When Zuriñe watches a movie or TV series, she follows the stories, even if they are cartoons, yes, but her gaze also wanders on the walls of the scenes. From ‘Anastasia’ to the Bridgerton phenomenon. Where most of us see an arguing couple or a romantic scene, he also finds a painting with a story at the back of the room. Or a sculpture that reproduces the art of another very valuable period.
Zuriñe Fernández de Carranza is an art restorer and look to pop culture for the ancient art that covers it. He lives to bring this knowledge closer to the youngest and public, from the plastic arts classes he teaches at the institutes in Valencia to his own social networks.
“As I started teaching and preparing lectures, I realized in the beginning that animation wasn’t just about illustration,” he explains. Then he discovered all the production work behind giants like Disney and Pixar. “They went to Oceania to document themselves with Vaiana”she exclaims in admiration.
In his spare time, with the help of the internet and a WhatsApp group of other colleagues and professionals from the art world, he began his research on the art surrounding animated films.
generation gap
From the materials he collects, he creates pedagogical cards that he uses to reach students in his lessons. “Generation gap sometimes slaps me” She accepts Zuriñe, 28. Remember how you wanted to talk in class about Roman art in the movie. Hercules but the students did not know him. On the other hand, it is very simple to explain the technical process of stop motion in animation based on the work of Tim Burton: “everyone knows it. corpse bride‘”.
This restaurateur is currently working on new references based on premieres and pop phenomena like Bridgerton.
“I saw the show and decided to rewatch it frame-by-frame to identify the paintings that adorned the rooms and halls where the story takes place,” she recalls. Set during the Regency period, Bridgerton was partly filmed in three royal museums in the UK and is actually The Holburne Museum in Bath is converted into Lady Danbury’s residence, where she hosts receptions and balls on the series..
Royal Academy to Getty and MET
some of the works scene there are re-enactments of precious pieces in the scenes: filming took the protagonists to the Royal Academy in London, where they were fascinated by a 1776 painting by Jean Françoise Lagrenée. The Getty Museum involved in the production, also the Shondaland team and production designer Will Hughes-Jones, but some paintings have changed authorship in fiction to be attributed to a character, as in Henry Granville’s paintings that recreate paintings by the famous Orazio Gentileschi, among others. .
Production also wanted give it a nod by adding some pictures to the subject of the series or to female artists who were under-recognized at the time.
Later, some works by Zuriñe Fernández de Carranza, There’s a lot more on his Twitter and Instagram account @profesoraarte. and it is recommended to catalog all of them. Will he get it?
1- Caravaggio
a recreation The incredibleness of ‘Saint Thomas’Caravaggio’s 1602 work can be seen in a scene from the second season of “Bridgerton” behind a gallery, particularly at a family gathering in the living room of the family’s summer house hero, Aubrey Hall.
2- Van Dyck
The Countess of Morton and Miss Killigrew‘ is a painting by Anthony van Dyck from 1630 that inspired the decoration of Queen Charlotte’s living room.
3- George Romney
take care too ‘Portrait of a Woman’, Supposedly by Emily Bertie Pott (died 1782). The original is in the MET Museum in New York in 1781 by George Romney. The reference hangs on the walls of one of the rooms in the Bridgerton house and is pictured with one of the brothers, Colin.
4- Joshua Reynolds
Anne Dashwood (1743-1830), later Countess of Galloway, was painted by Joshua Reynolds in 1764. A reproduction of her painting (the original also belongs to MET) hangs in the Bridgertons’ living room and can be seen on the walls in this scene starring Dafne and Anthony.
Another portrait of Sir Joshua Reynolds from 1768 ‘George Capel, age 10, with sister Elizabeth Capel’, It can be seen on the walls of the Featherington family’s living room, in the scene where Lady Portia appears, and in many other scenes.
The restorer also George RobertsonPainted by John Francis Rigaud in 1776, it shares a wall with another classic. woman portrait, From 1770 and painter Joseph Wright, again from the MET. The couple preside over the Featheringtons’ visiting room, as seen in this scene from the first season with Dafne Bridgerton and Marina Thomas.
6- John Opie
The decoration of some rooms with symbolic power was considered. The portrait that hangs in Eloise Bridgerton’s room has a strong intellectual charge, in keeping with the rebellious personality of the family, as it represents the thinker and the writer. Mary Wollstonecraft. Zuriñe Fernández de Carranza found that the original was made by John Opie around 1797.
7- Willem Wissing
‘Elizabeth Jones, Countess of Kildare’ It was painted in 1684 by Willem Wissing and the painting is in the Yale Center for English Art, as well as in the Featherington family dining room. Penelope Featherington and Lady Bridgerton are in the foreground in the scene that catches the restorer’s attention.
8- Sawrey Gilpin
Painting by Sawrey Gilpin Calling ‘Gulliver Houyhnhnms’‘ is the piece chosen on this special journey of art for one of the walls of Lord Bridgerton’s office, part of the artist’s archive. Anthony and Colin Bridgerton appear in the scene.
9- Aelbert Cuyp
‘flight view to egyptA work by Aelbert Cuyp, painted in 1650 and owned by the Metropolitan Museum of Art, has its own space in the plot of Bridgerton’s first season. After the lead couple comment on the work they observed at an exhibition at Somerset House, they share one of the series’ most memorable dialogues, which turned their relationship upside down.
10. Jean-François Lagrenee
‘Venus and nymphs bathingis a 1776 painting by Louis Jean François Lagrénée and is one of the recreations that fills the Royal Academy’s Somerset House exhibit visited by the characters in the series. The collected scene is accompanied by a dialogue between Penelope Featherington and Eloise Bridgerton, in which the author criticizes the macho gaze that objectifies the women he portrays in his painting.
11- Claude Michel
In addition to the paintings, sculptures also occupy an important place in the editing of the scenes of the series for two seasons. In fact, it is the ritual of visiting the Royal Academy’s annual collection that takes the protagonists to wander through the art-filled rooms, and the sculpture gallery has a special weight in the plot.
In this scene chosen by Zuriñe, Kate Sharma’s character is stunned by a sculpture that actually belongs to Claude Michel’s Frick collection and is a recreation of another famous sculpture originally made of terracotta. Her name ‘Zephyr and Flora’ and from 1769.