• Cinematic artwork
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Cinematic artwork

It is almost an entire movie. The painter carries his easel as the car is parked by a wind turbine. Here again is one of Theo’s signature motif’s of contrasting modernity with classical imagery. There is a classic car sitting on the side of a hill, lurking behind a wind turbine. Does the car belong to a stranger, or the couple in the foreground? Once again a woman wears a striking red dress carrying a shawl on her back. The sky is lit up by moonlight and the patterns of the heavens at night are one of the most striking aspects of this particular painting.

The great art house filmmaker Michelangelo Antonioni hated when his peers talked about “writing a film.” He preferred the term “painting a film”—telling a story not with words, but colors, camera angles, and meticulously composed frames.

Theo’s great inspiration, the American realist painter Edward Hopper, is a case in point. Hopper’s famous painting Nighthawks has often been referred to as cinematic. Which influence came first? Does it even matter? These are two mediums intersecting and influencing each other creating wonderful moments for viewers to enjoy.

It is almost an entire movie. The painter carries his easel as the car is parked by a wind turbine. Here again is one of Theo’s signature motif’s of contrasting modernity with classical imagery. There is a classic car sitting on the side of a hill, lurking behind a wind turbine. Does the car belong to a stranger, or the couple in the foreground? Once again a woman wears a striking red dress carrying a shawl on her back. The sky is lit up by moonlight and the patterns of the heavens at night are one of the most striking aspects of this particular painting.

The great art house filmmaker Michelangelo Antonioni hated when his peers talked about “writing a film.” He preferred the term “painting a film”—telling a story not with words, but colors, camera angles, and meticulously composed frames.

Promotional image

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