Rome

Michelangelo Antonioni

Galleria Nazionale D’Arte Moderna

As a filmmaker Michelangelo Antonioni is no stranger to the seductions of painting—one need only think of The Red Desert (1964), in which Antoni Tapiès’ fashion of painting with real objects was crossed with the chromatic palette of certain Pop artists (John Chamberlain, Richard Hamilton) and certain nouveaux réalistes (Christo, Arman, César). Photography has also interested the director, to the point of his basing a film on the process—Blow-Up (1967), in which the photograph reveals a micro-reality of violence, and also of explanation and discovery, beneath the macro-reality of appearances. Now Antonioni abandons the large screen and the flux of cinematographic movement for the fixed, small-scale photographic image. His methods are still complex, however: he begins by using the processes of painting and collage to make the pictures that will become the matrices of the finished work; next

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