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  • W 07.05 Time 18.00

    Edward Hopper; Roy Lichtenstein; Willem de Kooning

    Edward Hopper; Roy Lichtenstein; Willem de Kooning |

    Edward Hopper
    Director Carroll Moore
    National Gallery of Art, Washington 2007, 29 min
    In English

    Hopper, one of America’s most admired artists, captured the shared realities of American life with poignancy and enigmatic beauty. His iconic images, set in unexceptional places, reveal the poetry of quiet, private moments. Hopper’s influences, which vary from French impressionism to the gangster films of the 1930s, are explored through archival photos, footage of locations he painted in New York and along the New England coast, and interviews with artists Eric Fischl and Red Grooms.

    Roy Lichtenstein: The Art of the Graphic Image
    Director Frank Cantor
    National Gallery of Art, Washington 1994, 20 min
    In English

    Renowed pop artist Roy Lichtenstein discusses his printmaking career over the course of two decades. This is an intimate glimpse of the artist at work, both in his own studios and at two of the most innovative printmaking workshops in the United States at that time: Gemini G.E.L. in California and Tyler Graphics Ltd. in New York.

    Willem de Kooning: Paintings
    Director Elyse Kunz
    National Gallery of Art, Washington 1994, 12 min
    In English

    De Kooning’s (1904–1997) life and work – from his origins in the Netherlands to his mature Long Island period – are presented through his paintings, vintage photographs of the artist and his contemporaries, and footage of his studio on Long Island. The film also explores his historical and cultural developments in the postwar period that shaped his art.

    In the post-World War II era, de Kooning painted in a style that came to be referred to as abstract expressionism or action painting, and was part of a group of artists that came to be known as the New York School. Other painters in this group included Jackson Pollock, Elaine de Kooning, Lee Krasner, Franz Kline, Arshile Gorky, Mark Rothko, Hans Hofmann, Adolph Gottlieb, Anne Ryan, Robert Motherwell, Philip Guston, and Clyfford Still.

    Thanks: National Gallery of Art, Washington 

    At 19.15 a selection of Polish documentary classics:

    Kazimierz Karabasz (b.1930) is a key figure in the history of Polish documentary film. He is to Polish cinematography what Robert Flaherty, John Grierson and Dziga Vertov are to Amrican, British and Russian documentary film. As a lecturer at the Lodz Film Academy, he has also through the years nurtured exceptional documentary-making talent such as Krzysztof Kieslowski, Marcel Lozinski, Tadeusz Palka or Andrzej Titkow. He has also published 3 books on documentary films.

    „The Musicians“ (1960, 10 min) is a masterpiece that became a paradigm for next generation of documentary filmmakers in Poland and abroad. In the mid 90ies Krzysztof Kieslowski listed it as one of the most important films in the history of cinematography in the British „Sight and Sound“ magazine.

    „People on the Road“ (1960, 10 min) is a lyrical documentary ballaad about circus workers and a study of the daily existence of wandering artists.

    „Portrait in a Drop of Water“ (1997, 22 min) is a tale made up of photographs and reflections of people of different ages and from all walks of life, who answer questions about their worldviews, hopes and fears.

    Marek Piwowskit (s.1935) occupies a paradoxical place in Polish documentary. On the one hand his position in the canon of Polish documentary is indisputable, as he became the most representative exponent of the derisive trend with the „Young Culture Cinema“ movement, which emerged in Poland around 1968. On the other hand, he has tended to ridicule principles of documentary film rather than follow them since the very beginning.

    „The Overture“ (1965, 6 min) highlights a contrast between the heartless routine of an institution and the sincerity of young people on the threshold of adulthood.

    „A Compartment for a Hundred People and More“ (1965, 4 min) is a silent short feature that could be described as a macabre comedy with a dose of cynicism.

    „Hair“ (1971, 17 min) was commissioned by Polish Television. The film was intended as a report from an official event, which was Friendship Cup at the 9th All Socialist Hairdressing Art Competition held in Warsaw in 1971. By exposing the event’s tackiness, the hairdressers’ and judges’ bad taste, the models’ and comperers’ pretentiousness and the triviality of the accompanying events and setting, Piwowski poked fun at more than just the low level of the domestic entertainment industry.
    „Hair“ was awarded the Grand Prix at the Short Film Festival in Krakow in 1972. 

    Introduction: Slawomira Borowska-Peterson
    Thanks: Polish Embassy in Estonia