Courbet, “The Wheat Sifters,” 1854. 
Breathtaking color. There’s a claim (which I had never really understood) early in Bazin’s “The Ontology of the Photographic Image” that says that cinema is still outdone by painting in its ability to faithfully reproduce color. Whether this is true now the way it was then I can’t say (my fascination with the coloring in the restoration of Vertigo suggests perhaps not), but my God is this ever a breath-taking scene. 

Courbet, “The Wheat Sifters,” 1854. 

Breathtaking color. There’s a claim (which I had never really understood) early in Bazin’s “The Ontology of the Photographic Image” that says that cinema is still outdone by painting in its ability to faithfully reproduce color. Whether this is true now the way it was then I can’t say (my fascination with the coloring in the restoration of Vertigo suggests perhaps not), but my God is this ever a breath-taking scene.