Painting a Day – No 6 | Studio Eriksdotter | Painting Ideas ... | how to paint a sunflower on a canvas[/caption]
how to paint a sunflower on a canvas
Surrounded by bags of reproductions on the walls of apprentice bedrooms, cafes and hospital corridors, it’s accessible to lose afterimage of what Vincent Van Gogh’s paintings actually attending like: the brushwork, the paint, the expressiveness. Nor actually how abounding paintings he actually produced – added than 860 in aloof nine years – above the acclaimed sunflowers, wheatfields, cafes and woolly-necked self-portraits.
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But giving Vincent a run for his money – in agreement of achievement at atomic – is a new blur by artist, biographer and administrator Dorota Kobiela and co-director Hugh Welchman, that actually paints the absurd adventure of Van Gogh’s aftermost days. It’s an amazing concept. “Everything was a painting on canvas,” says Welchman. “No tracing, no nothing. The aperture shot, area we appear bottomward from Starry Night, took six hours per anatomy to paint. So you’re talking about two weeks to do a second. It ability accept taken 20 weeks to acrylic that 10-second attempt – you’re attractive at bisected a year of someone’s life.”
The actual abstraction of painting an absolute affection film, frame-by-oily-frame, makes the award sweat. But the aftereffect is bewitching: allotment exhibition, allotment whodunnit, with a casting that includes Douglas Booth, Helen McCrory, Chris O’Dowd, Saoirse Ronan and Aidan Turner. The process, according to cinematographer Tristan Oliver, may able-bodied be unique; the absolute calligraphy was attempt in animate activity in 14 days, on fractional sets and in advanced of blooming screens at 3 Mills Studios in London. This footage was afresh handed over to a aggregation of over 50 painters in Gdansk, who anxiously angry anniversary anatomy into an alone painting. In the end, the aggregation produced added than 65,000 frames in oil paints, on added than 850 canvases.
“It’s all corrective with Royal Talens acrylic cast alleged Van Gogh,” says Welchman. “It was array of an accident, but that concluded up actuality the best. We were acclimation actually a lot of paint; about 3,000 litres.” No paint, however, could cope with the charge to anticipate the pictures dehydration out, so the aggregation came to a surprising, somewhat ambrosial solution: abysm oil. “Clove oil was the big abstruse of our production,” says Kobiela. “We concluded up bond it with the paint. And it meant that the collapsed didn’t aroma of abominable turpentine but of admirable cloves.”
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The film’s artifice focuses on a simple errand; the commitment of one of Van Gogh’s aftermost belletrist to his brother Theo, afterwards the painter’s death. What follows is an arresting adventure undertaken by the postman’s son Armand Roulin (played by Booth) – allotment canonizing and allotment analysis into the abstruse affairs of Van Gogh’s afterlife in the babyish country boondocks of Auvers in July 1890. Abounding of the characters who pop up forth the way are acclaimed from Van Gogh’s paintings – Dr Paul Gachet and his babe Margeurite, postman Joseph Roulin, the innkeeper Adeline Ravoux, the Girl in White and La Mousmé.
“Whenever a new appearance is alien into the film, they are begin in the position in which Van Gogh corrective their portrait,” says Oliver, who is now animate on Wes Anderson’s new blur Isle of Dogs. “But afresh what you ascertain is that Van Gogh didn’t consistently acrylic aggregate at already from the aforementioned point of view. So we accept Marguerite Gachet (Ronan) sitting at the piano back we aboriginal see her. But he started the painting sitting down, afresh at some point stood up. So we had to band a camera up to accommodated two, if not three viewpoints, so we could see the top of the piano, and the keyboard, and attending up at her from below. Finding a accurate anatomy to bout that expressionistic painterly anatomy was actual interesting.”
Perspective wasn’t the alone catchy aspect befuddled up by aggravating to blur like an expressionist. There were additionally the all-important affairs of filming for animation. In one decidedly admirable arena – a black-and-white anamnesis arrangement – we watch Van Gogh ablution his face, in reflection, as if filmed from his own eyes. “I practised that bit on my girlfriend,” says Oliver. “I got a abrasion up basin abounding of water, put it on the attic of her collapsed and got her to bend over it. I had two issues; how was I activity to ablaze his face and area was I activity to put the camera so you don’t see it? She complained that you should never accomplish a woman attending at her absorption back she’s adverse down. But by the time I got to cutting it I knew what I was activity to do.”
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While the colour shots took their advance from Van Gogh’s paintings, the atramentous and white sequences were, explains Oliver, afflicted by a babyish cardinal of photographs taken at the about-face of the century. “We had one of Dr Gachet’s house, so in the arena area Vincent comes to the abode and finds Saoirse sitting at the table, I did my akin best to carbon that photograph. We acclimated a huge bulk of circulation to accord that flushed-out highlight that you accept from the accurate activity at that time.”
Perhaps the greatest aberration amid painting and film-making is that, while the above is innately individual, the closing is a aggregation effort. Not that this put Kobiela off. “Originally I planned to acrylic the accomplished film,” she says. “But the alone attempt I managed to acrylic myself was the atramentous and white one back the boys are throwing stones at Vincent.” Having originated the abstraction as a abbreviate film, was it adamantine – already it was absitively to aggrandize it to affection breadth – to accord over her babyish to a aggregation of collaborators? “When you’re animate as a abbreviate film-maker you accept complete ascendancy over every distinct affair you do, every movement, every frame,” she says. “It’s a Polish action attitude that you write, direct, breathing and blur it yourself. So to change that way of animate is actual strange. But it’s additionally actual agitative to assignment with that big aggregation of painters, actors, artists.”
What would Van Gogh accomplish of this Technicolor account of his aftermost canicule on Earth, I wonder. Would he accept of film-making? If he’d been animate today, would he accept been fatigued to the average himself? “I brainstorm he would accept fabricated actually unwatchable beginning films,” says Oliver. “He was a painter. In abounding ways, his arduous acceptance takes us abroad from the able attractive at his paintings – he’s too abundant of an icon, somehow. But, if you can actually attending at them again, abounding of them are actually astonishing.” Perhaps it takes a blur to accomplish us attending afresh at paintings.
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• Loving Vincent is out on 13 October.
•This commodity was adapted on 14 October 2017 to actual the appellation of Wes Anderson’s new film.
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