The Garden of Earthly Delights

Hieronymus Bosch was an Early Netherlandish painter of the fifteen and sixteen century. He is well known for his use of artistic imagery to illustrate moral and religious concepts and narratives. One of his most important work is "The Garden of Earthy Delights" which is housed in Museo del Predo in Madrid since 1939 because in the late sixteenth-century, Philip II of Spain purchased most of Bosch's paintings is a triptych made with vivid colors and it was probably intended to illustrate the history of mankind according to medieval Christian doctrine.
Little is known about him and his training since he didn't leave any notebooks or diaries. Because of this reason, it was never easy for academicians to make interpretations about his work and they have often arrived at contradictory interpretations.
Art historian Walter Gibson argues the fact that Bosch's paintings is a world of dreams and nightmares in which form seem to flicker and change before our eyes.
The reason why I am writing about Bosch is that I recently found out an animation film based on Bosch's The Garden of Earthly Delights painting from a Spanish director. According to Juan Ibanez, the director, the experimental short film hopes to delve into the timelessness of the metaphor as an element of sensitive communication; in how the stories and the data of human experience are interpreted and shown in the artistic act.
The film's pedagogic interest lies in the possibility of offering a new vision of the work of art that is closer to the current visual education which highlights the movement and action over the static-ness of traditional painting. On the other hand, it allows for a deeper comprehension of the symbols which infer and draw closer artistic perceptions from different eras and artistic manifestations.
The teaser of the short animation film can be found at this link:
http://www.elboscomovie.com

Barry Lyndon

Barry Lyndon directed by Stanley Kubrick in 1975 is a film based on the novel "The Luck of Barry Lyndon" by William Makepeace Thackeray. It is about an Irish adventurer on the eighteenth century, his rise and fall in the English society.
The way Kubrick photographed it fascinates me. He wanted to contradict with the conventional way of lighting which is used in dominant cinema and he wanted to get a different feeling for this particular piece. He wanted to achieve photography without electric lighting which meant to be shot with candle lights.
In order to do that, they worked specifically with faster lenses developed by Zeiss for NASA for moon landing. These lenses were super - fast 50 mm. F/0.70 lenses especially developed for low light situations. The lenses had huge apertures and allowed Kubrick and cinematographer to shoot scenes lit with actual candles to an average lighting volume of only three candlepower , "recreating the huddle and glow of a pre-electrical age."
The result seemed potentially more realistic, the method gave a particular period look to the film which is very similar to to eighteenth century paintings, particularly owing a lot to William Hogarth with whom Thackeray had always been fascinated.
William Hogarth was a major English painter, printmaker, social critic who has been credited with pioneering western sequential art.

It is said for Barry Lyndon that the film is consciously a museum piece, its characters pinned to the frame like butterflies.

Worker and Collective Farm Woman

The Worker and Collective Farm Woman was created by Vera Mukhina in 1936 in Moscow. It is a gigantic stainless group of a worker and a collective farmer for the Soviet Economic Achievement Exhibition of 1936. It was so impressive that it became for the Soviet consciousness almost the Russian equivalent of the Statue of Liberty.
What really impresses me in this work is the male and female being together fighting for the same goal. The same can be seen in Russian Constructivist who included both men and women in their work. Constructivism in Russia was mostly influenced by Italian Futurism but they did not possess the same value or violent hostile to the idea of woman creativity. For several reasons, women played a very important role in the Russian avant - garde of the revolutionary years. First of all, the Revolution made a deep impact on Russian society. The other reason for that was the Constructivism which pushed the limits of visual arts, drew artistic practice into areas, such as textile design, which were mostly practiced by women.
In the year 1947, the sculpture became the symbol of the Russian "Mosfilm" Studio. It is maybe the oldest and biggest film studio in Europe and Russia. Commonly considered greatest film directors of Soviet like Eisenstein and Tarkovky and japanese filmmaker Akira Kurosowa have all produced films in that studio.

On the official website of the studio, it is indicated that the majority of motion pictures on the market are created by the studios on Mosfilm premises, which are led by famous Russian cinematographers Vadim Abdrashytov, Valentin Chernykh, Georgy Danelia, Svetlana Druzhinina, Andrey Eshpai, Sergei Govorukhin, Sergei Kolosov, Vladimir Menshov, Vladimir Naumov, Gleb Panfilov, Sergei Soloviov, Alla Surikova etc.
Still today, Mosfilm continue to expand as a film studio and it accommodates state of art technologies, non stop film productions, experienced creative professionals working in all over aspects of film making from pre - production to post - production and a rare collection such as weaponry props since the time of eigtheen century to now, tanks, costumes and landscapes.
The famous symbol of Worker and Collective Farm Woman was appeared for the first time in 1947, in the film "Spring" by Grigoriy Alexandrov.
The website of the Mosfilm can be visited in this link:
http://eng.mosfilm.ru/