Misplaced Pages

#214785

123-557: The Qatsi trilogy is a series of three non-narrative films produced by Godfrey Reggio and scored by Philip Glass . The trilogy includes Koyaanisqatsi (1982), Powaqqatsi (1988), and Naqoyqatsi (2002). The titles of the films are derived from the Hopi language , in which the word qatsi translates to "life." The series was produced by the Institute For Regional Education, who also created

246-412: A 1963 Canadian short abstract collage film of discarded footage and city street scenes, had a profound influence on Lucas and sound designer/editor Walter Murch . Lucas greatly admired pure cinema and at film school became prolific at making 16mm nonstory noncharacter visual tone poems and cinéma vérité, with such titles as Look at Life , Herbie , 1:42.08 , The Emperor , Anyone Lived in

369-557: A Pretty (how) Town , Filmmaker , and 6-18-67 . Lucas's tributes to 21-87 appear in several places in Star Wars , with the phrase, " the Force ", said to have been inspired by 21-87 in part. Lucas throughout his entire career was passionate and interested in camerawork and editing, defining himself as a filmmaker as opposed to a director, and he loved making abstract visual movies that create emotions purely through cinema. Music

492-601: A color test of the animated section. He then created An Optical Poem (1937) for MGM , but received no profits because of the way the studio's bookkeeping system worked. Walt Disney had seen Lye's A Colour Box and became interested in producing abstract animation. A first result was the Toccata and Fugue in D Minor section in the "concert film" Fantasia (1940). He hired Oskar Fischinger to collaborate with effects animator Cy Young , but rejected and altered much of their designs, causing Fischinger to leave without credit before

615-497: A dynamic organism, offering a captivating glimpse of New York during its gritty peak. The short-fim maintains a continuous sense of movement, creating an illusion of organic evolution and transformation via time-lapse photography. In this portrayal, the city evolves into a dynamic entity pulsing with energy, vitality, and perpetual regeneration. It embodies a colossal organism, thriving on the life force of those drawn to it, each seeking to conquer its urban landscape. Titled "Organism," it

738-626: A family of musicians and analysed the elements of painting by reducing it into his "Generalbass der Malerei", a catalogue of typological elements, from which he would create new "orchestrations". In 1918 Viking Eggeling had been engaging in Dada activities in Zürich and befriended Hans Richter. According to Richter, absolute film originated in the scroll sketches that Viking Eggeling made in 1917–1918. On paper rolls up to 15 meters long, Eggeling would draw sketches of variations of small graphic designs, in such

861-636: A few dozens of short films over the years. The Nazis censorship against so-called " degenerate art " prevented the German abstract animation movement from developing after 1933. The last abstract motion picture screened in the Third Reich was Hans Fischinger 's Tanz der Farben (i.e. Dance of the Colors ) in 1939. The film was reviewed by the Film Review Office and by Georg Anschütz for

984-784: A figures and houses, to geometric schemas, to cubes". Vauxcelles recounted how Matisse told him at the time, "Braque has just sent in [to the 1908 Salon d'Automne ] a painting made of little cubes". The critic Charles Morice relayed Matisse's words and spoke of Braque's little cubes. The motif of the viaduct at l'Estaque had inspired Braque to produce three paintings marked by the simplification of form and deconstruction of perspective. Georges Braque's 1908 Houses at L’Estaque (and related works) prompted Vauxcelles, in Gil Blas , 25 March 1909, to refer to bizarreries cubiques (cubic oddities). Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro , as

1107-542: A film student at USC School of Cinematic Arts , where he saw many more inspiring cinematic works in class, particularly the visual movies coming out of the National Film Board of Canada like Arthur Lipsett 's 21-87 , the Canadian cameraman Jean-Claude Labrecque 's cinéma vérité 60 Cycles , the work of Norman McLaren , and the visualise cinéma vérité documentaries of Claude Jutra . Lipsett's 21-87 ,

1230-581: A gauge against which such diverse tendencies as Realism or Naturalism , Dada , Surrealism and abstraction could be compared. Japan and China were among the first countries in Asia to be influenced by Cubism. Contact first occurred via European texts translated and published in Japanese art journals in the 1910s. In the 1920s, Japanese and Chinese artists who studied in Paris, for example those enrolled at

1353-413: A genre or style in art with a specific common philosophy or goal. A significant modification of Cubism between 1914 and 1916 was signaled by a shift towards a strong emphasis on large overlapping geometric planes and flat surface activity. This grouping of styles of painting and sculpture, especially significant between 1917 and 1920, was practiced by several artists; particularly those under contract with

SECTION 10

#1732775949215

1476-445: A jumble of objects and reality thrown together at random." Among the proposed methods were: "Cinematic musical researches", "Daily exercises in freeing ourselves from mere photographed logic" and "Linear, plastic, chromatic equivalences, etc., of men, women, events, thoughts, music, feelings, weights, smells, noises (with white lines on black we shall show the inner, physical rhythm of a husband who discovers his wife in adultery and chases

1599-409: A leaflet about it and claimed that many people growing up with the hand-colored films of Georges Méliès and Ferdinand Zecca would try their hand on painting on film at that time. In 1913 Léopold Survage created his Rythmes colorés : over 100 abstract ink wash / watercolor drawings that he wanted to turn into a film. Unable to raise the funds, the film was not realized and Survage only exhibited

1722-426: A longer film. They shot all kinds of material in the street and in a studio, used Murphy's special beveled lenses and crudely animated showroom dummy legs. They chose the title Ballet Mécanique from an image by Francis Picabia that had been published in his New York 391 magazine, which had also featured a poem and art by Man Ray. They ran out of money before they could complete the film. Fernand Léger helped financing

1845-420: A more minimal, formal style. The movement also encompasses the work of the feminist critic/cinematic filmmaker Germaine Dulac , particularly Thème et variations (1928), Disque 957 (1928), and Cinegraphic Study of an Arabesque . In these, as well as in her theoretical writing, Dulac's goal was "pure" cinema, free from any influence from literature, the stage, or even the other visual arts. The style of

1968-719: A much broader ideological transformation towards conservatism in both French society and French culture . The most innovative period of Cubism was before 1914. After World War I, with the support given by the dealer Léonce Rosenberg , Cubism returned as a central issue for artists, and continued as such until the mid-1920s when its avant-garde status was rendered questionable by the emergence of geometric abstraction and Surrealism in Paris . Many Cubists, including Picasso, Braque, Gris, Léger, Gleizes, Metzinger and Emilio Pettoruti while developing other styles, returned periodically to Cubism, even well after 1925. Cubism reemerged during

2091-477: A narrative film and a non-narrative film can be rather vague and is often open for interpretation. Unconventional imagery, concepts and structuring can obscure the narrativity of a film. Terms such as absolute film , cinéma pur , true cinema and integral cinema have been used for non-narrative films that aimed to create a purer experience of the distinctive qualities of film, like movement, rhythm and changing visual compositions. More narrowly, "absolute film"

2214-787: A neutral background with a moving camera. A number of devices can be regarded as early media for abstract animation or visual music, including color organs , chinese fireworks , the kaleidoscope , musical fountains and special animated slides for the magic lantern (like the chromatrope). Some of the earliest animation designs for stroboscopic devices (like the phénakisticope and the zoetrope) were abstract, including one Fantascope disc by inventor Joseph Plateau and many of Simon Stampfer 's Stroboscopische Scheiben (1833). Abstract film concepts were shaped by early 20th century art movements such as Cubism , Expressionism , Dadaism , Suprematism , Futurism , Precisionism and possible others. These art movements were beginning to gain momentum in

2337-419: A new "pure" painting in which the subject was vacated. But in spite of his use of the term Orphism these works were so different that they defy attempts to place them in a single category. Also labeled an Orphist by Apollinaire, Marcel Duchamp was responsible for another extreme development inspired by Cubism. The ready-made arose from a joint consideration that the work itself is considered an object (just as

2460-501: A new addition to the Salon scene, exhibited his Portrait of Picasso (Art Institute of Chicago), while Metzinger's two showings included La Femme au Cheval ( Woman with a horse , 1911–1912, National Gallery of Denmark ). Delaunay's monumental La Ville de Paris (Musée d'art moderne de la Ville de Paris) and Léger's La Noce ( The Wedding , Musée National d'Art Moderne, Paris), were also exhibited. In 1912, Galeries Dalmau presented

2583-526: A new style caused rapid changes in art across France, Germany, The Netherlands, Italy, and Russia. The Impressionists had used a double point of view, and both Les Nabis and the Symbolists (who also admired Cézanne) flattened the picture plane, reducing their subjects to simple geometric forms. Neo-Impressionist structure and subject matter, most notably to be seen in the works of Georges Seurat (e.g., Parade de Cirque , Le Chahut and Le Cirque ),

SECTION 20

#1732775949215

2706-410: A nonfiction film can be constructed as a narrative." Ruttmann's 1927 Berlin: Symphony of a Great City , Dziga Vertov 's Man with a Movie Camera (1929) and other cinéma vérité works can be considered as documentaries in the cinéma pur style. Documentary filmmaker, artist, and choreographer Hilary Harris (1929 – 1999) invested 15 years in crafting his time-lapse film portraying Manhattan as

2829-526: A painting), and that it uses the material detritus of the world (as collage and papier collé in the Cubist construction and Assemblage). The next logical step, for Duchamp, was to present an ordinary object as a self-sufficient work of art representing only itself. In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected a bottle-drying rack as a sculpture in its own right. The Section d'Or , also known as Groupe de Puteaux , founded by some of

2952-494: A phonograph. In 1927 Kasimir Malevich had created a 3-page scenario in manuscript with explanatory color drawings for an "Artistic-Scientific film" entitled Art and the Problems of Architecture: The Emergence of a New Plastic System of Architecture , an instructional film about the theory, origin and evolution of suprematism . Initially there were plans to have the film animated in a Soviet studio, but Malevich took it along on

3075-491: A purely formal frame of reference. Crystal Cubism, and its associative rappel à l'ordre , has been linked with an inclination—by those who served the armed forces and by those who remained in the civilian sector—to escape the realities of the Great War, both during and directly following the conflict. The purifying of Cubism from 1914 through the mid-1920s, with its cohesive unity and voluntary constraints, has been linked to

3198-532: A secondary or satellite role in Cubism is a profound mistake." The history of the term "Cubism" usually stresses the fact that Matisse referred to "cubes" in connection with a painting by Braque in 1908, and that the term was published twice by the critic Louis Vauxcelles in a similar context. However, the word "cube" was used in 1906 by another critic, Louis Chassevent, with reference not to Picasso or Braque but rather to Metzinger and Delaunay: The critical use of

3321-632: A series entitled Formes Circulaires , in which he combined planar structures with bright prismatic hues; based on the optical characteristics of juxtaposed colors his departure from reality in the depiction of imagery was quasi-complete. In 1913–14 Léger produced a series entitled Contrasts of Forms , giving a similar stress to color, line and form. His Cubism, despite its abstract qualities, was associated with themes of mechanization and modern life. Apollinaire supported these early developments of abstract Cubism in Les Peintres cubistes (1913), writing of

3444-536: A teenager in the San Francisco Bay Area during the early 1960s, saw many exhilarating and inspiring abstract 16mm movies and nonstory noncharacter 16mm visual tone poems screened at cinematic artist Bruce Baillie 's independent, underground Canyon Cinema shows; along with some of Baillie 's own early visual motion pictures, Lucas became inspired by the work of Jordan Belson , Bruce Conner , Will Hindle , and others. Lucas then went on to enrol as

3567-534: A time when both artists had recently acquired an interest in primitivism , Iberian sculpture, African art and African tribal masks . They became friendly rivals and competed with each other throughout their careers, perhaps leading to Picasso entering a new period in his work by 1907, marked by the influence of Greek, Iberian and African art. Picasso's paintings of 1907 have been characterized as Protocubism , as notably seen in Les Demoiselles d'Avignon ,

3690-469: A trip to Berlin and ended up leaving it for Hans Richter after the two had met. The style and colorfulness of Rhythmus 25 had convinced Malevich that Richter should direct the film. Due to circumstances the scenario did not get into the hands of Richter before the end of the 1950s. Richter created storyboards, two rough cuts and at least 120 takes for the film in collaboration with Arnold Eagle since 1971, but it remained incomplete. Richter had wanted to create

3813-538: A type of color organ. Eggeling happened to die a few days later. Oskar Fischinger met Walter Ruttmann at rehearsals for screenings of Opus I with live music in Frankfurt. In 1921 he started experimenting with abstract animation in wax and clay and with colored liquids. He used such early material in 1926 in multiple-projection performances for Alexander Laszlo 's Colorlightmusic concerts. That same year he released his first abstract animations and would continue with

Qatsi trilogy - Misplaced Pages Continue

3936-578: A way that a viewer could follow the changes in the designs when looking at the scroll from beginning to end. For a few years Eggeling and Richter worked together, each on their own projects based on these ides, and created thousands of rhythmic series of simple shapes. In 1920 they started working on film versions of their work. Walter Ruttmann, trained as a musician and painter, gave up painting to devote himself to film. He made his earliest films by painting frames on glass in combination with cutouts and elaborate tinting and hand-coloring. His Lichtspiel: Opus I

4059-400: A wide audience. Over 200 works were displayed, and the fact that many of the artists showed artworks representative of their development from 1909 to 1912 gave the exhibition the allure of a Cubist retrospective. The group seems to have adopted the name Section d'Or to distinguish themselves from the narrower definition of Cubism developed in parallel by Pablo Picasso and Georges Braque in

4182-409: A wide ideological shift towards conservatism in both French society and culture. Yet, Cubism itself remained evolutionary both within the oeuvre of individual artists, such as Gris and Metzinger, and across the work of artists as different from each other as Braque, Léger and Gleizes. Cubism as a publicly debated movement became relatively unified and open to definition. Its theoretical purity made it

4305-418: Is an early-20th-century avant-garde art movement begun in Paris that revolutionized painting and the visual arts, and influenced artistic innovations in music , ballet , literature , and architecture . Cubist subjects are analyzed, broken up, and reassembled in an abstract form—instead of depicting objects from a single perspective, the artist depicts the subject from multiple perspectives to represent

4428-415: Is difficult to apply to painters such as Jean Metzinger , Albert Gleizes, Robert Delaunay and Henri Le Fauconnier , whose fundamental differences from traditional Cubism compelled Kahnweiler to question whether to call them Cubists at all. According to Daniel Robbins , "To suggest that merely because these artists developed differently or varied from the traditional pattern they deserved to be relegated to

4551-531: Is not yet Cubist. The disruptive, expressionist element in it is even contrary to the spirit of Cubism, which looked at the world in a detached, realistic spirit. Nevertheless, the Demoiselles is the logical picture to take as the starting point for Cubism, because it marks the birth of a new pictorial idiom, because in it Picasso violently overturned established conventions and because all that followed grew out of it." The most serious objection to regarding

4674-521: Is pushed to a high degree of complexity in Metzinger's Nu à la cheminée , exhibited at the 1910 Salon d'Automne; Gleizes' monumental Le Dépiquage des Moissons (Harvest Threshing) , exhibited at the 1912 Salon de la Section d'Or; Le Fauconnier's Abundance shown at the Indépendants of 1911; and Delaunay's City of Paris , exhibited at the Indépendants in 1912. These ambitious works are some of

4797-411: Is the dominant aesthetic, though non-narrative film is not fully distinct from that aesthetic. While the non-narrative film avoids "certain traits" of the narrative film, it "still retains a number of narrative characteristics". Narrative film also occasionally uses "visual materials that are not representational". Although many abstract films are clearly devoid of narrative elements, distinction between

4920-503: Is to say of poetry which is truly cinematographic, has been provided us by some remarkable films, vulgarly called documentaries, particularly Nanook and Moana . According to Timothy Corrigan in The Film Experience , non-narrative film is distinct from nonfiction film, though both forms may overlap in documentary films . In the book Corrigan writes, "A non-narrative film may be entirely or partly fictional; conversely,

5043-607: The Ballets Suédois) and Clair himself. The film showed absurd scenes and used slow motion and reverse playback, superimpositions, radical camera angles, stop motion and other effects. Erik Satie composed a score that was to be performed in sync with certain scenes. Henri Chomette adjusted the film speed and shot from different angles to capture abstract patterns in his 1925 film Jeux des reflets de la vitesse ( The Play of Reflections and Speed ). His 1926 film Cinq minutes du cinéma pur ( Five minutes of Pure Cinema ) reflected

Qatsi trilogy - Misplaced Pages Continue

5166-412: The Demoiselles as the origin of Cubism, with its evident influence of primitive art, is that "such deductions are unhistorical", wrote the art historian Daniel Robbins . This familiar explanation "fails to give adequate consideration to the complexities of a flourishing art that existed just before and during the period when Picasso's new painting developed." Between 1905 and 1908, a conscious search for

5289-717: The Film-Kurier . The director Herbert Seggelke was working on the abstract motion picture Strich-Punkt-Ballett (i.e. Ballet of Dots and Dashes) in 1943, but could not finish the film during the war. Mieczysław Szczuka also attempted to create abstract films, but seems never to have realized his plans. Some designs were published in 1924 in the avant-garde magazine block as 5 Moments of an Abstract Film . In 1926 dadaist Marcel Duchamp released Anémic Cinéma , filmed in collaboration with Man Ray and Marc Allégret . It showed early versions of his rotoreliefs, discs that seemed to show an abstract 3-D moving image when rotating on

5412-514: The Montmartre quarter of Paris, and to show that Cubism, rather than being an isolated art-form, represented the continuation of a grand tradition (indeed, the golden ratio had fascinated Western intellectuals of diverse interests for at least 2,400 years). The idea of the Section d'Or originated in the course of conversations between Metzinger, Gleizes and Jacques Villon. The group's title

5535-479: The National Film Board of Canada 's animation unit in 1941. Direct animation was seen as a way to deviate from cel animation and thus a way to stand out from the many American productions. McLaren's direct animations for NFB include Boogie-Doodle (1941), Hen Hop (1942), Begone Dull Care (1949) and Blinkity Blank (1955). Harry Everett Smith created several direct films, initially by hand-painting abstract animations on celluloid. His Early Abstractions

5658-411: The antecedent of Cubism. Art historian Douglas Cooper says Paul Gauguin and Paul Cézanne "were particularly influential to the formation of Cubism and especially important to the paintings of Picasso during 1906 and 1907". Cooper goes on to say: "The Demoiselles is generally referred to as the first Cubist picture. This is an exaggeration, for although it was a major first step towards Cubism it

5781-539: The boulevard du Montparnasse . These soirées often included writers such as Guillaume Apollinaire and André Salmon . Together with other young artists, the group wanted to emphasise a research into form, in opposition to the Neo-Impressionist emphasis on color. Louis Vauxcelles, in his review of the 26th Salon des Indépendants (1910), made a passing and imprecise reference to Metzinger, Gleizes, Delaunay, Léger and Le Fauconnier as "ignorant geometers, reducing

5904-737: The dadaist cinéma pur movement. Abstract film or absolute film is a subgenre of experimental film and a form of abstract art . Abstract films are non-narrative, contain no acting and do not attempt to reference reality or concrete subjects. They rely on the unique qualities of motion, rhythm, light and composition inherent in the technical medium of cinema to create emotional experiences. Many abstract films have been made with animation techniques. The distinction between animation and other techniques can be rather unclear in some films, for instance when moving objects could either be animated with stop motion techniques, recorded during their actual movement, or appear to move due to being filmed against

6027-473: The École nationale supérieure des Beaux-Arts , brought back with them both an understanding of modern art movements, including Cubism. Notable works exhibiting Cubist qualities were Tetsugorō Yorozu 's Self Portrait with Red Eyes (1912) and Fang Ganmin 's Melody in Autumn (1934). The Cubism of Picasso and Braque had more than a technical or formal significance, and the distinct attitudes and intentions of

6150-662: The "Qatsi" trilogy, which includes "Koyaanisqatsi" (1982), " Powaqqatsi " (1988), and " Naqoyqatsi " (2002). These films, scored by composer Philip Glass , offer visual experiences that examine the effects of technology, consumerism, and environmental issues on the world. Reggio's work employs techniques such as time-lapse photography and slow motion to prompt reflection on contemporary existence. Following in Reggio's footsteps, his cinematographer Ron Fricke achieved notable milestones within this approach, including "Chronos," " Baraka ," and " Samsara ." Director George Lucas , growing up as

6273-824: The "Salle 41" artists, e.g., Francis Picabia ; the brothers Jacques Villon , Raymond Duchamp-Villon and Marcel Duchamp , who beginning in late 1911 formed the core of the Section d'Or (or the Puteaux Group ); the sculptors Alexander Archipenko , Joseph Csaky and Ossip Zadkine as well as Jacques Lipchitz and Henri Laurens ; and painters such as Louis Marcoussis , Roger de La Fresnaye , František Kupka , Diego Rivera , Léopold Survage , Auguste Herbin , André Lhote , Gino Severini (after 1916), María Blanchard (after 1916) and Georges Valmier (after 1918). More fundamentally, Christopher Green argues that Douglas Cooper's terms were "later undermined by interpretations of

SECTION 50

#1732775949215

6396-509: The 'Soirée du coeur à barbe" program in Paris. The film consisted mainly of abstract textures, with moving photograms that were created directly on the film strip, abstract forms filmed in motion, and light and shadow on the nude torso of Kiki of Montparnasse ( Alice Prin ). Man Ray later made Emak-Bakia (16 mins, 1926); L'Étoile de Mer (15 mins, 1928); and Les Mystères du Château de Dé (27 mins, 1929). Dudley Murphy had seen Man Ray's Le Retour à la Raison and proposed to collaborate on

6519-448: The 1910s. Italian Futurists Arnaldo Ginna and his brother Bruno Corra made hand-painted films between 1910 and 1912 that are now lost. In 1916 they published The Futurist Cinema manifesto together with Giacomo Balla , Filippo Tommaso Marinetti , Remo Chiti and Emilio Settimelli. They proposed a cinema that "being essentially visual, must above all fulfill the evolution of painting, detach itself from reality, from photography, from

6642-554: The 1911 Salon des Indépendants and the 1912 Salon d'Automne in Paris). Clarifying their aims as artists, this work was the first theoretical treatise on Cubism and it still remains the clearest and most intelligible. The result, not solely a collaboration between its two authors, reflected discussions by the circle of artists who met in Puteaux and Courbevoie . It mirrored the attitudes of the "artists of Passy", which included Picabia and

6765-586: The 1911 Salon. The article was titled The "Cubists" Dominate Paris' Fall Salon and subtitled Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition – What Its Followers Attempt to Do. Among all the paintings on exhibition at the Paris Fall Salon none is attracting so much attention as the extraordinary productions of the so-called "Cubist" school. In fact, dispatches from Paris suggest these works are easily

6888-483: The 1911 and 1912 Salons extended beyond the conventional Cézanne-like subjects—the posed model, still-life and landscape—favored by Picasso and Braque to include large-scale modern-life subjects. Aimed at a large public, these works stressed the use of multiple perspective and complex planar faceting for expressive effect while preserving the eloquence of subjects endowed with literary and philosophical connotations. In Du "Cubisme" Metzinger and Gleizes explicitly related

7011-422: The 1912 Salon d'Automne, Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude , were highly abstract (or nonrepresentational) and metaphysical in orientation. Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes. Beginning in 1912 Delaunay painted a series of paintings entitled Simultaneous Windows , followed by

7134-426: The 1912 exhibition had been curated to show the successive stages through which Cubism had transited, and that Du "Cubisme" had been published for the occasion, indicates the artists' intention of making their work comprehensible to a wide audience (art critics, art collectors, art dealers and the general public). Undoubtedly, due to the great success of the exhibition, Cubism became avant-garde movement recognized as

7257-657: The 1920s and the 1930s in the work of the American Stuart Davis and the Englishman Ben Nicholson . In France, however, Cubism experienced a decline beginning in about 1925. Léonce Rosenberg exhibited not only the artists stranded by Kahnweiler's exile but others including Laurens, Lipchitz, Metzinger, Gleizes, Csaky, Herbin and Severini. In 1918 Rosenberg presented a series of Cubist exhibitions at his Galerie de l’Effort Moderne in Paris. Attempts were made by Louis Vauxcelles to argue that Cubism

7380-610: The Cubist depiction of space, mass, time, and volume supports (rather than contradicts) the flatness of the canvas was made by Daniel-Henry Kahnweiler as early as 1920, but it was subject to criticism in the 1950s and 1960s, especially by Clement Greenberg . Contemporary views of Cubism are complex, formed to some extent in response to the "Salle 41" Cubists, whose methods were too distinct from those of Picasso and Braque to be considered merely secondary to them. Alternative interpretations of Cubism have therefore developed. Wider views of Cubism include artists who were later associated with

7503-469: The Cubists. The 1912 manifesto Du "Cubisme" by Metzinger and Gleizes was followed in 1913 by Les Peintres Cubistes , a collection of reflections and commentaries by Guillaume Apollinaire. Apollinaire had been closely involved with Picasso beginning in 1905, and Braque beginning in 1907, but gave as much attention to artists such as Metzinger, Gleizes, Delaunay, Picabia, and Duchamp. The fact that

SECTION 60

#1732775949215

7626-523: The Duchamp brothers, to whom sections of it were read prior to publication. The concept developed in Du "Cubisme" of observing a subject from different points in space and time simultaneously, i.e., the act of moving around an object to seize it from several successive angles fused into a single image (multiple viewpoints, mobile perspective, simultaneity or multiplicity), is a generally recognized device used by

7749-713: The First World War. Léger was based in Montparnasse. In contrast, the Salon Cubists built their reputation primarily by exhibiting regularly at the Salon d'Automne and the Salon des Indépendants, both major non-academic Salons in Paris. They were inevitably more aware of public response and the need to communicate. Already in 1910 a group began to form which included Metzinger, Gleizes, Delaunay and Léger. They met regularly at Henri le Fauconnier's studio near

7872-818: The French cinéma pur artists probably had a strong influence on newer works by Ruttmann and Richter, which would no longer be totally abstract. Richter's Vormittagsspuk (Ghosts before Breakfast) (1928) features some stop motion, but mostly shows live action material with cinematographic effects and visual tricks. It is usually regarded as a dadaist film. The clearest examples of pure cinema are said by essayist and filmmaker Hubert Revol to be documentaries. Documentary must be made by poets. Few of those within French cinema have understood that in our country, we possess innumerable elements and subjects to make, not just insignificant ribbons (of film), but splendid films lively and expressive... The purest demonstration of pure cinema, that

7995-603: The Fund For Change. Many of director Godfrey Reggio's other motion-pictures use cinematic techniques and stylistic elements he first explored in the Qatsi trilogy. The cinematic films of Koyaanisqatsi cinematographer Ron Fricke — Chronos (1985), Baraka (1992), and Samsara (2011)—are also made in a similar style. This article about an American documentary film is a stub . You can help Misplaced Pages by expanding it . Non-narrative film Narrative film

8118-596: The Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such art. The Cubists were defended by the Socialist deputy, Marcel Sembat . It was against this background of public anger that Jean Metzinger and Albert Gleizes wrote Du "Cubisme" (published by Eugène Figuière in 1912, translated to English and Russian in 1913). Among

8241-519: The Salon Cubists produced different kinds of Cubism, rather than a derivative of their work. "It is by no means clear, in any case," wrote Christopher Green, "to what extent these other Cubists depended on Picasso and Braque for their development of such techniques as faceting, 'passage' and multiple perspective; they could well have arrived at such practices with little knowledge of 'true' Cubism in its early stages, guided above all by their own understanding of Cézanne." The works exhibited by these Cubists at

8364-697: The UFA-Palast theater at the Kurfurstendamm in Berlin. Its 900 seats soon sold out and the program was repeated a week later. Eggeling's Symphonie diagonale , Richter's Rhythmus 21 and Rhythmus 23 , Walter Ruttmann's Opus II , Opus III and Opus IV were all shown publicly for the first time in Germany, along with the two French dadaist cinéma pur films Ballet Mécanique and René Clair's Entr'acte , and Ludwig Hirschfeld-Mack 's performance with

8487-443: The art dealer and collector Léonce Rosenberg . The tightening of the compositions, the clarity and sense of order reflected in these works, led to its being referred to by the critic Maurice Raynal as 'crystal' Cubism. Considerations manifested by Cubists prior to the outset of World War I —such as the fourth dimension , dynamism of modern life, the occult, and Henri Bergson 's concept of duration —had now been vacated, replaced by

8610-432: The artists, by Gris, Léger and Gleizes. The occasional return to classicism—figurative work either exclusively or alongside Cubist work—experienced by many artists during this period (called Neoclassicism ) has been linked to the tendency to evade the realities of the war and also to the cultural dominance of a classical or Latin image of France during and immediately following the war. Cubism after 1918 can be seen as part of

8733-454: The attention of the general public for the first time. Amongst the Cubist works presented, Robert Delaunay exhibited his Eiffel Tower, Tour Eiffel (Solomon R. Guggenheim Museum, New York). At the Salon d'Automne of the same year, in addition to the Indépendants group of Salle 41 , were exhibited works by André Lhote , Marcel Duchamp , Jacques Villon, Roger de La Fresnaye , André Dunoyer de Segonzac and František Kupka . The exhibition

8856-503: The case of Still-life With Chair Caning , freely brushed oil paint and commercially printed oilcloth together on a canvas. The Cubist contribution to the 1912 Salon d'Automne created scandal regarding the use of government owned buildings, such as the Grand Palais , to exhibit such artwork. The indignation of the politician Jean Pierre Philippe Lampué made the front page of Le Journal , 5 October 1912. The controversy spread to

8979-502: The colourful Rhythmus 25 followed similar principles, with noticeable suprematist influence of Kasimir Malevich 's work. Rhythmus 25 is considered lost. Eggeling debuted his Horizontal-vertikalorchester in 1923. The film is now considered lost. In November 1924 Eggeling was able to present his new finished film Symphonie diagonale in a private screening. On 3 May 1925 the Sunday matinee program Der absolute Film took place in

9102-454: The completion and contributed a cubist Charlie Chaplin image that was jerkily animated for the film. It is unclear if Léger contributed anything else, but he got to distribute the film in Europe and took sole credit for the film. Ray had backed out of the project before completion and did not want his name to be used. Murphy had gone back to the U.S.A. shortly after editing the final version, with

9225-434: The creation of an absolute language of form, a desire common to early abstract art. Ruttmann wrote of his film work as "painting in time". Absolute filmmakers used rudimentary handicraft, techniques, and language in their short motion pictures that refuted the reproduction of the natural world, instead, focusing on light and form in the dimension of time, impossible to represent in static visual arts. Viking Eggeling came from

9348-436: The deal that he could distribute the film there. Avant-garde artist Francis Picabia and composer Erik Satie asked René Clair to make a short film to be shown as the entr'acte of their Dadaist ballet Relâche for Ballets suédois . The result became known as Entr'acte (1924) and featured cameo appearances by Francis Picabia, Erik Satie, Man Ray , Marcel Duchamp, composer Georges Auric , Jean Borlin (director of

9471-483: The facts they identify. Neither phase was designated as such at the time corresponding works were created. "If Kahnweiler considers Cubism as Picasso and Braque," wrote Daniel Robbins, "our only fault is in subjecting other Cubists' works to the rigors of that limited definition." The traditional interpretation of "Cubism", formulated post facto as a means of understanding the works of Braque and Picasso, has affected our appreciation of other twentieth-century artists. It

9594-521: The film totally in Malevich's spirit, but concluded that in the end he could not discern how much of his own creativity withheld him from executing the scenario properly. Mary Ellen Bute started making experimental films in 1933, mostly with abstract images visualizing music. Occasionally she applied animation techniques in her films. Len Lye made the first publicly released direct animation entitled A Colour Box in 1935. The colorful production

9717-455: The first Cubist paintings. The first organized group exhibition by Cubists took place at the Salon des Indépendants in Paris during the spring of 1911 in a room called 'Salle 41'; it included works by Jean Metzinger , Albert Gleizes , Fernand Léger , Robert Delaunay and Henri Le Fauconnier , yet no works by Picasso or Braque were exhibited. By 1911 Picasso was recognized as the inventor of Cubism, while Braque's importance and precedence

9840-454: The first declared group exhibition of Cubism worldwide ( Exposició d'Art Cubista ), with a controversial showing by Jean Metzinger, Albert Gleizes, Juan Gris, Marie Laurencin and Marcel Duchamp (Barcelona, 20 April to 10 May 1912). The Dalmau exhibition comprised 83 works by 26 artists. Jacques Nayral's association with Gleizes led him to write the Preface for the Cubist exhibition, which

9963-605: The first phase of Cubism, known as Analytic Cubism , a phrase coined by Juan Gris a posteriori , was both radical and influential as a short but highly significant art movement between 1910 and 1912 in France. A second phase, Synthetic Cubism , remained vital until around 1919, when the Surrealist movement gained popularity. English art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch . According to Cooper there

10086-437: The fluidity of consciousness, blurring the distinctions between past, present and future. One of the major theoretical innovations made by the Salon Cubists, independently of Picasso and Braque, was that of simultaneity , drawing to greater or lesser extent on theories of Henri Poincaré , Ernst Mach , Charles Henry , Maurice Princet , and Henri Bergson. With simultaneity, the concept of separate spatial and temporal dimensions

10209-520: The graceful and solemn. It must become antigraceful, deforming, impressionistic, synthetic, dynamic, free-wording." "The most varied elements will enter into the Futurist film as expressive means: from the slice of life to the streak of color, from the conventional line to words-in-freedom, from chromatic and plastic music to the music of objects. In other words it will be painting, architecture, sculpture, words-in-freedom, music of colors, lines, and forms,

10332-483: The human body, the site, to pallid cubes." At the 1910 Salon d'Automne , a few months later, Metzinger exhibited his highly fractured Nu à la cheminée (Nude) , which was subsequently reproduced in both Du "Cubisme" (1912) and Les Peintres Cubistes (1913). The first public controversy generated by Cubism resulted from Salon showings at the Indépendants during the spring of 1911. This showing by Metzinger, Gleizes, Delaunay, le Fauconnier and Léger brought Cubism to

10455-457: The late 1920s, drawing at first from sources of limited data, namely the opinions of Guillaume Apollinaire . It came to rely heavily on Daniel-Henry Kahnweiler 's book Der Weg zum Kubismus (published in 1920), which centered on the developments of Picasso, Braque, Léger, and Gris. The terms "analytical" and "synthetic" which subsequently emerged have been widely accepted since the mid-1930s. Both terms are historical impositions that occurred after

10578-458: The lover – rhythm of soul and rhythm of legs)." About a month later the short film Vita Futurista was released, directed by Ginna in collaboration with Corra, Balla and Marinetti. Only a few frames of the film remain and little else of any Futurist Cinema work seems to have been made or preserved. Around 1911 Hans Lorenz Stoltenberg also experimented with direct animation, rhythmically piecing together tinted film in different colors. He published

10701-558: The main feature of the exhibition. [...] In spite of the crazy nature of the "Cubist" theories the number of those professing them is fairly respectable. Georges Braque, André Derain, Picasso, Czobel, Othon Friesz, Herbin, Metzinger—these are a few of the names signed to canvases before which Paris has stood and now again stands in blank amazement. What do they mean? Have those responsible for them taken leave of their senses? Is it art or madness? Who knows? The subsequent 1912 Salon des Indépendants located in Paris (20 March to 16 May 1912)

10824-762: The medium to its elemental origins" of "vision and movement". It declares cinema to be its own independent art form that should not borrow from literature or stage. As such, "pure cinema" is made up of nonstory, noncharacter films that convey abstract emotional experiences through unique cinematic devices such as camera movement and camera angles, close-ups, dolly shots, lens distortions, sound-visual relationships, split-screen imagery, super-impositions, time-lapse photography , slow motion , trick shots , stop-action, montage (the Kuleshov effect , flexible montage of time and space), rhythm through exact repetition or dynamic cutting and visual composition. Cinéma pur started around

10947-463: The modernist sense. Picasso is credited with creating the first Cubist collage, Still-life With Chair Caning , in May 1912, while Braque preceded Picasso in the creation of Cubist cardboard sculptures and papiers collés . Papiers collés were often composed of pieces of everyday paper artifacts such as newspaper, table cloth, wallpaper and sheet music, whereas Cubist collages combined disparate materials—in

11070-491: The most conspicuous Cubists, was a collective of painters, sculptors and critics associated with Cubism and Orphism, active from 1911 through about 1914, coming to prominence in the wake of their controversial showing at the 1911 Salon des Indépendants . The Salon de la Section d'Or at the Galerie La Boétie in Paris, October 1912, was arguably the most important pre-World War I Cubist exhibition; exposing Cubism to

11193-479: The newspapers Esquella de La Torratxa and El Noticiero Universal attacking the Cubists with a series of caricatures laced with derogatory text. Art historian Jaime Brihuega writes of the Dalmau show: "No doubt that the exhibition produced a strong commotion in the public, who welcomed it with a lot of suspicion. A major development in Cubism occurred in 1912 with Braque's and Picasso's introduction of collage in

11316-406: The pictures separately. Mary Hallock-Greenewalt used templates and aerosol sprays to create repeating geometrical patterns on hand-painted films. These extant films were probably made around 1916 for her Sarabet color organ, for which she filed 11 patents between 1919 and 1926. The films were not projected, but one viewer at a time could look down into the machine at the film itself. The Sarabet

11439-769: The piece was completed. Fischinger's two commissions from The Museum of Non-Objective Painting did not really allow him the creative freedom that he desired. Frustrated with all the trouble with filmmaking he experienced in America, Fischinger did not make many films afterwards. Apart from some commercials, the only exception was Motion Painting No. 1 (1947), which won the Grand Prix at the Brussels International Experimental Film Competition in 1949. Norman McLaren , having carefully studied Lye's A Colour Box , founded

11562-485: The poet and critic Guillaume Apollinaire accepted the term on behalf of a group of artists invited to exhibit at the Brussels Indépendants. The following year, in preparation for the Salon de la Section d'Or , Metzinger and Gleizes wrote and published Du "Cubisme" in an effort to dispel the confusion raging around the word, and as a major defence of Cubism (which had caused a public scandal following

11685-514: The same period with the same goals as the absolute film movement and both mainly concerned dadaists. Although the terms have been used interchangeably, or to differentiate between the German and the French filmmakers, a very noticeable difference is that very few of the French cinéma pur films were totally non-figurative or contained traditional (drawn) animation, instead mainly using radical types of cinematography, special effects , editing, visual effects and occasionally some stop motion . The term

11808-447: The same time or successively, also called multiple perspective, simultaneity or multiplicity, while Constructivism was influenced by Picasso's technique of constructing sculpture from separate elements. Other common threads between these disparate movements include the faceting or simplification of geometric forms, and the association of mechanization and modern life. Scholars have divided the history of Cubism into phases. In one scheme,

11931-436: The sense of time to multiple perspective, giving symbolic expression to the notion of ‘duration’ proposed by the philosopher Henri Bergson according to which life is subjectively experienced as a continuum, with the past flowing into the present and the present merging into the future. The Salon Cubists used the faceted treatment of solid and space and effects of multiple viewpoints to convey a physical and psychological sense of

12054-422: The simplification of natural forms into cylinders, spheres, and cones. However, the cubists explored this concept further than Cézanne. They represented all the surfaces of depicted objects in a single picture plane, as if the objects had all their faces visible at the same time. This new kind of depiction revolutionized the way objects could be visualized in painting and art. The historical study of Cubism began in

12177-559: The subject in a greater context. Cubism has been considered the most influential art movement of the 20th century. The term cubism is broadly associated with a variety of artworks produced in Paris ( Montmartre and Montparnasse ) or near Paris ( Puteaux ) during the 1910s and throughout the 1920s. The movement was pioneered in partnership by Pablo Picasso and Georges Braque , and joined by Jean Metzinger , Albert Gleizes , Robert Delaunay , Henri Le Fauconnier , Juan Gris , and Fernand Léger . One primary influence that led to Cubism

12300-585: The word "cube" goes back at least to May 1901 when Jean Béral, reviewing the work of Henri-Edmond Cross at the Indépendants in Art et Littérature , commented that he "uses a large and square pointillism, giving the impression of mosaic. One even wonders why the artist has not used cubes of solid matter diversely colored: they would make pretty revetments." (Robert Herbert, 1968, p. 221) The term Cubism did not come into general usage until 1911, mainly with reference to Metzinger, Gleizes, Delaunay, and Léger. In 1911,

12423-462: The work of Braque, Picasso, Gris (from 1911) and Léger (to a lesser extent) implied an intentional value judgement. Cubism burgeoned between 1907 and 1911. Pablo Picasso's 1907 painting Les Demoiselles d'Avignon has often been considered a proto-Cubist work. In 1908, in his review of Georges Braque 's exhibition at Kahnweiler 's gallery, the critic Louis Vauxcelles called Braque a daring man who despises form, "reducing everything, places and

12546-498: The work of Picasso, Braque, Gris and Léger that stress iconographic and ideological questions rather than methods of representation." John Berger identifies the essence of Cubism with the mechanical diagram. "The metaphorical model of Cubism is the diagram: The diagram being a visible symbolic representation of invisible processes, forces, structures. A diagram need not eschew certain aspects of appearance but these too will be treated as signs not as imitations or recreations." There

12669-766: The works exhibited were Le Fauconnier 's vast composition Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) now at Rhode Island School of Design Museum, Joseph Csaky 's Deux Femme, Two Women (a sculpture now lost), in addition to the highly abstract paintings by Kupka, Amorpha (The National Gallery, Prague), and Picabia , La Source (The Spring) (Museum of Modern Art, New York). The most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction. Other Cubists, by contrast, especially František Kupka , and those considered Orphists by Apollinaire (Delaunay, Léger, Picabia and Duchamp), accepted abstraction by removing visible subject matter entirely. Kupka's two entries at

12792-453: Was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent (after 1911); and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement. Douglas Cooper's restrictive use of these terms to distinguish

12915-594: Was a distinct difference between Kahnweiler's Cubists and the Salon Cubists. Prior to 1914, Picasso, Braque, Gris and Léger (to a lesser extent) gained the support of a single committed art dealer in Paris, Daniel-Henry Kahnweiler, who guaranteed them an annual income for the exclusive right to buy their works. Kahnweiler sold only to a small circle of connoisseurs. His support gave his artists the freedom to experiment in relative privacy. Picasso worked in Montmartre until 1912, while Braque and Gris remained there until after

13038-586: Was an extremely influential aspect of absolute film, and one of the biggest elements, other than art, used by abstract film directors. Absolute film directors are known to use musical elements such as rhythm/tempo, dynamics, and fluidity. These directors sought to use this to add a sense of motion and harmony to the images in their films that was new to cinema, and was intended to leave audiences in awe. In her article "Visual Music" Maura McDonnell compared these films to musical compositions due to their careful articulation of timing and dynamics. Cubism Cubism

13161-408: Was another important influence. There were also parallels in the development of literature and social thought. In addition to Seurat, the roots of cubism are to be found in the two distinct tendencies of Cézanne's later work: first his breaking of the painted surface into small multifaceted areas of paint, thereby emphasizing the plural viewpoint given by binocular vision , and second his interest in

13284-458: Was argued later, with respect to his treatment of space, volume and mass in the L’Estaque landscapes. But "this view of Cubism is associated with a distinctly restrictive definition of which artists are properly to be called Cubists," wrote the art historian Christopher Green: "Marginalizing the contribution of the artists who exhibited at the Salon des Indépendants in 1911 [...]" The assertion that

13407-597: Was coined by filmmaker Henri Chomette , brother of filmmaker René Clair . The cinéma pur film movement included Dada artists, such as Man Ray , René Clair and Marcel Duchamp . The Dadaists saw in cinema an opportunity to transcend "story", to ridicule "character," "setting," and "plot" as bourgeois conventions, to slaughter causality by using the innate dynamism of the motion picture film medium to overturn conventional Aristotelian notions of time and space. Man Ray's Le Retour à la Raison (2 mins) premiered in July 1923 at

13530-496: Was commissioned to promote the General Post Office . Oskar Fischinger moved to Hollywood in 1936 when he had a lucrative agreement to work for Paramount Pictures . A first film, eventually entitled Allegretto , was planned for inclusion in the musical comedy The Big Broadcast of 1937 . Paramount had failed to communicate that it would be in black and white, so Fischinger left when the studio refused to even consider

13653-408: Was compiled around 1964 and contains early works that may have been created since 1939, 1941 or 1946 until 1952, 1956 or 1957. Smith was not very concerned about keeping documentation about his oeuvre and frequently re-edited his works. Cinéma pur ( French: [sinema pyʁ] ; lit.   ' pure cinema ' ) was an avant-garde film movement of French filmmakers, who "wanted to return

13776-537: Was comprehensively challenged. Linear perspective developed during the Renaissance was vacated. The subject matter was no longer considered from a specific point of view at a moment in time, but built following a selection of successive viewpoints, i.e., as if viewed simultaneously from numerous angles (and in multiple dimensions) with the eye free to roam from one to the other. This technique of representing simultaneity, multiple viewpoints (or relative motion )

13899-402: Was dead, but these exhibitions, along with a well-organized Cubist show at the 1920 Salon des Indépendants and a revival of the Salon de la Section d’Or in the same year, demonstrated it was still alive. The reemergence of Cubism coincided with the appearance from about 1917 to 1924 of a coherent body of theoretical writing by Pierre Reverdy, Maurice Raynal and Daniel-Henry Kahnweiler and, among

14022-419: Was far-reaching and wide-ranging in the arts and in popular culture. Cubism introduced collage as a modern art form. In France and other countries Futurism , Suprematism , Dada , Constructivism , De Stijl and Art Deco developed in response to Cubism. Early Futurist paintings hold in common with Cubism the fusing of the past and the present, the representation of different views of the subject pictured at

14145-499: Was finalised in 1975 and is recognised as a precursor to Godfrey Reggio 's " Koyaanisqatsi " (1982). Very little had been said about the importance of this short film. Nevertheless, it was the spark from which a visual revolution occurred in documentary filmmaking. The non-linear and not-narrative documentary current found its world recognition with Godfrey Reggio. He is a filmmaker known for his exploration of various themes related to human life and society. Amongst his works stand out

14268-470: Was first publicly demonstrated at John Wanamaker's New York department store in 1922. Some of the earliest abstract motion pictures known to survive are those produced by a group of artists working in Germany in the early 1920s: Walter Ruttmann , Hans Richter , Viking Eggeling and Oskar Fischinger . Absolute film pioneers sought to create short length and breathtaking films with different approaches to abstraction-in-motion: as an analogue to music, or as

14391-748: Was first screened in March 1921 in Frankfurt. Hans Richter finished his first film Rhythmus 21 (a.k.a. Film ist Rhythmus ) in 1921, but kept changing elements until he first presented the work on 7 July 1923 in Paris at the dadaist Soirée du coeur à barbe program in Théâtre Michel . It was an abstract animation of rectangular shapes, partly inspired by his connections with De Stijl . Founder Theo van Doesburg had visited Richter and Eggeling in December 1920 and reported on their film works in his magazine De Stijl in May and July 1921. Rhytmus 23 and

14514-512: Was fully translated and reproduced in the newspaper La Veu de Catalunya . Duchamp's Nude Descending a Staircase, No. 2 was exhibited for the first time. Extensive media coverage (in newspapers and magazines) before, during and after the exhibition launched the Galeries Dalmau as a force in the development and propagation of modernism in Europe. While press coverage was extensive, it was not always positive. Articles were published in

14637-563: Was marked by the presentation of Marcel Duchamp's Nude Descending a Staircase, No. 2 , which itself caused a scandal, even amongst the Cubists. It was in fact rejected by the hanging committee, which included his brothers and other Cubists. Although the work was shown in the Salon de la Section d'Or in October 1912 and the 1913 Armory Show in New York, Duchamp never forgave his brothers and former colleagues for censoring his work. Juan Gris,

14760-608: Was reviewed in the October 8, 1911 issue of The New York Times . This article was published a year after Gelett Burgess ' The Wild Men of Paris , and two years prior to the Armory Show , which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The 1911 New York Times article portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at

14883-555: Was suggested by Villon, after reading a 1910 translation of Leonardo da Vinci 's Trattato della Pittura by Joséphin Péladan . During the late 19th and early 20th centuries, Europeans were discovering African , Polynesian, Micronesian and Native American art. Artists such as Paul Gauguin , Henri Matisse , and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein , at

15006-487: Was the representation of three-dimensional form in the late works of Paul Cézanne . A retrospective of Cézanne's paintings was held at the Salon d'Automne of 1904, current works were displayed at the 1905 and 1906 Salon d'Automne , followed by two commemorative retrospectives after his death in 1907. In France, offshoots of Cubism developed, including Orphism , abstract art and later Purism . The impact of Cubism

15129-418: Was used for the works of a group of filmmakers in Germany in the 1920s, that consisted, at least initially, of animated films that were totally abstract. The French term cinéma pur was coined to describe the style of several filmmakers in France in the 1920s, whose work was non-narrative, but hardly ever non-figurative. Much of surrealist cinema can be regarded as non-narrative films and partly overlaps with

#214785