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1-7 of 7
- This famous Chinese scroll painting traces the Emperor Kangxi's second tour of his southern empire in 1689. Painted by Wang Hui (1632-1717) and assistants, it was executed before Western perspective was introduced into Chinese art. Hockney contrasts the more fluid spatial depictions of this scroll with a later scroll painted by Xu Yang and assistants, The Qianlong Emperor's Southern Inspection Tour (1764-1770), scroll four. This scroll illustrates the same tour, but now taken by the Qianlong emperor, grandson of the Kangxi emperor. Influenced by Western perspective, the Qianlong scroll presents the emperor in a single tableau, whereas the Kangxi scroll depicts a continuous travel narrative filled with details of daily life in the towns and countryside along the route. Reference is also made to the use of perspective in Capriccio: Plaza San Marco Looking South and West (1763) by Italian painter Canaletto (1697-1768). Director Philip Haas (Angels and Insects and Up at the Villa), and artist David Hockney take you on a magical journey through China via a marvelous 72-foot long 17th-century Chinese scroll entitled The Kangxi Emperor's Southern Inspection Tour (1691-1698), scroll seven. As Hockney unrolls the beautiful and minutely detailed work of art, he traces the Emperor Kangxi's second tour of his southern empire in 1689. Hockney's charming and fascinating narration helps bring the bustling streets and waterfronts of three hundred years ago to life. Hockney spins a dazzling discourse on eastern and western perceptive and their relationship to his own artistic vision. His trip through one of China's most magnificent artworks is a joyous adventure for all!
- The Program for Art on Film was a joint venture of The Metropolitan Museum of Art and the J. Paul Getty Trust. It was established in 1984 to foster new ways of thinking about the relationship between art and moving-image media. Between 1987 and 1990, the Program for Art on Film commissioned fifteen short films and videos through its Production Laboratory. The Lab was conceived as an arena for inquiry and experimentation - a means of exploring and expanding the cinematic vocabulary of films on art. Each production was designed as an extended collaboration between a filmmaker and an art expert and was intended to explore the issues of collaboration in content-driven filmmaking, seeking new approaches that might influence future films on art. The ART ON FILM series of DVDs presents the results of the Production Laboratory in their original context: as experiments. The broad range of film subjects illustrate a variety of approaches and interpretations. And, while these films ask to be judged as works of art in their own right, they also should be understood as parts of an ongoing dialogue about the cinema's role in communicating art history.
- Presents the painted pottery bowls of the Mimbres, a Native American people who lived in the isolated mountain valleys and hot deserts of southwestern New Mexico until their culture died out in the twelfth century. Their pottery art flourished during the years 950 to 1150. Discovered in the late nineteenth century, the ancient pottery is decorated with images that depict the daily lives of the Mimbres, their physical landscape, and their spiritual beliefs. Concentrates on some of the major aesthetic aspects of Mimbres pottery painting, such as the challenge of the concave, hemispheric picture surface and the ambiguous play of pictorial dualities (motion/stillness, white/black, top/bottom). Mobile prop tables and carefully choreographed camera movements were used to elucidate the three-dimensional pictorial qualities of the painted bowls. Includes voice-over commentary by cultural historian Rina Swentzell, a member of the Santa Clara Pueblo tribe.
- The Program for Art on Film was a joint venture of The Metropolitan Museum of Art and the J. Paul Getty Trust. It was established in 1984 to foster new ways of thinking about the relationship between art and moving-image media. Between 1987 and 1990, the Program for Art on Film commissioned fifteen short films and videos through its Production Laboratory. The Lab was conceived as an arena for inquiry and experimentation - a means of exploring and expanding the cinematic vocabulary of films on art. Each production was designed as an extended collaboration between a filmmaker and an art expert and was intended to explore the issues of collaboration in content-driven filmmaking, seeking new approaches that might influence future films on art. The ART ON FILM series of DVDs presents the results of the Production Laboratory in their original context: as experiments. The broad range of film subjects illustrate a variety of approaches and interpretations. And, while these films ask to be judged as works of art in their own right, they also should be understood as parts of an ongoing dialogue about the cinema's role in communicating art history.
- The Program for Art on Film was a joint venture of The Metropolitan Museum of Art and the J. Paul Getty Trust. It was established in 1984 to foster new ways of thinking about the relationship between art and moving-image media. Between 1987 and 1990, the Program for Art on Film commissioned fifteen short films and videos through its Production Laboratory. The Lab was conceived as an arena for inquiry and experimentation - a means of exploring and expanding the cinematic vocabulary of films on art. Each production was designed as an extended collaboration between a filmmaker and an art expert and was intended to explore the issues of collaboration in content-driven filmmaking, seeking new approaches that might influence future films on art. The ART ON FILM series of DVDs presents the results of the Production Laboratory in their original context: as experiments. The broad range of film subjects illustrate a variety of approaches and interpretations. And, while these films ask to be judged as works of art in their own right, they also should be understood as parts of an ongoing dialogue about the cinema's role in communicating art history.
- The Program for Art on Film was a joint venture of The Metropolitan Museum of Art and the J. Paul Getty Trust. It was established in 1984 to foster new ways of thinking about the relationship between art and moving-image media. Between 1987 and 1990, the Program for Art on Film commissioned fifteen short films and videos through its Production Laboratory. The Lab was conceived as an arena for inquiry and experimentation - a means of exploring and expanding the cinematic vocabulary of films on art. Each production was designed as an extended collaboration between a filmmaker and an art expert and was intended to explore the issues of collaboration in content-driven filmmaking, seeking new approaches that might influence future films on art. The ART ON FILM series of DVDs presents the results of the Production Laboratory in their original context: as experiments. The broad range of film subjects illustrate a variety of approaches and interpretations. And, while these films ask to be judged as works of art in their own right, they also should be understood as parts of an ongoing dialogue about the cinema's role in communicating art history.
- The Program for Art on Film was a joint venture of The Metropolitan Museum of Art and the J. Paul Getty Trust. It was established in 1984 to foster new ways of thinking about the relationship between art and moving-image media. Between 1987 and 1990, the Program for Art on Film commissioned fifteen short films and videos through its Production Laboratory. The Lab was conceived as an arena for inquiry and experimentation - a means of exploring and expanding the cinematic vocabulary of films on art. Each production was designed as an extended collaboration between a filmmaker and an art expert and was intended to explore the issues of collaboration in content-driven filmmaking, seeking new approaches that might influence future films on art. The ART ON FILM series of DVDs presents the results of the Production Laboratory in their original context: as experiments. The broad range of film subjects illustrate a variety of approaches and interpretations. And, while these films ask to be judged as works of art in their own right, they also should be understood as parts of an ongoing dialogue about the cinema's role in communicating art history.