Abstract
The work of some filmmakers seems regularly nourished and sustained by painting and art history. In the immediate postwar period, there was a flush of films about artists, including several by the young Alain Resnais, in an attempt, so it is thought, to bolster belief in the eternal value of great works of art. Starting with Stanley Kubrick’s Barry Lyndon in 1975, a new era in cinema-painting relations began, as filmmakers increasingly referred to painting, Jean-Luc Godard’s Passion (1982), Derek Jarman’s Blue (1993), and Wim Wenders’ The End of Violence (1997), to name a few. The filmmakers Jean-Marie Straub and Danièle Huillet, although long interested in the painter Cézanne, never cited an overriding interest in the cinema-painting dialogue. In a 1987 interview with Jacques Aumont and Anne-Marie Faux, J ean-Marie Straub commented:
Life is a series of encounters and chance meetings, and this holds true for our work; otherwise, it’s worth nothing.
Jean-Marie Straub
All painters, if they were serious, would have ended up painting like Cézanne at the time!
Jean-Marie Straub
It is true that there is hardly one modern artist of importance to whom Cézanne is not father or grandfather, and that no other influence is comparable with his.
—Clive Bell (1922)
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References
Cézanne
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Straub and Huillet
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© 2012 Sally Shafto
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Shafto, S. (2012). Artistic Encounters: Jean-Marie Straub, Danièle Huillet, and Cézanne. In: Vacche, A.D. (eds) Film, Art, New Media. Palgrave Macmillan, London. https://doi.org/10.1057/9781137026132_11
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DOI: https://doi.org/10.1057/9781137026132_11
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