The Palette Collection brings together a series of films by Alain Jaubert MMOGA exploring a selection of major works from various periods in the history of painting. Thanks to the latest techniques in video animation, the secrets of the paintings are revealed and discovering art becomes an enjoyable adventure
Titien (1490-1576) Un souvenir d'Arcadie:
"Le Concert champêtre" Musée du Louvre, Paris Giorgione or Titian? One of the world's most famous painting's attribution remains uncertain to this day. And what exactly does the pastoral scene represent? Why two nude women next to two clothed men? What do their gestures mean? What music are they playing? Why this precise landscape and these sheep? The best way to better understand the painting and its allusions is to plunge into the sixteenth century Venitian cultural context, and to confront the painting with its more contemporary counterparts, such as Manet's "Partie de campagne."
Leonardo da Vinci (1452-1519) Le Sourire et l'entrelacs :
"La Vierge, l'enfant Jésus et sainte Anne" Musée du Louvre, Paris Leonardo da Vinci began his career around 1472 in Florence and made his name as a portraitist. He worked for several patrons in Italy including Cardinal Giuliano dei Medici in Rome, after whose death he accepted an invitation of François I, King of France. He died in May 1519 at "Clos Lucé" near Amboise. "Paintings extends to all functions af the eye, which are ten in number, namely drakness and light, volume and colour, figure and setting, distance, proximity, movement and rest" (Leonardo). In the center Saint Anne : she wears her hair braided, her eyes are lowered and she is smiling. Sealed on her knees, the Virgin Mary, wearing a low-necked dress, is leaning toward the infant Jesus. Do the wrintings and drawings of the painter, evidence of the first versions of this painting, give us a key to this very strange picture ?
Raphael (1483-1520)
Portrait de l'ami en homme de cour: "Portrait de Baldassare Castiglione" (Circa 1483-1520) Musée du Louvre, Paris The renown Count Baldassare Castiglione sat for his friend Raphael. The finished portrait impressed Rembrandt,Rubens, and several other painters up to Matisse. Raphael rendered the face open and sympathetic, while baring the backdrop. Every technical detail is examined to better understand how the portrait was painted; the cloth, hair style, materials and the model's posture are all of infinite importance. And beyond the obvious friendship between the painter and his model, the portrait reveals the philosophy of an entire period
