Photography-Painting-Cinema: Aesthetic Interconexions

Abstract

First, it was photography, with its chrono-photographic derivations, and then cinema came. Thy impacted directly or indirectly on plastic images, pushing them –and sometimes forcing them – to look for new tracks. These new media felt the temptation, from the beginning, of drawing upon the History of pictorial to imbue themselves with the language of Art, a characteristics many times denied to them. This way, a permanent contamination has happened, together with a dialogue between plastic and technological image in modern times.

It is not possible to understand Impressionism first and Cubism or Futurism not taking into account photography and then the cinema, or even pop art not considering the influence of mass media. It is just as impossible to understand the process of dematerialization of art in the last avant-garde movements not realizing that these actions are supported by photographic and moving images, being their last footprints actions like happenings, performances the Land-Art or Body-Art.

Many filmmakers have felt the need of approaching painting to obtain inspiration from it or to narrate the life of its creators. Conversely, many plastic artists have considered photography a total artwork that allowed them to play with movement and time. They are the painting-filmmaker who in many instances could express themselves in either medium.