Piero Della Francesca « Le rêve de la diagonale, La Flagellation »

Documentary of a network of caves discovered in 1940 in France. Inside are hundreds of depictions of animals painted approximately 17,000 years ago. The site is no longer open to the public, but can be seen here.

An educational French TV documentary series which goes into depth during each episode into the analysis of a single painting.

Using a funerary portrait from the Fayum preserved at the Louvre Museum, this documentary explores the art of portrait painting in Roman Egypt during the 2nd and 3rd centuries AD. These strikingly realistic faces, painted on wooden panels and placed on mummies, reveal a multicultural society shaped by Egyptian, Greek, and Roman traditions. Through this single portrait, the film reflects on identity, memory, and the human relationship to death.

A harbor illuminated by the setting sun in a city of Italian style. On the left, a small temple topped with a clock. In the background, a large Renaissance villa with its four corner towers. On the right, sheltered by a small fort, a large basin reveals a row of tartanes. In the foreground, a shore where two ships are anchored. All around the port, figures stroll, gather, and converse. Positioned high, the viewpoint suggests a spectator looking down over the scene. A perspective effect is created by the convergence of lines toward an area near the center. Colors, the spacing of objects, grazing light, and the perspective of the architecture all combine to produce a powerful illusion of depth. The low sun generates numerous color combinations and transforms the relationships between the usual tones of objects.

By painting his monumental work The Raft of the Medusa, completed in 1819, Théodore Géricault elevated a news event to the level of modern history painting. A denunciation of cowardice, an admission of human brutality, a fascination with disaster—this ambiguous and unclassifiable work that obsessed the painter echoes one of the greatest scandals of the Restoration and, at the time, creates a new aesthetic.

Around 1515, Master Mathis added painted panels arranged as double wings to a sculpted altarpiece created twenty years earlier for the convent-hospital of Isenheim in Alsace. Dedicated to Saint Anthony the Abbot, the work was intended for patients afflicted by ergotism—the “St. Anthony’s fire”—a scourge of poorly nourished Europe that the Order of the Antonines sought to combat under the spiritual protection of their healing patron saint.

Three cards in hand, gold on the table—we are in the middle of a game of prime, a precursor to poker. Eight gold coins lie before the female player, about a dozen before the young man: the stakes are very high. This painting depicts three card players and a servant; their mouths are closed, their gestures and gazes suspended. The cheat looks directly at the viewer, an ace of diamonds hidden in his belt—his face alone is fully illuminated. His diamond cards suggest money and sexual commerce, while those of his opponent, spades, evoke misfortune and a struggle against fate. In La Tour’s time, several edicts were issued against dice cheats and swindlers. This painting, like The Fortune Teller, illustrates a saying common at the time: “Love, wine, and gambling have ruined more than one man.”

Alain Jaubert uncovers the details, interprets the symbols, and analyzes the composition. Why did the painting spark such controversy when it was presented in 1831? Was it the nudity of this armed woman? Or the triumphant people depicted in a realistic staging?

From the Bagdad School (14th century) to the Qadjar School (19th century), Persian painting has always preserved an extraordinary vitality. Court art essentially involving book illustrations, it had its schools, its royal ateliers, its secret techniques, its great masters. The focus of this film is one of the finest work from the department of oriental manuscripts at the Bibliothèque nationale de France, a collection of Five Poems (Khamse) by the great 12th century Persian poet Nezâmi. The examination of papermaking techniques, make-up, calligraphy, drawing and painting affords an opportunity to discover a fascinating civilization

Ten similar faces are printed in black, in two rows, on a big canvas measuring 5,65 meters long by 2 high. Similar, these faces ? Not quite : the viewer can distinguish many little differences, like the variations that might come from a same mould. He can also recognise the face of a famous actress, Elizabeth Taylor, "Liz". Andy Warhol composed this picture in 1963 from a photo of the star and by repeating it ten times thanks to a screen-printing screen. Why this face ? Why this repetition ? Warhol does not reveal the keys to his work easily. He became a painter by chance and seems to choose his motifs arbitrarily. Working in New York in the 1960s, at the heart of the "pop art" movement, could he be a sort of negative reflection of consumer society ? A picture like this, which seems to break with traditional portrait art, can however be deciphered just as well as a more ancient painting...

At the time Wassily Kandinsky painted Yellow-Red-Blue (1925), he was a professor at the Bauhaus. In this work, the painter applies the principles of color and analytical drawing that he also taught to his students and developed in several theoretical writings. The paintings of this period are highly colorful and highly geometric. The three primary colors and the artist’s favored shapes—triangle, square, circle—become true epic characters. “Form is the outward expression of inner content,” Kandinsky said.

A plunge into the strange and fascinating world of Francis Bacon, whose painting struggles to exorcise violence and death. The anguished and very intimate universe of one of the greatest 20th century painters reveals multiple allusions to classical painting.

These three very big panels scattered in three different museums (London, Paris and Florence) are considered to be a sort of manifesto of the new art of the 15th century. The rediscovery of the principles of perspective of the ancient Greek treatises, the innovations of an architect like Brunelleschi or a goldsmith like Ghiberti were put to good use by painters to render space and depth. But, in Uccello’s work, in addition there is, besides the passionate quest for perspective, an intense curiosity for geometric shapes, for colour and above all for movement. The subject of The Battles of San Romano : an obscure battle in the Tuscan hills, in 1432, between the mercenaries of Florence and those of Sienna. Paolo made it into a feast for the eyes and the mind and invented paradoxical images which had consequences right up to the cubist and surrealist painters.

From his very first paintings, Rembrandt stages himself. Thereafter, at least a hundred times, he would take his own face as the sole subject of an engraving, drawing, or painting. Such persistence, unique in the history of art, has been interpreted in many different ways. Some of Rembrandt’s self-portraits might appear to express an extravagant man. Yet the objects depicted in them can often be deciphered in quite another way. Through canvases and panels, one can indeed follow the entire history of Rembrandt’s face, but also read the full symbolism of a humanist Europe undergoing profound transformation.