Kinetic Art
Animation of Color for Cinema Film
Bibliographic Data
| ID | 10719277 |
|---|---|
| Authors | Ana Sacerdote de Guthmann (corresponding author) |
| Year | 1972 |
| Volume | 5 |
| Issue | 3 |
| Pages | 239 |
| Publication date | 1972-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Leonardo (JOURNAL) |
| Journal identifiers | ISSN: 0024-094X • E-ISSN: 1530-9282 |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/1572383 |
| OpenAlex | W2328901952 |
| Language | EN |
| Citations received | 3 |
| References cited | 2 |
The work I shall discuss is a two-minute animated 16 mm film, consisting of 2880 frames, entitled 'Ensaio de cor animada' ('A Trial with Animated Color'), which I showed at the international shortfilm festival held in conjunction with the 8th Biennial of Sao Paulo, Brazil in 1965 [1]. Since the beginning of this century, painters have shown much interest in the components from which a painting is made: lines, shapes, illusions of space, color effects, color relationships, etc. Artists frequently employ non-figurative geometrical compositions in order to study the visual effects produced by varying one or two components systematically. In a way, the painter might be said to assume the role of the psychologist of visual perception. Paintings of these kinds have been found to give aesthetic satisfaction to certain viewers. Many of the works of Albers [2, 3] are primarily studies of the interaction between different colors within essentially concentric squares. Lohse [4] and Vasarely [5] are concerned with color relationships within more complex arrays of geometrical shapes. The utility of a digital computer for assigning shapes and colors within an array has been recognized for some time [6]. The use of animation for kinetic art of a nonfigurative kind began about fifty years ago. Hans Richter made scroll-pictures in 1919 of two to five meters in length that were unrolled while viewing [7, 8]. He began making abstract black and white motion picture films in 1921, the first being 'Rhythmus 21', some frames of which are shown in Figure 99 of Reference 7. Henri Valensi in the 1930s pioneered in nonfigurative animated film in France and the sequence on a fugue by Bach in the Walt Disney film 'Fantasia' is known to a wide public. Many artists have continued to produce kinetic art of various kinds by means of animated film and I wish to describe the results of my work for the benefit of those interested in this form of contemporary art
Animation · Art · Computer graphics (images) · Movie theater · Visual arts · Architecture and Art History Studies · Architecture and Computational Design · Art, Technology, and Culture · Computer Science
| Unique citing works | 3 |
|---|---|
| Citations per year | 0.06 |
| Citation span | 1974 - 1979 (6) |
| Citation velocity | historical |
| Highly cited | No |