Artistic explorations of cinematic conventions have grown to become their own field. The canvases of Daniel Pitín, a painter born in Prague in 1977, are steeped in cinematography. “My work begins in front of the monitor,” the artist has said. “I watch different films and wait for a scene to capture me. I like rather undetermined situations, just fragments of whatever story. A movement, a scream, a fall . . . .” Once a moment has been extracted, Pitín paints an unflinching, obsessive, magical picture. He evokes the Hollywood myths conveyed by the great storytellers of American cinema, but he