In Norman Rockwell’s Triple Self-Portrait, he not only portrays his physical self but also the inspirations that he felt defined him, with self-portraits of dramatically different artists that perhaps you would not regularly find in his work. It was also an excuse for him to recreate some of his favorites.
Many different cinematographers have named Caravaggio’s use of lighting as a large inspiration to their work, namely Gordon Willis in The Godfather.
Years before, Alfred Ortlieb shot Clarence Brown’s Light In The Dark with remarkably similar lighting to Caravaggio’s [ingenious] work.
First, go check out this amazing online art exhibit, which compares in detail selected works of Rembrandt & Caravaggio.
Second, pretend I gave you all that information.
Gun totting crazy couples in love? Yes please!
Both Faye Dunaway’s outfit has striking similarities to Penny Cummins’, as do there characters’ violent motivations.
Bartholdi & Pio Fedi created their works within years of each other, and there is little to no record of them even knowing each other. Weather the inspiration was from each other’s work or a common source, it definitely exists.
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Caravaggio was destined to follow in the footsteps of Michelangelo, after all he was named after him (his true name was Michelangelo Merisi da Caravaggio). Though his style varied in most ways, and in many ways was even the anti-Michelangelo (in the way that the Baroque movement was a response to the Renaissance) a direct homage to Michelangelo’s Creation can be seen in Caravaggio’s [greatest] work.](http://24.media.tumblr.com/tumblr_m1o7y7eze71rsgpsxo1_r1_1280.png)
Caravaggio was destined to follow in the footsteps of Michelangelo, after all he was named after him (his true name was Michelangelo Merisi da Caravaggio). Though his style varied in most ways, and in many ways was even the anti-Michelangelo (in the way that the Baroque movement was a response to the Renaissance) a direct homage to Michelangelo’s Creation can be seen in Caravaggio’s [greatest] work.
What is this wonderful contraption?
Who’s that lady?
Whoooo’s that laaaady?
That sexy laday…
Whoooo’s that laaaady?
Caravaggio’s Calling of St. Matthew, 1600
Clarence Brown’s The Light in the Dark, 1922
Above: Salvador Dali’s design for the deleted ballroom scene in the dream sequence in Spellbound (1945, dir. Alfred Hitchcock)
Below: Gregory Peck & Ingrid Bergman in the ballroom scene
“In order to create this impression [of oppressiveness and unease], I will have to hang fifteen of the heaviest and most lavish pianos possible from the ceiling of the ballroom, swinging very low over the heads of the dancers. These would be in exalted dance poses, but they would not move at all, they would only be diminishing silhouettes in a very accelerated perspective, losing themselves in infinite darkness.”
[Spellbound producer David O. Selznick, worried about costs, decided to suspend miniature pianos from the ceiling. To correct the consequent problems with perspective, the studio employed forty dwarfs to dance in the scene]
“The miniature pianos didn’t at all give the impression of real pianos suspended from ropes ready to crack and casting sinister shadows on the ground…and the dwarfs, one saw, simply, that they were dwarfs. Neither Hitchcock nor I liked the result and we decided to eliminate this scene. In truth, the imagination of Hollywood experts will be the one thing that will ever have surpassed me.”
-Salvador Dali, Dali News, 20 Nov. 1945
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