Picasso and Pollock: Two Cinematic Constructions of Artistic Genius
An article in art press 2 examines how two films—Clouzot's 'The Mystery of Picasso' (1955) and Namuth's documentary on Jackson Pollock (1951)—construct the figure of the artistic genius through opposing cinematic strategies. Clouzot's film turns Picasso's studio into a theatrical stage where the painter performs under artificial light and time constraints, producing works for the camera. The dialogue between Picasso and Clouzot reveals a playful, inexhaustible creativity. Namuth's film presents Pollock in a natural setting, with voice-over explaining his technique and a symbolic shot of his worn shoes evoking Van Gogh. Despite differences, both films depict artists as solitary masters of absolute competence, reinforcing a romantic notion of genius.
Key facts
- Clouzot's 'The Mystery of Picasso' was presented at the 1955 Cannes Film Festival.
- The film features a dialogue between Picasso and Clouzot about making a painting.
- Picasso's studio was reorganized as a theatrical stage with artificial lighting.
- Hans Namuth's 1951 film on Jackson Pollock opens with Pollock painting his name on a canvas.
- Pollock explains his technique in voice-over, stating 'My paint is direct'.
- A close-up of Pollock's worn shoes is seen as a reference to Van Gogh's paintings of shoes.
- Both films construct the artist as a solitary genius with absolute mastery.
- The article argues that the two films are reciprocal rather than opposed.
Entities
Artists
- Pablo Picasso
- Jackson Pollock
- Vincent van Gogh
Institutions
- art press
- Cannes Film Festival
Locations
- Springs
- France
- United States
Sources
- artpress —