranging beyond pure private considerations."

(ShanghART Gallery)

1

CONTRIBUTOR

Simon Perkins
Sign-In

Sign-In to Folksonomy

Can't access your account?

New to Folksonomy?

Sign-Up or learn more.