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Bilder für den Film 'Verschwörung'

Originaltitel: THE GIRL IN THE SPIDER'S NET, directed by Fede Álvarez), Sony Pictures 2018

Bilder für den Film: The Girl In the Spiders Web / Verschwörung



Über meine Bilder für den Film VERSCHWÖRUNG


Dieser als Blockbuster konzipierte Film wurde nicht in Hollywood sondern in Berlin gedreht. Drehort einer der zentralen und zugleich verstörendsten Szenen war das Penthouse über dem Bunker der prominenten Kunstsammlung Boros.

Das düstere Landschaftsbild, ein weites Tal wird von schwarzen Bergen umschlossen, wurde nach einem Schwarz-Weiss Foto gemalt. Vom Stil her orientierte ich mich an Richters Städte- und Landschaftsbildern der späten sechziger Jahren. Es entstand ein ganz eigenes, leeres und klaustrophobisches 'Landschaftsportrait', das sich wunderbar in die Kälte und Tristesse der ausgewählten Bunkerarchitektur einpasst.

Ähnlich ist es mit dem verblassten Hochformat, einer drei Meter Version des klassischen Mutter und Kind Genres, wobei das Lächeln auf dem Gesicht der Mutter nur noch schemenhaft erkennbar ist und das Bild die innerlichen Verwüstungen der Protagonisten wiederspiegelt; die zerstörte Oberfläche, elegant gemalt, als würde man mit dem Schwingschleifer über einen Vermeer gehen. Nur der große runde Babykopf bleibt in seiner Schönheit unversehrt.





An Introduction to the 'Spider's Web paintings'
by Claus Brunsmann

The movie "The Girl in the Spiders Web" is an American-German co-production and was filmed in Berlin. The first shocking moment (as seen in the trailer above) in which Lisbeth kidnappes the bad guy, was staged in the penthouse on top of the famous Boros Collection.

The first big painting is a landscape, an empty valley surrounded by mountains
that was inspired by a black and white photograph. Stylisticly I oriented myself on Richter's early conceptual grey photo paintings of the late sixties. Think of the famous "Duomo" or "Uncle Rudi". It created a very own empty and claustrophobic 'landscape portrait', which reflects the psyche of the rogue, which is held to account by Lisbeth in an unconventional way .

The second painting was even more complicated because it was based on a private photograph. It should, however, be greatly alienated, almost beyond recognition. It is inspired by the series of "Mother and Child" paintings from the Museum Hamburger Kunsthalle, paintings in a 19th century cabinet style, that are extremely small in size. However, the producers wanted a large picture of three meters height, wich was meant as visual counterpoint to the emptiness of the surroundings.
It took me a while to finally find the right shapes and the guts to almost obliterate the mothers face. In the end, an overwhelming, strange intimate mother and child portrait emerged in a way, that nobody had expected. That´s how my painting process is all about: discover something that is completely surprising and new to the viewer.



Claus Brunsmann, Schlucht, 2018, 200 x 200 cm, Öl auf Leinwand
Claus Brunsmann, Mutter und Kind, 2018, 250 x 200 cm, Öl auf Leinwand





A group of my abstract paintings played a not insignificant role in the eleventh episode of the fifth season of the American television series Homeland, entitled "Our Man in Damascus." In the strictly shielded secret service headquarters in Berlin, capital of Germany, you will find it in the office of Saul Berenson (played by Mandy Patinkin), the head of the CIA's European operations. You see Claire Danes and Nina Hoss walking by some of my most colorful abstract works.


Claus Brunsmann, Ohne Titel, 2015, 91 x 120 cm, Öl auf Leinwand, (private collection)






Paintings that could have made it into movies...

I started a series of portraits featuring charismatic females and thought, they might make it into movies one day.

Ma Anand Sheela

Claus Brunsmann, Ma Anand Sheela, 2018, 300 x 200 cm, oil on canvas

Claus Brunsmann, No return, no return, no return", 2009, 140 x 160 cm, oil on canvas

Marilyn in the arts, The National Film Museum, São Paulo, Brazil (from March 1, 2012 to April 1, 2012)





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