Mortel Transfert (2022) Painting by Théodore Bouret

Oil on Linen Canvas, 15.8x47.2 in
$2,524.92
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One of a kind
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Ready to hang
This artwork appears in 4 collections
  • Original Artwork (One Of A Kind) Painting, Oil on Linen Canvas
  • Dimensions Height 15.8in, Width 47.2in
  • Artwork's condition The artwork is in perfect condition
  • Framing This artwork is not framed
  • Categories Paintings under $5,000 Figurative Cinema
Paris, avenue Trudaine, en l’an 2000. Des personnages recouvrent de neige chaussée, voitures et arbres. Un tournage de cinéma se prépare. Au centre une Cadillac grise servira pour une des scènes centrales du film : Mortel Transfert de Jean-Jacques Beineix adapté du roman éponyme de Jean-Pierre Gattégno. Mais comment et pourquoi cette peinture apparaît-elle [...]
Paris, avenue Trudaine, en l’an 2000.
Des personnages recouvrent de neige chaussée, voitures et arbres.
Un tournage de cinéma se prépare.
Au centre une Cadillac grise servira pour une des scènes centrales du film : Mortel Transfert de Jean-Jacques Beineix adapté du roman éponyme de Jean-Pierre Gattégno.
Mais comment et pourquoi cette peinture apparaît-elle aujourd'hui ?
Parce que Michel Guillet, galeriste au numéro 8 de l'avenue Trudaine m’a récemment confié sa photo du tournage.
Souvenir particulier pour lui qui reçut l'équipe du film dans son loft -face au Sacré Cœur- transformé en cabinet de psychanalyste où Jean-Hugues Anglade, alias Michel Durand s'endort et découvre sa patiente assassinée Olga Kubler, interprétée par la belle Hélène de Fougerolles.
Peut-on commettre un assassinat en dormant ? Trêve de questions.
Il faut se débarrasser du corps. Et vite. Et pourquoi pas sous la Cadillac, pile en face du square…tout récemment rebaptisé Square d'Anvers-Jean-Claude Carrière en hommage à l’incontournable scénariste de Cyrano, de l'Insoutenable légèreté de l'être entre autres chefs d’œuvre, et lui-même habitant du 9e bien sûr.
Ce tableau rend donc hommage à l'une des avenues les plus cinématographiques de Paris.

Related themes

NeigeParisCinémaCadillac

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My passion for images led me to study cinema as a teenager. Having become a director, I also devote myself to painting. It transports me to another space, another relationship with myself and others. I use it [...]

My passion for images led me to study cinema as a teenager.
Having become a director, I also devote myself to painting. It transports me to another space, another relationship with myself and others.
I use it as a means of knowledge; painting helps to guide consciousness, to see further, deeper into reality.
And yet this initiation cannot be explained; it provokes, worries, exalts, like life.

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