"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.
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) ...
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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.
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