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Home > Books > Cinéma et peinture
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Cinéma et peinture

Passages, partages, présences

Le cinéma ne vient pas de la peinture, et cependant ce qu’il élabore comme pensée de l’image et de l’art ne peut être restitué sans elle. Encore le rapport de ces arts va-t-il bien au-delà des seuls effets de présence de la peinture (biographie de peintres, œuvres citées, remplois de motifs et de formes) dans les films. C’est un ensemble de savoirs et de pratiques, de problèmes et de solutions que le cinéma expérimente au contact de la peinture. Comment passe-t-on de la peinture au cinéma ? De l’impressionnisme aux frères Lumière ? Du xixe siècle au xxe ? Pour certains, le cinéma vient libérer la peinture (É. Faure), pour d’autres, il s’apprête à réussir là où l’opéra a échoué, en incarnant l’idéal d’un art total (S. M. Eisenstein), pour d’autres encore il accomplit une réforme majeure de l’idée même d’art (W. Benjamin). Ces thèses surgissent alors même que le cinéma naissant et la peinture en crise affirment leur fascination mutuelle ; c’est le début d’une intense expérimentation croisée. Tout se partage. Des problèmes de peinture sont explorés en cinéma (H. Richter, V. Eggeling), des formes cinématographiques passent dans la peinture de F. Léger et de M. Duchamp, des cinéastes interviennent picturalement sur le film (S. Brakhage). Les approches que privilégie ce livre d’esthétique sont autant de contributions à une histoire des images et de l’art. 
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Author: Luc Vancheri
Publisher: Armand Colin
Publication Date: 24/10/2007
Number of Pages: 194
ISBN: 9782200352844
eISBN: 9782200254919
DOI: 10.14375/NP.9782200352844

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Keywords:

  • Alfred Hitchcock
  • Akira Kurosawa
  • Kazimir Severinovitch Malévitch
  • Dominique Païni
  • Hans Richter
  • Pier Paolo Pasolini
  • image
  • XXe siècle
  • Jean-Luc Godard
  • Stan Brakhage
  • Éric Rohmer
  • Edvard Munch
  • esthétique
  • Bruno Dumont
  • peinture
  • Peter Watkins
  • cinéma
  • XIXe siècle
  • James Cameron
  • Albert Lewin
  • Jean Renoir
  • art
  • Sergueï Eisenstein
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