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Balthus Through the Looking-Glass (French: Balthus de l'autre côté du miroir) is a 1996 French documentary film directed by Damian Pettigrew on the French painter Balthus. The film was honored in a cycle of film classics by Jean Renoir, Marcel Carné, and Jean Vigo at the Museum Ludwig (Cologne, Germany) in September 2007.
Overview. Using rare images of the artist filmed at work in his studio, exclusive interviews with his family and close friends, photographs by Henri Cartier-Bresson, and unpublished artwork, this award-winning feature documentary highlights the painter’s complex creative process.
Balthus a través del espejo (en francés: Balthus de l'autre côté du miroir) es un documental francés de 1996 dirigido por Damian Pettigrew sobre el pintor francés Balthus. La película fue homenajeada en un ciclo de clásicos del cine de Jean Renoir , Marcel Carné y Jean Vigo en el Museo Ludwig (Colonia, Alemania) en septiembre de 2007.
la realización de Balthus, de l’autre côté du miroir (Damian Pettigrew, 1996), documental incluido en el ciclo, junto a Los niños terribles (Les Enfants terribles, 1950), dirigido por Jean-Pierre Melville según la novela de Jean Cocteau, fruto, entre otros, de la relación de este con la familia Klossowski.
Balthus de l'autre côté du miroir: Directed by Damian Pettigrew. With Philippe Noiret, François Rouan, Jean Leymarie, Jean Clair. The painter, almost 90 years old, in his home and studio, at work on a large canvas, or reflected in the discourse of collectors, friends, family, and in his own memories of artistic influences, and scenes of his ...
1996 ‘Balthus de l'autre côté du miroir’ Directed by Damian Pettigrew. Using rare images of the artist filmed at work in his studio, exclusive interviews with his family and close friends, photographs by Henri Cartier-Bresson, and unpublished artwork, this award-winning feature documentary highlights the painter’s complex creative process.
Balthus, his real name Balthazar Klossowski de Rola, remains an enigma in contemporary art not only on account of his constant hostility to all pictorial movements of his era, but also on account of his personality. His solitary and secret character kept him out of the media, and there are almost no images or interviews with the man.
