Noah Becker on the Magic of Cinema Palettes

By NOAH BECKER, August 2017

After June of each year the art world in New York gets a bit slow so I go to visit family in Victoria, BC Canada on Vancouver Island. Vancouver Island is like the Hamptons with no Jews (except when I'm there). Art Basel already happened by now and most of the other major events happened with most art organizations planning for the fall at this point. There is a smattering of shows opening in Montauk or the Hamptons and a few summer group shows in Manhattan's hot box of summer heat. Some people who are in the art world in Asia would not agree with me on this idea of art world slow down - but I'm a New York based cultural leader so everything revolves around that axis for me. During the art season in New York I read about Victoria as being the hottest real estate market in the world right now. It's nice here but overcrowded and they need more parking. 

Anyways, while I'm here to pass the time I am working on a major commission - it's a series of 100 portraits of Hollywood celebrities and insiders (more about that soon). All this Hollywood interaction got me thinking about cinema from the perspective of a painter. My paintings would benefit from the study of how color is used in cinema or so I thought? So I found a few Instagram profiles and Twitter profiles that specialize in how color is used in films. The term "cinema palette" was my go to term on Google and the following is the result of a few weeks of research on the topic.  When I return to New York City in late September, I'll have enough paintings to post a new piece on social media once per week for the next 2 years. I'll also have an advanced awareness of how color is used in great films - and that has been a rewarding area of research over the past few weeks. 

Have a look at the following images. WM