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please click on their links or select the tabs above. For more information regarding the film and Lincoln Perry’s mural work, read below.
THE MURALS OF LINCOLN PERRY
How does an artist enter into collaboration with an eminent architect long dead, such as Stanford White, designer of Old Cabell Hall, opposite the Rotunda at Thomas Jefferson’s University of Virginia? Seeing bare walls, how does the artist populate them with painted figures, first in his mind’s eye, then in sketches and finally with oil on canvas? What skills, what familiarity with past art, what kinds of narrative invention are necessary to make flat walls open up illusionistically and meaningfully? How to let those entering the building feel included in that fictive world, to feel it speaks to their concerns? These are all questions addressed in The Murals of Lincoln Perry, an hour long documentary that follows Lincoln through his mural painting process. We witness him working from his imagination as well as from models, see him climbing vast scaffolding, and hear him discussing the work’s challenges.
The mural’s final form follows the setbacks and small triumphs of a violin playing student from her first day of class at the University of Virginia to graduation and beyond in 25 large sequential panels, each of which is associated with a seasonal progression. We see her integrated into the larger community as she marries and has a daughter who in turn comes of age and enters the same cyclical progress. The world the daughter enters in the stairwell has a raucous crowd of partying students face an almost equally carnivalesque group of professors looking back with varying degrees of disapproval and envy. She has to find her own way amid the opportunities and distractions of these Songs of Innocence and Experience. Maturing is no easier for her than it was for her mother, or for any of us.
Lincoln Perry has done large murals for the Met Life building in St. Louis, 1700 Pennsylvania Avenue and Lincoln Square in Washington DC, the John Hancock building in Boston and for the Federal Courthouse in Tallahassee, Florida.
Produced, Directed and Edited by
Director of Photography
Associate Producer and Post Production
For more information, please visit www.silverthornfilms.com
Funding for this film was provided by:
- The Rector and Visitors of the University of Virginia
- The Alumni Board of Trustees of the University of Virginia Endowment Fund, Inc.
- The Estate of David A. Harrison