Animation – Abstraction: The Birth of a New Art
Abstract
Giżycki notes that abstract film is almost as old as abstract painting. In the years 1910-1912 Arnaldo Ginna and Bruno Corra (brothers Corradini) were experimenting with colour “symphonies” and “sonatas”, or sequences of images painted with transparent paints directly on film. none of these reels survived, but thanks to detailed descriptions one can imagine them and consider them to the first abstract films. Giżycki also calls upon other artists who planned to make similar films (e.g. Pablo Picasso), and even prepared preparatory drawings and made some theoretical arguments (Leopold Survage). The author also argues that from the very beginning abstract film was conceptually tied with music. In the second part of the article the author presents the achievements of Viking Eggeling in the area of abstract film and the complicated story of his co-operation with Hans Richter. In the essay we also come to know about Walter Ruttmann who developed his version of abstract film independently from Eggeling and Richter. The author concludes his reflections with an argument that the struggle with this paint-film-abstract art form continues from the first experiments of Corradini brothers until now, and that today computers opened new and unexplored possibilities for artists.
Keywords:
abstract film, Arnaldo Ginna, Bruno Corra, Pablo Picasso, Léopold Survage, Viking Eggeling, Walter Ruttmann, Hans RichterReferences
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Authors
Marcin Giżyckikwartalnik.filmowy@ispan.pl
Rhode Island School of Design United States
Krytyk i historyk sztuki. Wykładowca w Rhode Island School of Design w USA. Opublikował m.in. Słownik kierunków, ruchów i kluczowych pojęć sztuki drugiej połowy XX wieku (2002), Wenders do domu! Europejskie filmy o Ameryce i ich recepcja w Stanach Zjednoczonych (2006).
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