Hydroment Grout Color Comparison Chart

Fantasia (1940)

"You can see pictures and hear the music" Walt Disney.

In the past some artists have made films based on musical themes important to visualize through abstract images, is the case of Oskar Fischinger, a German artist that Disney decided to take the artistic direction of the first song Fantasy: Toccata and Fugue by Johann Sebastian Bach.
Following Oskar Fischinger to differences with Disney abandoned the project and the artist was not credited in the opening credits, but his artistic contribution remains crucial to the development of visual music.

Even if we do not see a specific reference to particular work of art, Fantasia remains the first animated film to experience the value cinema and painting, starting from a reference model that is 'abstraction with obvious nods to the paintings of Kandinsky, and Miro's surrealism.

The sequence opens with orchestranti to their seats and the conductor directing the symphony, slowly slipping shots to abstract images, a flourish of light and delicate colors, punctuated by strange and pleasing visual effects break on the screen, brief appearances of bows, cello strings dancing to the rhythm of the music. Lines and curves intersect with each other and colored spots come to life under the notes of Bach.

Fantasia

Joan Miro

Fantasia

Oskar Fischinger, Displays to Toccata and Fugue.



Oskar Fischinger, Displays to Toccata and Fugue.

Fantasia


Vassily Kandinsky

Fantasia

This sequence, rich in pathos, recalls all the work of Kandinsky, in particular an essay point, line and surface .

Vassily Kandinsky, point, line and surface (1926)

...

...

...

Fantasia



Vassily Kandinsky, Several Circles (1926)



Fantasia

commented a great admirer of Walt Disney: ... Disney (and it is no coincidence that his films are cartoons) representing the port to a world in which there is complete freedom (...) What a divine omnipotence (imagination) there is in everything! How much magic to rebuild the world according to our imagination and will. An imaginary world. A world of lines and colors that subjects and changes to our command (...) Disney is a wonderful lullaby for the suffering and the unfortunate and the oppressed. For those who are bound by so many working hours and rest times governed by a mathematical precision of the time, the demands of which are marked by one hundredth of a dollar ... " Sergei M. Eisentein.

My Toes Are Skinny Like Fingers

Trails Searchers (The Searcher - 1956)

Judged as the absolute masterpiece of Western cinema is probably the most complex and discussed the work of John Ford's filmography. Amato and criticized by many, the subject of numerous studies and essays, is also a key point for the analysis that exists between film and painting.

Focusing on some shots, composition and colors are the same as many paintings by Frederic Remington. This American artist, considered more an 'illustrator than a painter, was one of the few who told through the use of painting and sculpture, the epic of the West, the myth of the frontier and the Indians. His images of great visual effect served as the inspiration for almost all production of movies.

Searchers


Frederic Remington, A reconnaissance (1902)

Frederic Remington, The Scout: Friends or Foes (1902-05)



Searchers

Frederic Remington, Mauve rider in the snow

"I tried to copy the style of Remington, his color and his movement, I think I have partially succeeded," John Ford.

Searchers



Frederic Remington, The capture of Finnigan (1888)

When Ethan and Martin arise on the Indian camp littered with corpses John Ford follows the "battles" of the paintings Remington.

Searchers

Frederic Remington, The Battle of war Bonet Creek

L ' attack Indians. Ford is not just a simple staging, superspettacolo end in itself but a symbol of the struggle between good and evil, the clash of opposing cultures and different interpretations through the school of Remington. Same cut of the frame and the same things in perspective.

Searchers

Frederic Remington, A Dash for the Tiber


Frederic Remington, Buffalo Runners - Big Horn basin (1909 )

Frederic Remington, The Fourth Troopers Moving the Led Horses (1890)

The camera shows the stage set by use of a frame. John Ford's vision blends with the paint film, leading the viewer into a painting.

Searchers

"If you keep the horizon line up or down, never at the center of the frame, it means that you're a good director" John Ford
This statement is reflected in many landscapes where the distribution of space is the basis for a correct composition.

Searchers

Tv Reliability Plasma

Zabrinskie Point (1970)

Michelangelo Antonioni portrays the America of the '70s, using visual imagery created by the artists of the Pop Art. Mark

the young student protester of the film, wanders in the urban labyrinth surrounded by huge billboards, chaotic and confused by a series of pictures, display cases containing various canned foods.

Zabrinskie Point

The images follow one another through the use of a hectic and tight fitting. They remind us of the paintings of James Rosenquist, pop artist, who began his career creating large billboards on behalf of an agency.

from photographic images, mostly advertising, Rosenquist magnifies the details by linking them, thus creating a strong sense of confusion in the viewer.

Zabrinskie Point

James Rosenquist, Withe bread (1964)

James Rosenquist, Taxy (1964)

James Rosenquist, Lana (1964)

James Rosenquist, F-111 - detail (1964 - 65)

Zabrinskie Point

James Rosenquist, World's Fair Mural (1964)

This image closely resembles the pictures Richard Estes, the founder of the American hyper-realist movement. His paintings are almost exclusively shops. Unable to get the viewer to see something or someone inside, the windows reflect in a disorderly interplay of light and shadow, the surrounding environment.

Zabrinskie Point

Richard Estes, Nedick's (1970)


Zabrinskie Point


Claes Oldenburg, Giant Hamburger (1962)

Claes Oldenburg, Two cheeseburgers, with everything (1962)

Claes Oldenburg, Floor Cake (1962)