New Ways of Seeing (1954, sound)

Description:

Description: A Lesson in Art with Ben Karp

"Ben Karp takes a group of beginning art students on a sketching trip. When they encounter difficulty in getting started, Karp offers them a point of view on how to begin. He analyses the importance of the stroke in paintings from the Museum of Modern Art, Wildenstein's Gallery, and the collection of Edward G. Robinson. He demonstrates how this way of seeing nature can also be used by the beginning artist to help him respond more fully to the word he sees." (Educational Film Guide", 1954-1958)

This print is damaged, with lots of splices and torn and missing perforations .

Reuse Statement: For information on reusing Prelinger Archives footage and obtaining written usage agreements, please visit www.prelinger.com.

Subjects: 1950s,Artists,Visual art,Education,History

Tags: art; painting; Modernist soundtracks; vision; mark making; art fundamentals; Impressionism; art history; Renoir; Monet; brush strokes; Seurat; Post-Impressionism; pointillism; color; Cezanne; Van Gogh; movement; variety of line; forms; lines; Picasso; Modernism; string music; modernist music; violins; narration; drawing; The End title; close ups of hands drawing; chalk; pastels

Film Sponsor:

Creator: Roger Tilton

Credits: Music by Vivian Fine. Sound by Sound Portraits. A Film by Roger Tilton. With grateful acknowledgement to Museum of Modern Art, Wildenstein Gallery, Edward G. Robinson for permission to reproduce paintings.

Distributor: ContemporaryFilms

Contributor: Prelinger Archives

Source Collection: Prelinger Archives

Digitizing Sponsor: Filecoin Foundation for the Decentralized Web (FFDW) and Internet Archive

Production Date:

Release Date: 1954

Geographical Location: USA

Genre/Form: sponsored, educational

Language: eng

Rights: Film states: "Copyright 1954 by R. Tilton". Catalog of Copyright Entries 1950-59 states: "NEW WAYS OF SEEING: A LESSON IN ART WITH BEN KARP. Roger Tilton. 1 1/2 reels, sd., color, 16mm. Kodachrome. (c) Roger Tilton; 30Dec54; LP4578." No renewal shown in Copyright Office records.

Film Format: 16mm film

Element: positive, release print

Color: color

Color Process: Kodachrome

Sound or Silent: sound

Film Soundtrack Type: optical

Edge Code:

Frame Rate: 24 fps

Length (feet): 474

Complete Record: Description: A Lesson in Art with Ben Karp "Ben Karp takes a group of beginning art students on a sketching trip. When they encounter difficulty in getting started, Karp offers them a point of view on how to begin. He analyses the importance of the stroke in paintings from the Museum of Modern Art, Wildenstein's Gallery, and the collection of Edward G. Robinson. He demonstrates how this way of seeing nature can also be used by the beginning artist to help him respond more fully to the word he sees." (Educational Film Guide", 1954-1958) This print is damaged, with lots of splices and torn and missing perforations . Reuse Statement: For information on reusing Prelinger Archives footage and obtaining written usage agreements, please visit www.prelinger.com. Subjects: 1950s,Artists,Visual art,Education,History Tags: art; painting; Modernist soundtracks; vision; mark making; art fundamentals; Impressionism; art history; Renoir; Monet; brush strokes; Seurat; Post-Impressionism; pointillism; color; Cezanne; Van Gogh; movement; variety of line; forms; lines; Picasso; Modernism; string music; modernist music; violins; narration; drawing; The End title; close ups of hands drawing; chalk; pastels Film Sponsor: Creator: Roger Tilton Credits: Music by Vivian Fine. Sound by Sound Portraits. A Film by Roger Tilton. With grateful acknowledgement to Museum of Modern Art, Wildenstein Gallery, Edward G. Robinson for permission to reproduce paintings. Distributor: ContemporaryFilms Contributor: Prelinger Archives Source Collection: Prelinger Archives Digitizing Sponsor: Filecoin Foundation for the Decentralized Web (FFDW) and Internet Archive Production Date: Release Date: 1954 Geographical Location: USA Genre/Form: sponsored, educational Language: eng Rights: Film states: "Copyright 1954 by R. Tilton". Catalog of Copyright Entries 1950-59 states: "NEW WAYS OF SEEING: A LESSON IN ART WITH BEN KARP. Roger Tilton. 1 1/2 reels, sd., color, 16mm. Kodachrome. (c) Roger Tilton; 30Dec54; LP4578." No renewal shown in Copyright Office records. Film Format: 16mm film Element: positive, release print Color: color Color Process: Kodachrome Sound or Silent: sound Film Soundtrack Type: optical Edge Code: Frame Rate: 24 fps Length (feet): 474

Transcription

[Music] e [Music] it's always exciting to take a group of students out to paint for the first time [Music] even after we all get together and agree on a place to work I know the trouble lies ahead so we have to go right back to the beginning and consider the basic Act of making a [Music] picture and making a mark on paper is just about the most fundamental Act of the artist for it is with these marks that drawings and paintings are made it is with them that we show others how the world looks to [Music] us good Lord my dear do they call this painting it's a scandal terrible ridiculous Preposterous in the 1870s Paris was shocked by the rediscovery of the brush stroke lost after years of slick painting the revelation of painting as a joyous physical activity a dance of the brush exasperated a public accustomed to the cold spiritless art of the salons andies by contrast paintings such as renois zalis celebrate the return to Art of a warm feeling for the physical act of painting the freedom of Runo the Vitality of mon gave a whole new direction to Western Art as an impressionist Monae sought in nature subjects which enabled him to cover the whole canvas with a myriad of rainbow colored Strokes each different from its neighbor in Mona's Willows the whole canvas is animated with a cike brush Strokes typical of impressionist painting and in bordiga by the same artist luxuriant vegetation calls from his hand and a magnificent outpouring of rhythmic gesture recorded on the canvas with a dance of brush Strokes now large now [Music] small spread out close together with a new freedom of expression which impressionism brought to Art surra followed with a new Rhythm of the hand the Comm stroke becomes the dot continuing the impressionist search for Luminosity through separate spots of color he achieved a Clarity of Outline by reducing the size of the stroke to a minimum but this was only one of the developments to come out of impressionism Paul seisan was developing another rhythm of work building up his paintings with with Strokes laid down like bricks in parallel [Music] [Applause] [Music] courses brick upon brick seison hoped to make of impressionism something solid like the art of the museums to use his own [Music] [Applause] [Music] words in the late 1880s a third painter was pioneering in New Paths of expression growing out of impressionism in a letter to his brother Theo van go wrote I rush to my work like a locomotive in these words van go expresses the dynamic power which we find in the turbulent whirlpools of brushstrokes in Starry [Music] Night [Music] e from the south of France vano wrote in another letter to his brother Theo I seek a brush work which shall be nothing but the varied stroke this is the first explicit statement referring to painting as a composition of areas of varied [Music] stroke [Applause] it is in the drawings of Ango that his meaning is made Crystal Clear parallel slanting Strokes form a thatched roof S curves a bush dots a gravel walk short jagged lines for [Music] grass [Music] each variety of stroke a record of a characteristic Rhythm of the artist's hand the product of a definite [Music] movement the expressive power of the varied stroke became an inspiration to 20th century artists such as matis whom we find here following directly in the steps of Van go in his use of the varied stroke today it is one of the arest means for organizing what he sees before him and for projecting it onto the [Music] canvas the artist has become aware of the whole world of nature as a symphony of [Music] [Music] strokes this way of seeing applies not only to the forms of nature but to man-made forms as well a Steel Bridge a pile of bricks these the artist Fields as movements as motions of the hand recorded as marks on the paper lines or spots the spots of nature becoming the spots of Art [Music] in the work of the FES each stroke stands out as an individual area of color red blue yellow green no longer one of many similar Strokes each movement of the brush asserts its independent existence as an area of [Music] color the concept of the painting as a symphony in which the various areas are characterized each by its own variety of stroke is alive today in the work of such Masters as [Music] matis and [Music] Picasso [Music] it is alive not only for painters it has opened up for all of us a fresh way of enjoying the world around [Music] us [Music] [Applause] [Music] the [Music] a