Peter Greenaway in Venice
Photo: Courtesy Peter Greenaway and the New York Times
You can enjoy the influence of painting in film director Peter Greenaway's work (The Draughtsman's Contract, The Cook, the Thief, His Wife and Her Lover, Prospero's Books).
Now, says the Times,
Greenaway has married High Renaissance painting and advanced technology. . . in a 50-minute digital extravaganza of light, sound, theatrical illusion and formal dissection that is being projected onto and around a full-scale replica of Paolo Veronese’s The Wedding at Cana.
. . .It covers the great rear wall of the Benedictine refectory on the island of San Giorgio Maggiore, exactly where the original hung from 1562, when Veronese finished it, until 1797. That’s when Napoleon had it taken down, cut up and carted back to Paris as war booty.
. . .In Venice for the biennale, and hearing that the Greenaway was worth seeing, I went not knowing what to expect, sat down with other visitors on the refectory’s cool marble floor, leaned back, looked up and, as the piece began, felt my jaw drop. . .
You can read the whole Times review here.
This is but one of Greenaway's Nine Classical Paintings Revisited.
Thanks to Kate Hawkes, who created Performing Wellness, for sending us the link