Film illustration
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Cinematic artwork
Here, Godard fashions his film using several recreations of classical European paintings, the most famous of which is a sequence in reference to La Petite Baigneuse. Intérieur de Harem (1828) by Jean Auguste Dominique Ingres, in which a female nude in a chaste pose forms the axis around which the composition gets centered. Although nude, the figure and its depiction lack the usual sexual emphasis and instead lean towards the delicate, the sensual, and the light. The folds of the linen and the green drapes further soften the figure, lending a roundness to it and furthering the measured calmness of the painting.
Colville’s 1967 painting Pacific also served as a framework for Michael Mann’s 1995 crime film Heat. The painting and the film scene both focus on a gun lying on the table, with a single male figure facing away from the audience and looking out over the ocean. Influenced heavily by French existentialists Jean-Paul Sartre and Albert Camus, Colville composed a painting fraught with tension, trauma, and drama that is at the same time also extremely passive, considering that the man is turned away from the gun and the painting is innocuously named Pacific. Colville himself said, “I don’t think the painting is about suicide, I guess I think of the gun and the table as necessary parts of human life, upon which it is possible sometimes to turn one’s back.” (Dow, 1972)
Her first appearance shows her in her simplest form, her long red hair as her only cover. Just like in the Italian painter’s masterpiece, Venus emerges from the water in a scallop shell, drawing all the attention to herself. Jupiter’s daughter, as well as Tremis, hasten to cover her to hide her beautiful appearance. The position is identical, reminiscent of an ancient Greek statue.
Here, Godard fashions his film using several recreations of classical European paintings, the most famous of which is a sequence in reference to La Petite Baigneuse. Intérieur de Harem (1828) by Jean Auguste Dominique Ingres, in which a female nude in a chaste pose forms the axis around which the composition gets centered. Although nude, the figure and its depiction lack the usual sexual emphasis and instead lean towards the delicate, the sensual, and the light. The folds of the linen and the green drapes further soften the figure, lending a roundness to it and furthering the measured calmness of the painting.
Colville’s 1967 painting Pacific also served as a framework for Michael Mann’s 1995 crime film Heat. The painting and the film scene both focus on a gun lying on the table, with a single male figure facing away from the audience and looking out over the ocean. Influenced heavily by French existentialists Jean-Paul Sartre and Albert Camus, Colville composed a painting fraught with tension, trauma, and drama that is at the same time also extremely passive, considering that the man is turned away from the gun and the painting is innocuously named Pacific. Colville himself said, “I don’t think the painting is about suicide, I guess I think of the gun and the table as necessary parts of human life, upon which it is possible sometimes to turn one’s back.” (Dow, 1972)
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