I’m not really …

“I’m not really sure what to make of Paul’s animated experiments but there is something hypnotic and mesmerizing about these snippets of life. It’s like dipping a toe in somebody else’s sensorial experience, vaguely voyeuristic without the seedy Big Brother connotations. Which is a good thing, because somehow I doubt an animator’s lifestyle could compete with the glossy glamour of watching a Z-list celebrity painting their toenails.”

– 4mations on Animated Journal

Marcel Duchamp 1912

Nude Descending a Staircase
Nude Descending a Staircase, No.2, 1912, oil/canvas, 58×35” (147.3 x 88.9 cm), Philadelphia Museum of Art.

 

Duchamp submitted the work to appear with the Cubists at the 28th exhibition of the Société des Artistes Indépendants, Paris, 25 March through 16 May 1912. It appeared under the number 1001 of the catalogue, entitled simply Nu descendant l’escalier, not Nu descendant un escalier n° 2. This catalogue revealed the title of the painting to the general public for the first time, even though the painting itself would be absent from the exhibition. It has been noted disquisitively that the number 1001 of Duchamp’s entry at the 1912 Indépendants catalogue also happens to represent in the form 10.01 the integer 2 in the Golden ratio base, related to the golden section, something of much interest to the Duchamps and others of the Puteaux Group. This, of course, was by chance—and it is not known whether Duchamp was familiar enough with the mathematics of the golden ratio to have made such a connection—as it was by chance too the relation to Arabic Manuscript of One Thousand and One Nights dating back to the 14th century.”

Marey- Man walking, 1890–91
Marey- Man walking, 1890–91

The painting combines elements of both the Cubist and Futurist movements. In the composition, Duchamp depicts motion by successive superimposed images, similar to stroboscopic motion photography. Duchamp also recognized the influence of the stop-motion photography of Étienne-Jules Marey, particularly Muybridge’s Woman Walking Downstairs from his 1887 picture series, published as The Human Figure in Motion.”

 

Animated sequence of a woman walking downstairs
Animated sequence of a woman walking downstairs

 

 

 

“Mon livre d’heures” by Frans Masereel (1919)

Frans Masereel (1919) Passionate Journey—arriving on the train

Frans Masereel (1919) Passionate Journey—arriving on the train

 

Passionate Journey, or My Book of Hours (French: Mon livre d’heures), is a wordless novel of 1919 by Flemish artist Frans Masereel. The story is told in 167 captionless prints, and is the longest and best-selling of the wordless novels Masereel made. It tells of the experiences of an early 20th-century everyman in a modern city.”

 

Mon livre d'heures - three panels
Mon livre d’heures – three panels

 

Masereel’s medium is the woodcut, and the images are in an emotional, allegorical style inspired by Expressionism. The book followed Masereel’s first wordless novel, 25 Images of a Man’s Passion (1918); both were published in Switzerland, where Masereel spent much of World War I. German publisher Kurt Wolff released an inexpensive “people’s edition” of the book in Germany with an introduction by German novelist Thomas Mann, and the book went on to sell over 100,000 copies in Europe. Its success encouraged other publishers to print wordless novels, and the genre flourished in the interwar years.

 


Passionate Journey (1919)

The story follows the life of a prototypical early 20th-century everyman after he enters a city. It is by turns comic and tragic: the man is rejected by a prostitute with whom he has fallen in love. He also takes trips to different locales around the world. In the end, the man leaves the city for the woods, raises his arms in praise of nature, and dies. His spirit rises from him, stomps on the heart of his dead body, and waves to the reader as it sets off across the universe.”


 Final page from the wordless novel Passionate Journey (1919) by Flemish artist Frans Masereel.

“Look at these powerful black-and-white figures, their features etched in light and shadow. You will be captivated from beginning to end: from the first pictured showing the train plunging through the dense smoke and bearing the hero toward life, to the very last picture showing the skeleton-faced figure among the stars. Has not this passionate journey had an incomparably deeper and purer impact on you than you have ever felt before?”

Thomas Mann

Crow

“When God, disgusted with man, Turned towards heaven, And man, disgusted with God, Turned towards Eve, Things looked like falling apart. But Crow Crow
Crow nailed them together, Nailing heaven and earth together-”

Ted Hughes