art overcomes its fixity and embraces the
movement characteristic of real life. The ancient principle utpicturapoesis is thus updated to read, ‘out of a painting, cinema’.
At the same time, Rohmer reminds us that this archaic moving image, like the
two-dimensional canvas, is bounded by the frame. All shots in the film
featuring Jean-Baptiste Marot’s painted exteriors are taken from a
fixed angle, with changes in scale