Picture boy with apple

Picture boy with apple

Film director Wes Anderson approached me in 2012 to paint a fictional Re­nais­sance portrait to be titled ‘Boy with Apple’ for his next film The Grand Budapest Hotel. The plot pivots around the theft and recovery of a priceless portrait by Renaissance master Johannes Van Hoytl. Intrigued by the script and surprised to hear that he intended to commission a real portrait, I decided to come onboard. For inspiration Wes bombarded me with a bewildering selection of images by Bronzino, 17th Century Dutch painters, Durers, all kinds of stuff, even some Tudor portraits. I found this terribly confusing at first until I realized that each image contained some required element that had to be worked into the painting. He clearly knew exactly what he wanted; it was just that nothing quite like it yet existed. It was an irresistible challenge.

Ed Munro, a stage school student, was cast as the sitter. Costumes were chosen and props hired (I provided the apple) and we started what was to be many weeks of work in Hanford School, a wonderfully atmospheric Jacobean manor house near my home in Dorset. Wes had very bravely left me alone to work on the painting for a couple of months, but as the start of filming approached we began the final work on it together. Collaborating on a picture was new territory to me, but his extraordinary attention to detail (“ the little bit of paper on the wall?…..yes, yes we must have the little bit of paper!”), good humoured patience and faith in his script somehow made it all come out right. The frame also needed to be attended to carefuly, so after discussing various style options with Wes, I took the picture to my framer Philip Elletson in Pewsey, and asked him to make a gessoed, gilded, and hand-painted antique frame. He did a truly wonderful job—using woodworm-riddled wood and antique brass rings.

I thoroughly enjoyed the finished film. It is funny, strange, rather dark, and it goes like a train from start to finish. I can heartily recommend it!

The Grand Budapest Hotel opened the Berlin Film Festival to very good reviews, and won the Silver Bear Grand Jury Prize. It will go on general release from 7th March [2014].

A selection of my other paintings can be viewed in the works section of this site.

That was a jumping off point for Wes. I remember it was one of the first things he needed done, and he found an amazing artist and he basically commissioned this. It’s exquisite in person, and Wes would keep it in his wonderful apartment. It was an inspiration to him I think.

We found a wonderful English portrait painter named Michael Taylor who started from scratch and drew on all his powers.

Images and video clips reproduced courtesy of Fox Searchlight Pictures.

Источник

Мальчик с яблоком — Boy with Apple

Мальчик с яблоком
Художник	Майкл Тейлор
Год	2012 г.
Середина	Масло на холсте

Мальчик с яблоком — это картина 21-го века британского художника Майкла Тейлора . Написанная по заказу для использования в качестве реквизита в фильме Уэса Андерсона « Гранд Будапешт» в2014 году, вымышленная предыстория, написанная для « Мальчика с Apple», сыграла главную роль в сюжете фильма.

На портрете изображен мальчик в ренессансной одежде, держащий (зажимая одной рукой и сильно сжимающий другой) зеленое яблоко. Натурщицей для портрета выступил актер Эд Манро.

История

Британский художник Майкл Тейлор написал « Мальчик с яблоком» в 2012 году для будущего фильма « Отель Гранд Будапешт» . С Тейлором связался режиссер Уэс Андерсон, который попросил создать имитацию портрета эпохи Возрождения, который бы напоминал образы из истории европейского искусства . Андерсон активно вносил свой вклад в работу; В частности, он попросил, чтобы картина была сделана по образцу работ Ганса Гольбейна Младшего и Старшего , Бронзино , Лукаса Кранаха Старшего и ряда фламандских и голландских художников.

Подобное количество деталей было уделено предыстории картины. В фильме картина приписывается вымышленному «Йоханнесу Ван Хойтлу Младшему» и описывается как произведение «чешского маньериста, габсбургского высокого ренессанса, будапештского неогуманизма». Из-за того, что картина была реквизитом для фильма , которая требовала, чтобы « Мальчика с яблоком» носил под мышкой актера, Тейлор был вынужден работать на холсте меньшего размера, чем он привык.

После выхода в свет отеля «Гранд Будапешт» картина была хорошо принята. Искусствовед Джонатан Джонс из The Guardian написал полный анализ портрета, заявив, что « Мальчик с Apple действительно бесценен, как шутка об истории искусства».

Рекомендации

Эта статья о картине XXI века — незавершенная . Вы можете помочь Википедии, расширив ее .

Источник

How does M. Gustave’s poem relate to the «Boy with Apple»?

At around the 29th minute of The Grand Budapest Hotel Gustave and Zero have the following conversation about «Boy with Apple»:

Gustave: That picture, Boy with Apple, is priceless. Understand?
Zero: Congratulations, Monsieur Gustave!
Gustave: They’re going to fight me for the son of a bitch.
Zero: Is it very beautiful?
Gustave: Beyond description. «E’en the most gifted bard’s rhyme can only sing but to the lack of her and all she isn’t! His tongue doth. »
Zero: Can I see it?

First, M. Gustave call the boy with an apple «the son of a bitch», then he uses a poem to describe how incredibly beautiful the boy is. Is it a sarcastic joke referring to M. Gustave’s weird character? Is it true that all the poems in the movie are only made-up for the film? And in this poem, what is her/she referring to? Is it the bard or the painting? I’m confused about it because of the film’s Chinese subtitles.

1 Answer 1

The poems were all created just for the film. From The National Board of Review:

Anderson (The Director): This is very rude in fact, but Ralph was always very good with text, and he has to recite all this poetry. But the poems in the script get chopped off where I stopped writing them, and Ralph always continued on and gave me a couple extra stanzas. In the earlier cuts of the film they went on, and you were very good at improvising poetry.

Interviewer: Is it correct that you wrote the piece for Ralph?

Anderson: I had wanted to do something with Ralph for years and years and then we met and got to know each other over the past three to four years. Ralph had shown me a sort of mood reel for the film Coriolanus, and he did some of the speech, and in that moment, I knew I had to get Ralph in a movie. Just seeing him do Shakespeare on a sofa. We didn’t really think of any of the casting until the script was done, except for Mr. Gustav. We had Ralph in mind, and were hoping he’d be seduced into doing it.

He refers to the apple as a son of a bitch initially simply because he’s a quirky, passionate character. It’s a loose phrase and is more a revelation of his frustration that people will fight him for it than a comment on the painting itself.

The poem he breaks into certainly is describing the painting. A bard is effectively a professional lyricist/poet. M Gustave’s lines are saying the poem is so beautiful, it’s beyond even the description of them. All they can discuss is the lack of her and all she isn’t, i.e. things that the painting is missing — they can’t sing about just how beautiful it is because its beauty defies description.

And it’s certainly indicative of M Gustave’s weird character. Throughout the film, he descends into little lines of poetry, often leaving them incomplete due to interruption. In fact, it’s not even clear how much meaning they have to him, or if they’re simply being recited from a nostalgic viewpoint.

Источник

Picture boy with apple

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