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Course: The Museum of Modern Art > Unit 1
Lesson 2: 1913 Centennial Celebration- Pablo Picasso, Guitar, Glass, and Bottle
- Umberto Boccioni, "Dynamism of a Soccer Player"
- Louis Comfort Tiffany, Vase
- Vasily Kandinsky, "Klänge (Sounds)"
- Fernand Léger, "Contrast of Forms"
- Lois Weber and Phillips Smalley, "Suspense"
- Giorgio de Chirico, "The Anxious Journey"
- Olga Rozanova, "A Little Duck's Nest... of Bad Words"
- Léon Bakst, "Costume design for the ballet The Firebird"
- Constantin Brancusi, "Mlle Pogany"
- Robert Delaunay, "Simultaneous Contrasts: Sun and Moon"
- D. W. Griffith, "The Mothering Heart"
- Emil Nolde, "Young Couple," 1913
- Léopold Survage, "Colored Rhythm: Study for the Film"
- Ludwig Hohlwein, "Kaffee Hag"
- Mack Sennett, "Barney Oldfield's Race for a Life"
- Louis Raemaekers, "Tegen de Tariefwet, Vliegt niet in't Web!"
- "Composition in Brown and Gray," Piet Mondrian
- Duchamp, 3 Standard Stoppages
- 1913 | Schiess-Dusseldorf by Ludwig Hohlwein
- Matisse, "The Blue Window"
- Ernst Ludwig Kirchner, "Street, Berlin"
- Frank Lloyd Wright, Midway Gardens
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Léopold Survage, "Colored Rhythm: Study for the Film"
To learn about other great moments in modern art, take our online course, Modern Art, 1880-1945 or Pigment to Pixel: Color in Modern and Contemporary Art.. Created by The Museum of Modern Art.
Want to join the conversation?
- 1:47- has the film been made since? Surely, someone would have had interest in this. Perhaps some copyright/ownership issue may be preventing it?(8 votes)
- Wow! I got a little dizzy watching that video, but it was super cool! Thanks "kathy" for posting that!(1 vote)
- I love how he was so creative with the colors ! What drove him to do this ? The colors go together very well ....... in my opinion . i wish i could be like him some day.(1 vote)
- It is interesting how it is so simple with the lines and the colors but it is so beautiful. I think one of the reasons they go together so well is they are almost rainbow colors roy g biv so they meld very well to our eye.(1 vote)
Video transcript
(music) - [Jodi Hauptman] Leopold
Survage created this series called Colored Rhythm. He had this idea about
making abstract film, this idea that Survage himself said to throw off paintings last shackle, and that is immobility,
making painting move. And part of that was related to other kinds of movement happening in the ever growing cities at that moment. The invention of the automobile, the airplane, the incredible
spectacle of the city, the lights, and even the
beginnings of cinema, which first began in 1893, so when Survage is thinking about making his film, it's only about 20 years in. He turned to the thing he knew best, and that was drawing. He chose a very smooth paper. there was no resistance
from bumps or bulges. He started with a black ink. He created a shape around
the edges of the picture and then he filled it in with these very beautiful washes of watercolor. Ink is not water soluble. And then when he went back
in with the water color, it would stay in place. And that allowed him to create these beautiful washes one after another. He captured one of the
primary qualities of cinema, and that is light. They have a kind of glow, a luminosity that is not dissimilar from what you see when you're sitting in a movie theater. When you lay out the series, you see how one shape feeds into another
shape into another shape. Some of the critics at the time who knew these drawings,
talked about the relationship to something organic, to plants, things that swell and grow and deflate and grow again. He made over 100 drawings with the idea that eventually technicians
would actually animate them. He understood that he
himself couldn't do it, but unfortunately, because of the onset of World War 1, the
film was never actually made. He was trained as a painter, a very traditional
painter, but his ability to think outside of that training and to imagine something
that he didn't have any idea of how to make is just an
incredible act of risk, that I think is crucial for this moment. The best artists are those that were able to take risks.