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. .: , 1961. 228 c.
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Cest sans doute pourquoi le dessin purement l-neaire mest demeur6 cher entre tous, et po urquoi jen fais un usage a peu pres exclusif u, tout au moins, de base .
Les taches de lumiere et dombre (dans le cas des esquisses que le film materialisera) sy : rianisent un peu comme une notation des ^:fets souliaites.
A la maniere de Van Gogh qui, dans ses lettres a son frere, indique dun mot, sur les esquisses if 5 tableaux quil projette, la couleur quil veut,
- lendroit oil il la veut.
Dans mes debuts, au reste, ce nest pas Van C-:gh qui simpose h mon esprit. (Soit dit n passant, je me demande si 1attirance qne jeprouve pour lui nest pas venue tout i'abord du graphisme lineaire dc ses touches de couleur et de cette absence dempatements ~_i sauvegarde le mouvement des lignes.)
Van Gogh, je ne lai jamais vu encore, eest un inconnu.
Dans mes debuts, je me contentc de la sainc rT.uence dOlaf Gulbransson1, de son aprete de-pouillee.
Et iussi dun fatras dhorreurs inf2 mes : les -. ;tres Pm i! du Vetcherneie Vremia, notarn-
- - -: ce Pem et la guerre dont les fastidieux
i___i ;e eurent une si bruyante vogue
1914 et me captivfirent bien hors Zct aneos.
Lbr.caturiste norvegien.
: r onyme de Piotr Matieunine, caricaturists rtsse.
into each other have always been my ruling passion.
The same source, probably, gave rise to my predilection and sympathy for the teachings proclaiming dynamics, motion, and becoming as their basic principles.
At the other end of the scale, I will never cease to love Disney and his heroes, from Mickey Mouse to Billy the Whale, for their agile figures are also linear animals of a kind, without chiaroscuro, like the early creations of the Chinese and the Japanese, all fleeting contours.
The fleeting lines of childhood, delineating the contours of the animals have here come to life again in the realistic race of outlines of the animated cartoons.
And perhaps it is also because of those childhood impressions that I have been constantly chalking on the blackboard with such gusto, engrossing and amusing my students, and trying to make them see the line as a movement, as a dynamic propess.
That is probably why the purely linear drawing remains my favourite, and why I use hardly any other.
Chiaroscuro (in the sketches intended for embodiment on the screen) is indicated within them almost like records of the desired effects.
It was thus that Van Gogh merely wrote the name of the colour on the spot where he had wanted it to be in the sketches he enclosed in the letters to his brother.
Still, it was not Van Gogh who took possession of me at that timeincidentally, was it not the linear virility of his Strokes and the unsmudged clarity of their flight that prompted my first sympathies for him?
Van Gogh was still invisible and unknown to me then.
At first, it was the healthy influence, the naked contour of Olaf Gulbranssons drawings.1
And mountains of graphic tripe and trash like the dry PAM2 in the newspaper Vecherneve Vremya and the collection of caricatures entitled The War and PAM which was especially famous during the First World War and which was full of dull Wilhelms tempting me in vain to follow suit.
At that time, too, I fell under the spell of the folk caricatures by Moor3. Here, I had a certain sensation of shading and contour, and quite frequently there was the colour
1 Olaf Gulbransson is a modern Norwegian artist and political cartoonist.
2 PAM P. P. Matyunin, a Russian cartoonist.
3 D. S. Moor (Orlov) 18831946, a Soviet artist and famous political cartoonist.
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Cest a ce moment-la, dailleurs, quc je prends gout aux imageries populaires de Moor1. La, du moins, il a dcja un sentiment du trait et de 1arabesque, tres souvent un habile bain de couleur * sur les surfaces cernces par la ligne.
Cest une periode oil je dessine enormement et fort mal, parce que jalourdis mon inspiration premiere, qui etait bonne, a force de details de pacotille, parce que je cede & lengouement pour les sujets la maniere de lecole russe du dix-neuvieme siecle, au lieu de rechercher lasc^se des formes ( linverse de ce que je ferai plus tard au detriment de la premiere tendance, quand ma carriere sera entree dans sa phase artiste ).
Je napprends pas le dessin.
A Tecole, mis en presence du platre tradi-tionnel, de la th6i6re * ou du masque de Dante , je nen tire rigoureusement rien.
Mais le souvenir de mes premieres le?ons de danse vient ici beaucoup plus point quon ne le pense.
Moins les lemons elles-inemes que ma parfaite inaptitude apprendre la danse.
La valse mest demeurec jusqua ce jour un obstacle insurmontable. Mais, pour le fox, du moins, celui qui a garde franchement son carac-tere de danse negre, je my suis trcmousse avec un vif succ6s jusque dans Harlem et je le pratiquai hier encore, avant linfarctus du myocarde qui ma cloue au lit pour des rnois.
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