ANDERSON CITY PALETTE

12 September 2023
Photo alternative movie poster Grand Budapest Hotel (pink) regia di yes Andrson | Adam Juresko | Soggettiva Gallery

Soggettiva Gallery presents, from Wednesday 20 September 2023 the new exhibition:
ANDERSON CITY PALETTE

The show, focused on the chromatic combinations that the director is renowned for, will debut just before the cinema debut of Asteroid City, the new film by Wes Anderson

The new exhibitions opens to celebrate one of the most important film releases of the fall, ASTEROID CITY by WES ANDERSON, crowded with Hollywood stars and eagerly awaited by fans.

From Wednesday 20 SEPTEMBER 2023 

“ANDERSON CITY PALETTE”

An unmissable collection, focused on the studied chromatic combinations that together with the visual symmetry and a unique storytelling style have made immortal films such as The Royal Tenenbaums or The Grand Budapest Hotel.

THE EXHIBTION

The posters on display – with a special setting that pays tribute to the famous chromatic choices made by the Texan director, which are able to exponentially amplify the emotions conveyed by the characters of his films – are inspired by films that have helped define the unmistakable style that still distinguishes the cinema of Wes Anderson.

THE ARTWORKS

Among others, The Life Acquatic with Steve Zissou and The Royal Tenenbaums, whose posters were made by Matthew Rabalais and Max Dalton respectively. Then the animated films, such as Isle of Dogs, which Raphael Kelly was inspired by composing a poster that recalls the shapes and colors of the flag of Japan, the country where the narrative is set. 

For the occasion Soggettiva Gallery has commissioned 4 works: two reworkings of The Grand Budapest Hotel by Adam Juresko and Veronica Chessa (in the form of boul de neige) who also signs an alternative version of The French Dispatch beyond the one by the the illustrator Giacomo Bettiol.

ANDERSON CITY

The infinite details and the thousand attentions in the films of Wes Anderson together with the brilliance of the colors and their calibration form a unitary and coherent system that denotes its unusual aesthetic and artistic sense. The three keys to understand Wes Anderson’s style are: an impeccable management of the color palette an innate gift for proportions and symmetries and an aesthetic with a nostalgic tone.

COLOR PALETTE

Therefore, for Wes Anderson, colors are not an additional and almost obvious component of the film, but an element that determines its frame and the final result that otherwise would not be so convincing and engaging.

If there is anything that identifies this director, it is the use of colors and the ability to match them. Those who see his films know that he prefers pastel tones. What causes through the use of colors is pure synesthesia, that reaction of our senses through which we evoke emotions without needing words.

THE CHROMATIC EMOTION

Colors and their combinations play, on an unconscious level, a fundamental role in watching a film and therefore on the involvement of the audience.

Wes Anderson uses his aesthetic technique of the use of color, framing and symmetries not only to the aesthetic end, but looking into the form of the true substance, with the aim of emphasizing the inner aspects of the characters, as a function of psychology by making sure that the characteristics of the protagonists are reflected in the aesthetic that represents them.

THE COMPOSITION

The shades of colors present in each scene harmonize as in a painting and every moment taken is combined with a color palette. What is striking about the director is the desire to transform cinema into a composition. A painting of a painter with complementary colors and at the same time nuanced. The work on colors, symmetry and framing are as protagonists as the story of the film. The chromatic choices become a way to relate the characters to the space that surrounds them and a way to emphasize the sensations and emotions of the same. (Giulia Notari)

MATTER OF DETAILS

Another feature that represents the director is geometry. It manages to create neat and perfect settings that make sense within the story. His sets are like little postcards full of details. Every table, every bookcase, every wall is a world of its own.

RETRO’ NOSTALGIA

Nostalgia for the past is the third element in Wes Anderson’s aesthetics. Everything has a retro feel, although there are modern elements here and there. Look for classic pieces, antiques that evoke travel, each with a specific meaning. No matter how charged the decoration may seem, there will never be an object that has no meaning.

SHOT BY WES

At the base of each of his films there is a rigid list of rules: the shots are always frontal, fixed to be noted a strong obsession with the composition of the filmic scenario. There is also bilateral symmetry, present in each scene, nothing in front of the camera is out of place, the vanishing point is always in the center to create a central perspective, also uses side scrolling and panoramic from above. These techniques and especially the use of color create an artificial narrative and a surreal feeling. Anderson makes us see the real world but especially the inner world of the characters, emphasizing the moods and emotions of the same.

INFO

SOGGETTIVA GALLERY

Via Pasquale Sottocorno 5/A, 20122 Milano

3357722437 – 3458463222

info@soggettivagallery.com 

www.soggettivagallery.com 

Opening Hours:

From Tuesday to Sunday, from 10.00 ato 13.30 / from 16.00 to 19.30/20.00

Foto alternative movie poster del film Moonrise Kingdom (map) | Kemi Mai | Wes Anderson | Soggettiva Gallery Milano
Foto alternative movie poster del film Fantastic Mr. Fox (motorbike) | maryanna holloman | Wes Anderson | Soggettiva Gallery Milano
Photo alternative movie poster The French Dispatch (plateau) regia di Wes Andrson | Giacomo Bettiol | Soggettiva Gallery
Foto alternative movie poster del film Il treno per il Darjeeling | sam gilbey | Wes Anderson | Soggettiva Gallery Milano
Opera unica (painted/framed) The French Dispatch regia di yes Andrson | Veronica Chessa | Soggettiva Gallery
Foto alternative movie poster del film I Tenenbaum (elements) | Max Dalton | Wes Anderson | Soggettiva Gallery Milano
Foto alternative movie poster del film Le avventure acquatiche di Steve Zissou (Bill)| Wes Anderson | Matthew Rabalais | Soggettiva Gallery Milano
Foto alternative movie poster del film L'isola dei cani (Red)| Wes Anderson | Raphael Kelly | Soggettiva Gallery Milano
Foto alternative movie poster del film Le avventure acquatiche di Steve Zissou (Blu)| Wes Anderson | Josh Seth Blake | Soggettiva Gallery Milano
Foto alternative movie poster del film I Tenenbaum (Baumer) | Jeff Boyes | Evanimal | Soggettiva Gallery Milano

The new exhibitions opens to celebrate one of the most important film releases of the fall, ASTEROID CITY by WES ANDERSON, crowded with Hollywood stars and eagerly awaited by fans.

From Wednesday 20 SEPTEMBER 2023 

“ANDERSON CITY PALETTE”

An unmissable collection, focused on the studied chromatic combinations that together with the visual symmetry and a unique storytelling style have made immortal films such as The Royal Tenenbaums or The Grand Budapest Hotel.

Foto alternative movie poster del film Moonrise Kingdom (map) | Kemi Mai | Wes Anderson | Soggettiva Gallery Milano

THE EXHIBTION

The posters on display – with a special setting that pays tribute to the famous chromatic choices made by the Texan director, which are able to exponentially amplify the emotions conveyed by the characters of his films – are inspired by films that have helped define the unmistakable style that still distinguishes the cinema of Wes Anderson.

Foto alternative movie poster del film Il treno per il Darjeeling | sam gilbey | Wes Anderson | Soggettiva Gallery Milano

THE ARTWORKS

Among others, The Life Acquatic with Steve Zissou and The Royal Tenenbaums, whose posters were made by Matthew Rabalais and Max Dalton respectively. Then the animated films, such as Isle of Dogs, which Raphael Kelly was inspired by composing a poster that recalls the shapes and colors of the flag of Japan, the country where the narrative is set. 

For the occasion Soggettiva Gallery has commissioned 4 works: two reworkings of The Grand Budapest Hotel by Adam Juresko and Veronica Chessa (in the form of boul de neige) who also signs an alternative version of The French Dispatch beyond the one by the the illustrator Giacomo Bettiol.

Foto alternative movie poster del film Fantastic Mr. Fox (motorbike) | maryanna holloman | Wes Anderson | Soggettiva Gallery Milano

ANDERSON CITY

The infinite details and the thousand attentions in the films of Wes Anderson together with the brilliance of the colors and their calibration form a unitary and coherent system that denotes its unusual aesthetic and artistic sense. The three keys to understand Wes Anderson’s style are: an impeccable management of the color palette an innate gift for proportions and symmetries and an aesthetic with a nostalgic tone.

Foto alternative movie poster del film Le avventure acquatiche di Steve Zissou (Bill)| Wes Anderson | Matthew Rabalais | Soggettiva Gallery Milano

COLOR PALETTE

Therefore, for Wes Anderson, colors are not an additional and almost obvious component of the film, but an element that determines its frame and the final result that otherwise would not be so convincing and engaging.

If there is anything that identifies this director, it is the use of colors and the ability to match them. Those who see his films know that he prefers pastel tones. What causes through the use of colors is pure synesthesia, that reaction of our senses through which we evoke emotions without needing words.

Alternative movie poster I Tenenbaum (Margot Tattoo) | Wes Anderson | Sandi Calistro | Soggettiva Gallery Milano
Foto alternative movie poster del film I Tenenbaum (Taxi) | Wes Anderson | Evanimal | Soggettiva Gallery Milano
Foto alternative movie poster del film I Tenenbaum (elements) | Max Dalton | Wes Anderson | Soggettiva Gallery Milano

THE CHROMATIC EMOTION

Colors and their combinations play, on an unconscious level, a fundamental role in watching a film and therefore on the involvement of the audience.

Wes Anderson uses his aesthetic technique of the use of color, framing and symmetries not only to the aesthetic end, but looking into the form of the true substance, with the aim of emphasizing the inner aspects of the characters, as a function of psychology by making sure that the characteristics of the protagonists are reflected in the aesthetic that represents them.

Foto alternative movie poster del film Le avventure acquatiche di Steve Zissou (Blu)| Wes Anderson | Josh Seth Blake | Soggettiva Gallery Milano

THE COMPOSITION

The shades of colors present in each scene harmonize as in a painting and every moment taken is combined with a color palette. What is striking about the director is the desire to transform cinema into a composition. A painting of a painter with complementary colors and at the same time nuanced. The work on colors, symmetry and framing are as protagonists as the story of the film. The chromatic choices become a way to relate the characters to the space that surrounds them and a way to emphasize the sensations and emotions of the same. (Giulia Notari)

Foto alternative movie poster del film L'isola dei cani (Red)| Wes Anderson | Raphael Kelly | Soggettiva Gallery Milano
Opera unica (painted/framed) The French Dispatch regia di yes Andrson | Veronica Chessa | Soggettiva Gallery

MATTER OF DETAILS

Another feature that represents the director is geometry. It manages to create neat and perfect settings that make sense within the story. His sets are like little postcards full of details. Every table, every bookcase, every wall is a world of its own.

Foto alternative movie poster del film Le avventure acquatiche di Steve Zissou (Bill)| Wes Anderson | Matthew Rabalais | Soggettiva Gallery Milano

RETRO’ NOSTALGIA

Nostalgia for the past is the third element in Wes Anderson’s aesthetics. Everything has a retro feel, although there are modern elements here and there. Look for classic pieces, antiques that evoke travel, each with a specific meaning. No matter how charged the decoration may seem, there will never be an object that has no meaning.

Foto alternative movie poster del film Moonrise Kingdom (boat) | Tim Doyle | Wes Anderson | Soggettiva Gallery Milano

SHOT BY WES

At the base of each of his films there is a rigid list of rules: the shots are always frontal, fixed to be noted a strong obsession with the composition of the filmic scenario. There is also bilateral symmetry, present in each scene, nothing in front of the camera is out of place, the vanishing point is always in the center to create a central perspective, also uses side scrolling and panoramic from above. These techniques and especially the use of color create an artificial narrative and a surreal feeling. Anderson makes us see the real world but especially the inner world of the characters, emphasizing the moods and emotions of the same.

INFO

SOGGETTIVA GALLERY

Via Pasquale Sottocorno 5/A, 20122 Milano

3357722437 – 3458463222

info@soggettivagallery.com 

www.soggettivagallery.com 

Opening Hours:

From Tuesday to Sunday, from 10.00 ato 13.30 / from 16.00 to 19.30/20.00

CHRIS BRAKE

Prima di passare al cinema, Chris ha lavorato come illustratore, esponendo spesso nelle rinomate gallerie d’arte della cultura pop di Los Angeles “Hero Complex Gallery” e “Gallery 1988”, producendo opere d’arte ufficiali per 20th Century Fox, Joss Whedon, Joe Dante e Roger Corman. Successivamente ha lavorato come assistente del dipartimento artistico per clienti come Virgin Media, Now TV, Little Mix e Jamie T. Il suo primo cortometraggio “Nest” è stato semifinalista al “Berlin Student Film Festival”, dove è stato nominato per il Premio della Giuria. 

Before moving on to film, Chris worked as an illustrator, often exhibiting in the renowned Los Angeles pop culture art galleries “Hero Complex Gallery” and “Gallery 1988”, producing official artwork for 20th Century Fox, Joss Whedon, Joe Dante and Roger Corman. He later worked as an assistant in the art department for clients such as Virgin Media, Now TV, Little Mix and Jamie T. His first short film “Nest” was a semifinalist at the “Berlin Student Film Festival”, where he was nominated for the Jury Prize.

STEPHEN LUROS HOLLIDAY

Da ragazzo ero appassionato di fumetti. Ho iniziato andando ai corsi di illustrazione di fumetti alla Heron Art School di Indianapolis. È stato solo al college alla School Of The Art Institute di Chicago che ho scoperto il mio amore per la serigrafia. Ho disegnato di tutto, dalle fan art, alle stampe dei film con licenza ufficiale, ai poster dei concerti. 

Il mio lavoro è stato esposto in varie mostre collettive dedicate a vari argomenti cinematografici. Ho lavorato con GalerieF a Chicago, Hero Complex Gallery, Gallery1988 e Creature Features a Los Angeles.

MAX DALTON

Max Dalton, illustratore, pittore e musicista e scrittore occasionale. Crea spesso illustrazioni per poster, libri, riviste, giornali, pubblicità e prodotti.Ha partecipato a molte mostre collettive e personali a New York, San Francisco, Los Angeles, Arizona, Parigi, Seoul e altro ancora. Il suo lavoro è apparso in molte riviste come The New Yorker, Monocle e O, The Oprah Magazine.

Max Dalton is an illustrator, painter, musician and writer. He often designs for posters, books, magazines, newspapers, advertisements and products. He has participated in many group and solo shows in New York, San Francisco, Los Angeles, Paris, Seoul and elsewhere. His work has appeared in magazines such as The New Yorker, Monocle and O, The Oprah Magazine.

OLIVIER COURBET

Olivier Courbet è un creativo multidisciplinare francese con sede a Los Angeles, California. Lavora con marchi, agenzie, studi cinematografici e startup di tutto il mondo tra cui Dreamworks, Paramount, Disney, Mattel, Will.I.AM e NBA.Ha vinto numerosi premi e il suo lavoro è stato descritto in vari libri e pubblicazioni di design tra cui Computer Arts, Logology, SXSW.

 

LAN LAWSON

Nan Lawson è un’artista e illustratrice con sede a Los Angeles. Si è laureata in regia cinematografica alla Syracuse University, ma dopo la laurea ha perseguito la sua passione per l’illustrazione. Ora ha unito il suo amore per il cinema e l’arte per dedicarsi alla cultura pop e alla locandina. Lavora nell’editoria e nell’industria dell’intrattenimento; crea libri illustrati e copertine di libri, oltre a opere d’arte e manifesti per film e televisione.

Ha lavorato con clienti tra cui Harper Collins, Audible, Random House, Hachette, Amblin Entertainment e Warner Bros.