专达利作品十年之久的画商，达利晚年唯一的邻居，独家揭秘：达利晚年雇人制作大量赝品，一生作品75％是伪作，艺术家与艺术商人发家黑幕……彻底颠覆你对艺术品市场的知识与想象！ 　　在这场没有真相的投资战争中，全世界都陷进了达利的骗局！ 　　艺术市场就像一个希望与其欺诈并存的马戏竞技场。劳里森斯为我们描绘了达利的详尽画像，这位翘胡子的“领班”怪异荒谬而又别出心裁，颐指气使而又魅力十足。

专达利作品十年之久的画商，达利晚年唯一的邻居，独家揭秘：达利晚年雇人制作大量赝品，一生作品75％是伪作，艺术家与艺术商人发家黑幕……彻底颠覆你对艺术品市场的知识与想象！ 　　在这场没有真相的投资战争中，全世界都陷进了达利的骗局！ 　　艺术市场就像一个希望与其欺诈并存的马戏竞技场。劳里森斯为我们描绘了达利的详尽画像，这位翘胡子的“领班”怪异荒谬而又别出心裁，颐指气使而又魅力十足。

Luis Buñuel, pioneer of the purest surrealist cinema since "An Andalusian Dog" and although he wanted to abandon it after "The Golden Age", he maintained continuous references to surrealist postulates during his cinematographic career in Mexico and later in France and Spain. Buñuel never ceased to cultivate these principles that emerged from his childhood, elements that, like dreams, have formed part of his most basic creative pillars and shaped a large part of the singularity of his cinema. Buñuel's cinema, like Goya's paintings, is in the creative paths of filmmakers, but also of writers, painters and playwrights. This documentary will allow a new generation of young audiences to discover this universal filmmaker. Buñuel's vision remains provocative, as well as enhanced by his links with art and literature.

Luis Buñuel, pioneer of the purest surrealist cinema since "An Andalusian Dog" and although he wanted to abandon it after "The Golden Age", he maintained continuous references to surrealist postulates during his cinematographic career in Mexico and later in France and Spain. Buñuel never ceased to cultivate these principles that emerged from his childhood, elements that, like dreams, have formed part of his most basic creative pillars and shaped a large part of the singularity of his cinema. Buñuel's cinema, like Goya's paintings, is in the creative paths of filmmakers, but also of writers, painters and playwrights. This documentary will allow a new generation of young audiences to discover this universal filmmaker. Buñuel's vision remains provocative, as well as enhanced by his links with art and literature.

British surrealist Leonora Carrington was a key part of the surrealist movement during its heyday in Paris and yet, until recently, remained a virtual unknown in the country of her birth.

1934年，萨尔瓦多·达利(Salvador Dali)被他的超现实主义同僚以反对超现实主义运动的罪名受审。这部超现实的喜剧审视了这场审判以及导致审判的事件。

1934年，萨尔瓦多·达利(Salvador Dali)被他的超现实主义同僚以反对超现实主义运动的罪名受审。这部超现实的喜剧审视了这场审判以及导致审判的事件。

Consists of segments: (1) "The Classical Ideal". The origins of Western art are traced to ancient Greece through Kouroi and Korai figures, as well as by the architectures of the Pantheon. From Greece to Rome through the Hellenistic period, the program focuses on the new artistic approach to human form and violent emotions that reached its pinnacle with the altar of Zeus at Pergamun. (2) "A White Garment of Churches". Examines Romanesque and Gothic churches as evidence of the values of the societies that created them. Shows the effect of monasticism and pilgrimage on Romanesque church architecture. Uses Gislebertus's sculpture at St. Lazare in Autun to show the medieval focus on Heaven and the afterlife. The Gothic architecture, sculpture and stained glass at St. Denis and Chartres are discussed as evidence of a new theology and profound social changes during the twelfth and early thirteenth centuries. (3) "The Early Renaissance in Italy and the North". (4) "The High Renaissance". Covers key aspects of the High Remaissance, including the advent of the artist as genius (Leonardo, Michelangelo, and Raphael), the rise of Rome as a center of artistic vitality, and Venetian preoccupation with the quality of light (Giorgione and Titian). Also examines the social turbulence of the late sixteenth century and the reinterpretation of classical architectural principles. (5) "Realms of Light". Examines the divergent themes of the baroque period, including a new emotional appeal as seen in Bernini's 'The Ecstasy of St. Teresa,' Caravaggio's naturalism, Velasquez's multilayered works, and the rise of bourgeois values as seen in Rembrandt's works. (6) "An Age of Reason, an Age of Passion". Covers the move from the rococo period to neoclassicism and romanticism. Relates stylistic changes to the French Revolution and the Napoleonic wars. Covers the work of David, Géricault, Turner, Delacroix, and Goya. (7) "Realists, Impressionists, Post-Impressionists". Contrasts Courbet's treatment of subjects from everyday life with the innovations and techniques used by the impressionists. Examines the impressionists characteristic concern with color and changing light and contrasts this with the very individualistic visions of the postimpressionists. (8) "Into the Twentieth Century". Covers the work of the Fauves, the Cubists, the international style, and the Surrealists. Discusses how these movements relate to modern life. (9) "In Our Own Time." Examines why the appearance of abstract expression caused the United States to become a center for the visual arts. Reviews the diversity of styles in the postwar period, including the work of Pollock, Warhol, Oldenburg. Also examines the explosive internationalization of the art world in the 1970s and 1980s. Written by Fiona Kelleghan {[email protected]

Consists of segments: (1) "The Classical Ideal". The origins of Western art are traced to ancient Greece through Kouroi and Korai figures, as well as by the architectures of the Pantheon. From Greece to Rome through the Hellenistic period, the program focuses on the new artistic approach to human form and violent emotions that reached its pinnacle with the altar of Zeus at Pergamun. (2) "A White Garment of Churches". Examines Romanesque and Gothic churches as evidence of the values of the societies that created them. Shows the effect of monasticism and pilgrimage on Romanesque church architecture. Uses Gislebertus's sculpture at St. Lazare in Autun to show the medieval focus on Heaven and the afterlife. The Gothic architecture, sculpture and stained glass at St. Denis and Chartres are discussed as evidence of a new theology and profound social changes during the twelfth and early thirteenth centuries. (3) "The Early Renaissance in Italy and the North". (4) "The High Renaissance". Covers key aspects of the High Remaissance, including the advent of the artist as genius (Leonardo, Michelangelo, and Raphael), the rise of Rome as a center of artistic vitality, and Venetian preoccupation with the quality of light (Giorgione and Titian). Also examines the social turbulence of the late sixteenth century and the reinterpretation of classical architectural principles. (5) "Realms of Light". Examines the divergent themes of the baroque period, including a new emotional appeal as seen in Bernini's 'The Ecstasy of St. Teresa,' Caravaggio's naturalism, Velasquez's multilayered works, and the rise of bourgeois values as seen in Rembrandt's works. (6) "An Age of Reason, an Age of Passion". Covers the move from the rococo period to neoclassicism and romanticism. Relates stylistic changes to the French Revolution and the Napoleonic wars. Covers the work of David, Géricault, Turner, Delacroix, and Goya. (7) "Realists, Impressionists, Post-Impressionists". Contrasts Courbet's treatment of subjects from everyday life with the innovations and techniques used by the impressionists. Examines the impressionists characteristic concern with color and changing light and contrasts this with the very individualistic visions of the postimpressionists. (8) "Into the Twentieth Century". Covers the work of the Fauves, the Cubists, the international style, and the Surrealists. Discusses how these movements relate to modern life. (9) "In Our Own Time." Examines why the appearance of abstract expression caused the United States to become a center for the visual arts. Reviews the diversity of styles in the postwar period, including the work of Pollock, Warhol, Oldenburg. Also examines the explosive internationalization of the art world in the 1970s and 1980s. Written by Fiona Kelleghan {[email protected]

The Art of Vision is an experimental film directed by Stan Brakhage. This colour silent films reuses footage from Brakhage's Dog Star Man but edited it into a much longer film. 　　A presentation for retrospective screening of the film explains this difference of treatment of the same material: "The rarely screened magnum opus by Stan Brakhage, an expanded version of his "cosmological epic" Dog Star Man. That film was made with multilayered superimpositions; in The Art of Vision, each layer is shown separately."