M.C. Escher is among the most intriguing of artists. In 1956 he challenged the laws of perspective with his graphic Print Gallery and his uncompleted master-piece quickly became the most puzzling enigma of modern art. Fifty years later, can mathematician Hendrik Lenstra complete it? Should he?
2007 • Creativity
Why do humans make art? When did we begin to make our mark on the world? And where? In this film, Britain's most celebrated sculptor Antony Gormley is setting out on a journey to see for himself the very beginnings of art. Once we believed that art began with the cave paintings of Ice Age Europe, tens of thousands of years ago. But now, extraordinary new discoveries around the world are overturning that idea. Antony is going to travel across the globe, and thousands of years back in time, to piece together a new story of how art began. He discovers beautiful, haunting and surprising works of art, deep inside caves across France, Spain and Indonesia, and in Australian rock shelters. He finds images created by hunter-gatherers that surprise him with their tenderness, and affinity with the natural world. He discovers the secrets behind the techniques used by our ancestors to create these paintings. And he meets experts making discoveries that are turning the clock back on when art first began.
2019 • Creativity
In a special seasonal edition of his acclaimed series, film critic Mark Kermode celebrates one of the most perennial of all genres: the Christmas movie. Mark unwraps a glittering selection of Christmas cinematic treats, from much-loved classics to hidden gems, Hollywood blockbusters to international films, and reveals the film-making techniques and storytelling secrets that make them so successful. Mark demonstrates how, as with all great genres, a key to the success of the Christmas movie lies in its adaptability. Christmas cinema embraces a remarkable range of styles and themes, from fairy tale fantasy to high-octane action, family drama to horror. But a great Christmas movie does more than simply set its story in the festive season. It captures something magical - the Christmas spirit - and in this programme, Mark shows you how.
This programme is the second in a series looking at four great modern artists: Warhol, Matisse, Picasso and Dali. Tracing the biography of this fascinating artist, and travelling through France, America and Russia, the programme explores some of the painter's greatest works. Sooke explains why Matisse's art is considered so great and also looks at how Matisse's brilliant use of colour and simplification of form continues to inspire illustrators, designers and of course artists today. Acknowledging the debt the famous couturier Yves St Laurent owed the painter, Sooke also talks to British designers Sir Paul Smith and Tricia Guild about their passion for Matisse, he travels to Utrecht to discover how even children's character Miffy the rabbit owes its origin to art, and reveals how logos and images as diverse as Apple's iPod advertising and even the 2012 olympic logo are inspired by the modern master.
Mark turns to horror and shows how film-makers have devilishly deployed a range of cinematic tricks to exploit our deepest, darkest and most elemental fears. He explores the recurring elements of horror, including the journey, the jump scare, the scary place, the monster and the chase. He reveals how they have been refined and reinvented in films as diverse as the silent classic The Phantom of the Opera, low-budget cult shockers The Texas Chain Saw Massacre and The Evil Dead, and Oscar-winners The Silence of the Lambs and Get Out. Mark analyses the importance of archetypal figures such as the clown, the savant and the 'final girl'. And of course, he celebrates his beloved Exorcist films by examining two unforgettable but very different shock moments in The Exorcist and The Exorcist III. Ultimately, Mark argues, horror is the most cinematic of genres, because no other kind of film deploys images and sound to such powerful and primal effect.
Federico Fellini coined the term "paparazzi". The curse of celebrities, the bane of existence of the indiscreet, do photographers like Ron Galella contribute to our understanding of the lives of the famous or are they voyeurs? And do they influence and create art? Is there a paparazzi aesthetic?