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April 18 2012

March 12 2012

Tullio Crali – Tempo!




La forza della curva



Bombardamento aereo

Die Wikipedia über den italienischen Maler des Futurismus Tullio Crali (1910 - 2000).

(Gefunden bei pour15minutesdamour.blogspot.com)

Reposted fromglaserei glaserei

May 16 2011

Ballet mecanique (1924) Fernand Leger, Dudley Murphy, George Antheil - offene Ablage: nothing to hide

2 youtube videos (~16min)

[....]

As an enthusiast of the modern, Léger was greatly attracted to cinema, and for a time he considered giving up painting for filmmaking. In 1923–24 he designed the set for the laboratory scene in Marcel L'Herbier's L'Inhumaine (The Inhuman One). In 1924, in collaboration with Dudley Murphy, George Antheil, and Man Ray, Léger produced and directed the iconic and Futurism-influenced film, Ballet Mécanique (Mechanical Ballet). Neither abstract nor narrative, it is a series of images of a woman's lips and teeth, close-up shots of ordinary objects, and repeated images of human activities and machines in rhythmic movement.

[....]

cited from:
https://secure.wikimedia.org/wikipedia/en/wiki/Fernand_L%C3%83%C2%A9ger

cf.:
a) https://secure.wikimedia.org/wikipedia/en/wiki/Ballet_Mecanique
b) http://thesoundofeye.blogspot.com/2010/06/fernand-leger-dudley-murphy-ballet.html


at scoop.it via permalink

Reposted from02mysoup-aa 02mysoup-aa

May 15 2011

02mydafsoup-01
via 4194529.jpg (JPEG-Grafik, 906x1024 Pixel) - Skaliert (81%)


Fernand Léger (February 4, 1881 – August 17, 1955)

Wikipedia - EN | FR | DE


[...]

The "mechanical" works Léger painted in the 1920s, in their formal clarity as well as in their subject matter—the mother and child, the female nude, figures in an ordered landscape—are typical of the postwar "return to order" in the arts, and link him to the tradition of French figurative painting represented by Poussin and Corot.[6] In his paysages animés (animated landscapes) of 1921, figures and animals exist harmoniously in landscapes made up of streamlined forms. The frontal compositions, firm contours, and smoothly blended colors of these paintings frequently recall the works of Henri Rousseau, an artist Léger greatly admired and whom he had met in 1909.

They also share traits with the work of Le Corbusier and Amédée Ozenfant who together had founded Purism, a style intended as a rational, mathematically based corrective to the impulsiveness of cubism. Combining the classical with the modern, Léger's Nude on a Red Background (1927) depicts a monumental, expressionless woman, machinelike in form and color. His still life compositions from this period are dominated by stable, interlocking rectangular formations in vertical and horizontal orientation. The Siphon of 1924, a still life based on an advertisement in the popular press for the aperitif Campari, represents the high-water mark of the Purist aesthetic in Léger's work.[7] Its balanced composition and fluted shapes suggestive of classical columns are brought together with a quasi-cinematic close-up of a hand holding a bottle.


Fernand Léger (sitting) with Ken Nack in Paris in 1950


As an enthusiast of the modern, Léger was greatly attracted to cinema, and for a time he considered giving up painting for filmmaking.[8] In 1923–24 he designed the set for the laboratory scene in Marcel L'Herbier's L'Inhumaine (The Inhuman One). In 1924, in collaboration with Dudley Murphy, George Antheil, and Man Ray, Léger produced and directed the iconic and Futurism-influenced film, Ballet Mécanique (Mechanical Ballet). Neither abstract nor narrative, it is a series of images of a woman's lips and teeth, close-up shots of ordinary objects, and repeated images of human activities and machines in rhythmic movement.[9]

[...]

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ballet mécanique (1924) - 2 yt-videos (~15min) - at soup.io tagged


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Ballet mecanique (1924) Fernand Leger - Part 1 (by Andyfshito)

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Reposted fromcreamneuron creamneuron
Play fullscreen

Ballet mecanique (1924) Fernand Leger - Part 2 (by Andyfshito)

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FERNAND LÉGER & DUDLEY MURPHY
BALLET MÉCANIQUE (1924)


blog - thesoundofeye.blogspot 2010



Directors: Fernand Léger & Dudley Murphy
Year: 1924
Time: 17 mins
Music:
George Antheil
Paul Lehrmann

Eye of Sound: It's difficult to make a brief description of such a historically charged film, so I'll just mention a few facts about the version presented here. Ballet Mécanique was jointly conceived by Dadaist painter and filmmaker Fernand Léger and Futurist composer George Antheil. Legend has it that Antheil's score was technically impossible to execute at the time: among other "oddities", it demanded sixteen synchronized pianos when there was no technology available to synchronize so many instruments at a time. Antheil rearranged it and added live piano players, but its American première turned out to be a disaster, with riots and all. The score was abandoned and for many decades every attempt to perform it bumped into the problem of synchronizing the pianos. Finally, in the 90s, after the discovery of the complete cut for Ballet Mécanique, Paul Lehrmann used modern MIDI technology to synchronize the piano section, thus "restoring" the score and allowing today's viewers to watch Ballet Mécanique as it was conceived. As far as I know, this is the only version which included the original George Antheil score.





Reposted fromcreamneuron creamneuron

March 07 2011

April 19 2010

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