The director - artist delves deep inside the space of the painting,and by transfering it onto the cinema screen difuses it. The aforemented type of scene is repeated several times throughout the film's duration. The cinema mirrors painting and is essentially its heir. The scene becomes a living picture which imitates the artificial painted canvas, giving it a real dimension, reviving an unrealised illusion. The Geographer, The Astronomer.
Good vision leads to good thought and from that idea comes the necessity for education of vision.
Something similar has to be done in the cinema which has so many of its origins in painting. The dependence and engagement with the tradition of painting and its renaissance penetrate, enlarge and enrich the cinematographic textile. Quick mouvements of the camera are avoided. In the film Zoo like brush-strokes of an impatient painter a vase of flowers is thrown in the cinema screen where Alba, the handicapped woman is dressed by Vermeer. The camera defines its personal field and rarely follows the actor.