An academic thesis in the master degree in animation
Abstract
The relationship between modern painting of the 20th century and animation
In this research, by examining the evolution of modern painting styles and the experiences of animator painters, focusing on the events of the first half of the 20th century, a necessary ground has been provided for the analysis of the relationship between these two branches of art. In the intended analysis, the reflection of political/social developments in the work of artists, the use of scientific experiences by painters and the effects of European painters' familiarity with the art of the East and other nations (with an emphasis on Japanese paintings) were analyzed and the events that changed the way artists looked at the environment and artistic themes were analyzed. were emphasized. The summary has been made under the following headings: the originality of analysis and expression, in contrast to the originality of the subject and descriptive method, the attitude towards the inherent characteristics of line, color and shape, the element of simultaneity and coincidence, evasion of logic and dreaming, the search for abstract forms to express mental abstractions, the introduction of environmental dynamics in the work of painting, the new perception of full and empty space and the simplification of form and color in abstract art. are expressive tools, it has happened in a similar way in the experiences of animators and the evolution of animation. Trying to present a pure and pure visual rhythm, the idea: "reflection of the individual soul, as the main goal of art", giving importance to space along with forms and colors, an experience of surrealism in animation, expressing opposition to the machine age and retelling the desperate results of wavering in the beliefs of modernism, are some of these common experiences in the field of visual art.
Key words: modern painting, animation and painting, limited animation, abstract animation, subversive animation, European animation. Eastern
Introduction
In researching the relationship between modern painting and animation, it is important to note that each of these two fields is known as an independent branch of art. From this point of view, painting cannot be considered as an art of visualization that has changed to moving image art in the course of time and at a certain point of an artistic experience. Animation now has many sub-branches that work with different techniques and materials. Therefore, "using the painted image" is only part of the relationship between painting and animation. For the research between the two branches of art that deal with visual language, we can focus on the commonality of expression and form of encounter of each of the two groups of artists with the capabilities of line, surface, shape, color, lighting, depth perception and perspective, etc. and animation both have experienced their transformations in a common social/political atmosphere which is related to the first half of this century and the peak period of modernism beliefs. These beliefs or intellectual infrastructures brought about extensive changes in terms of the social and artistic value system and the view of science and technology. Many of the artists whose career maturity was revealed from the first years of the 20th century, had spent the first half of their lives in the 19th century and witnessed the acceleration of the industrial revolution and the expansion of European colonies to the East, Africa and Oceania, which resulted in the acquaintance of European artists with the art of the Orient and primitive peoples in distant lands. From this point of view, all the artists of the modern period - including painters and animators - are more than historically contemporary and live in a common global space that is the result of the developments of the 19th century to the middle of the 20th century. From this point of view, we can talk about the wide impact of the acquaintance of Western artists with the world of Eastern art, or the impact of the political/intellectual conditions of society on the work of artists, and look for the connection between painting and animation in the context of artistic events that changed the principles of visual expression in Europe and provided a basis for the acquisition of moving image technology..
There is also a third aspect; The fact that painting, as a painting, more or less adheres to the two-dimensional surface of the canvas and its expressive possibilities and limitations, but the fate of animation is tied to animated illustration, where the work of animators is closer to the requirements of a film production. Therefore, it is necessary not only to use painting, but also to manage light, sound, decor, characterization, literature, and many other aspects. From this point of view, Einschman's work begins where the painting ends.
In the present study, a general view of modern painting styles and how to develop and expand animation has been drawn. The emphasis of this section is on the intellectual challenges and the findings of the artist's innovation. Then, the relationship between painting and animation in the social and cultural atmosphere of the modern period has been examined and the events leading to the point of intersection of painting and animation have been analyzed.
In this introduction, it is necessary to express my gratitude and appreciation to all the people who contributed to the preparation and presentation of the thesis with their like-mindedness - especially Mr. Kiaresh Zandi, the supervisor of the theoretical studies department, and Mrs. Fatima Yatharbi, the practical project consultant.
Chapter One: Generalities
Statement of the problem: the need to understand the language of art in the contemporary world
In the early 20th century, the experience of "movement in painting", which until then was followed in the work of modern painters through the search for the visual capabilities of line, color and shape, took a real and objective form with the emergence of animator artists. The invention of the photographic camera and the cinematograph helped painters have more efficient tools to create moving images. Animators, like modern painting artists, in a painstaking but persistent process, after overcoming the initial issues and problems such as the use of materials and improving the quality of productions, addressed more significant issues such as visual rhythm, the relationship between image and sound and music, and the ability to induce abstract and non-narrative forms. Painting, animation and professional cinema, with all their commonalities and differences, owe their power of influence and influence to one thing: "The language of art in the contemporary world is visual language". The audience of this language, as much as they are aware of the structure and vocabulary of this language, can free themselves from passivity and have an active participation in understanding and interpreting it, but painters, animators and filmmakers who intend to speak with the language of images and address others, must have adequate knowledge of its evolution. The research "Relation between 20th century painting and animation" has been carried out in line with this necessity and with the aim of a deeper understanding of the components of visual language and the internal link between them.
Research questions
In the current research, the basic research questions are classified in the form of the following two sections:
What are the turning points of the evolution of modern painting and how did the artists who formed different painting styles deal with the format and content of their artwork? They are with the inherent characteristics of line, color and shape and introducing the element of environmental dynamics into the work of painting.
What experiences have the "animator painters" gone through in the transition from painting to animation?
The emphasis of this section is on things such as the use of materials, the approach to the use of sound and music in the animations of the first half of the 20th century, the role of the story or theme in narrative and abstract animations, and the achievement of the production of cinematic animation.
Intellectual infrastructures of the period of modernism and the political/social developments of this period have reflected in the work of artists, painters and animators?
Research Hypotheses
Research hypotheses that have caused more attention to be paid to certain aspects of the innumerable topics of communication between art disciplines are:
The evolution of the language of visual arts in the contemporary world is indebted to the developments of painting in the 20th century or the modern period.