Belgian art historian and filmmaker Paul Haesaerts (1901–1974) made a significant contribution to the promotion of modern Flemish art. In the late 1940s, he started experimenting with the medium of film to practice a new form of lens-based art criticism. The understudied documentary Quatre peintres belges au travail (1952) presents Belgian artists Edgar Tytgat, Albert Dasnoy, Jean Brusselmans and Paul Delvaux at work in their studio. On a large sheet of glass placed in front of the camera, they each paint one of the seasons that also represent a stage in a person’s life. A close reading of this Kodachrome color film sheds light on the context of mid-century art reproductions, mass media and post-war Flemish culture. It also examines in what way this film operates as Haesaerts’s concept of cinéma critique, while raising questions as to the way Haesaerts attempted to reconcile the spatial art of painting with the temporal medium of film.

中文翻译：

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Quatre Peintres Belges au Travail：Paul Haesaerts 关于 Edgar Tytgat、Albert Dasnoy、Jean Brusselmans 和 Paul Delvaux 的电影 (1952)

比利时艺术史学家和电影制片人 Paul Haesaerts（1901-1974 年）为促进现代佛兰芒艺术做出了重大贡献。在 1940 年代后期，他开始尝试以电影为媒介，以实践一种新的以镜头为基础的艺术批评形式。纪录片Quatre peintres belges au travail (1952) 展示了比利时艺术家 Edgar Tytgat、Albert Dasnoy、Jean Brusselmans 和 Paul Delvaux 在他们工作室的工作。在镜头前的一大块玻璃上，他们各自描绘了一个季节，也代表了一个人生命中的一个阶段。仔细阅读这部柯达彩色胶片，可以了解中世纪艺术复制品、大众媒体和战后佛兰芒文化的背景。它还检查了这部电影是如何作为 Haesaerts 的概念运作的cinéma critique，同时对 Haesaerts 试图将绘画的空间艺术与电影的时间媒介相协调的方式提出质疑。