Oscar fischinger
1 "Fischinger uses the music of Johann Sebastian Bach:" Brandenburg Concerto No.
![oscar fischinger oscar fischinger](https://animationreview.files.wordpress.com/2016/09/kreise-c2a9-oskar-fischinger.jpg)
In his most famous work, Motion Painting No. Sometimes he locks himself in a room and practices yoga for hours to tune his body to the magnetic currents of the earth. There is a deep mysticism behind his work: Fischinger usually follows astrological principles, refraining from work, depending on the lunar cycles, and often spends nights in contemplation, observing the moon in the middle of nature. Simple geometric shapes become the adornment of the music, dominating the acoustic stimulus that directs graphics and colors, emphasizing the change in tone, as if provoking the entire musical world. New movements and rhythms arise spontaneously. Thus, rhythm becomes important: it makes simple geometric shapes dance. He seems to be discovering how acoustics and optics relate to each other. ?More on the topic: Biography of George IV of the United Kingdom Phischinger's artįischinger seems to be discovering new laws under the guidance of music. Fischinger's subsequent color films, Muratti Marching and Blue Composition, received such critical and public acclaim that Paramount offered him a contract. Oscar experiments with "synthesized and drawn" sound and collaborates with Bela Gaspar to create a three-color cinematic process - GasparColor, which allowed him in 1933 to finish his first color film: "Kreise". These studies are broadcast in Europe, Japan and America and were in such great demand that in 1932 Fischinger encouraged his brother Hans, his wife Elfriede, and three other girls to work with him.
#Oscar fischinger series
Later he creates a wonderful series of black and white studies closely related to music. At this point, he decides to devote all his time to creating abstract films. In 1929 he broke his ankle and was hospitalized. In 1928 he worked on the creation of rockets and other special effects for the film "Woman on the Moon" (Frau Im Mond). Then he approaches Berlin, where he stops. By June 1927, financial difficulties forced Fischinger to leave Munich. Soon Fischinger quit his job as an engineer and moved to Munich, deciding to become a permanent director. Oscar was impressed by director Walter Ruttmann's performance in 1921 against the first public screening of an abstract film. Seeing Fischinger's abstract scrollers, he encourages him to go down the path of creating abstract films. We all say it is getting better in this town but somewhere inside we still smell bad.Around 1920, in Frankfurt, he met Dr.
![oscar fischinger oscar fischinger](https://widowcranky.files.wordpress.com/2017/06/img_0479.jpg)
Right now he is selling nice little temperas for sixty (60) dollars because he needs money. The point is that here, in Los Angeles, is a man who has devoted his life to the creative act, whose films have long been distributed by the Museum of Modern Art in New York, who in 1948 was awarded the “Grand Prix” at the Brussels International Art and Film Festival, and who has been allowed to rot in Los Angeles. But, for the moment, all of this is beside the point. The new works are smaller and somewhat more relaxed due, perhaps, more to age than to intention. The works range from 1944 until the present without any recognizable change in pattern or philosophy. They are intellectually conceived and relate to the Bauhaus idea of an ordered universe. This is probably as it should be for the paintings shown here owe their life to the awareness of optics, implied movement, flickering surface, and deep space. Oskar Fischinger is better known as a creator of abstract films than he is as a painter.