Hans Richter, Rhythmus 21, (1921)
Richter and Eggling began scroll paintings in 1918 in a dada rejection of traditional easel painting- and these scrolls soon developed into films. The two artists took their rolled drawings to the German Film production company U.F.A. where they received technical advice. In 1920 they began using film cameras. After this time, Richter’s visual vocabulary became more tailored to film: shapes were basic, but responded to the idea of motion. Richter wrote in 1927 of his abstract films, “ It is not the natural movement of film that gives the objects their expression, but the artistic movement, that is to say, a rhythmical movement regulated by itself in which variations and pulsations form a part of the artistic design.
-Hans Richter, “Mouvement”, (1927)
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