Finally the cinema!
Meeting of National Museums - Grand Palais| N° d'inventaire | 25018 |
| Format | 22 x 29 |
| Détails | 336 p., publisher's hardcover. |
| Publication | Paris, 2021 |
| Etat | Nine |
| ISBN | 9782711878772 |
Catalogue of the exhibition Finally the cinema! at the Musée d'Orsay.
No sudden rupture or violent revolution, however, minds and bodies had been largely prepared. The first projections of "animated photographs" by the Lumière brothers in Paris in 1895 were indeed the latest in a long succession of visual devices and attractions (from panoramas to wax museums, including morgue, aquariums, and fairs) that reached its peak at the 1900 World's Fair in Paris. Coming from a tradition of the circulation of images, these early films, still imperfect, were also the heirs of multiple practices, artistic or scientific, scholarly or vulgar. Many were the proposals or questions formulated by 19th - century artists who preceded their advent—first and foremost the fantasy of "complete realism"—which cinema extended, recycled, questioned, and soon surpassed. The evidence of the mobility of the world or the flow of time is questioned and analyzed through the prism of certain cultural motifs such as the bustle of the city or the perpetual undertow of the waves. In this sense, Jean-Luc Godard was right to point out that cinema was invented by the 19th century .
Not seeking to present a chronology of inventions, the exhibition "Finally the Cinema!" is deliberately synchronic and thematic. It brings French cinematic production from the years 1895-1907 into dialogue with the history of the arts, from the invention of photography to the early years of the 20th century, through a number of major themes: the fascination with the spectacle of the city, the desire to record the rhythms of nature, the desire to test and exhibit bodies, the dream of an "augmented" reality through the restitution of color, sound and relief or through immersion, and finally the taste for history. It concludes around 1906-1907 when the length of films lengthened, projections became more sedentary in theaters and discourses became institutionalized. The cinematograph became the cinema, both a place and a mass leisure activity.
The exhibition brings together nearly 300 works, objects and films, both anonymous and signed by names well known to the general public, from Pierre Bonnard to Auguste Rodin, including Gustave Caillebotte, Loïe Fuller, Léon Gaumont, Jean Léon Gérôme, Alice Guy, Auguste and Louis Lumière, Jules Etienne Marey, Georges Méliès, Claude Monet, Berthe Morisot, Charles Pathé and Henri Rivière.
Catalogue of the exhibition Finally the cinema! at the Musée d'Orsay.
No sudden rupture or violent revolution, however, minds and bodies had been largely prepared. The first projections of "animated photographs" by the Lumière brothers in Paris in 1895 were indeed the latest in a long succession of visual devices and attractions (from panoramas to wax museums, including morgue, aquariums, and fairs) that reached its peak at the 1900 World's Fair in Paris. Coming from a tradition of the circulation of images, these early films, still imperfect, were also the heirs of multiple practices, artistic or scientific, scholarly or vulgar. Many were the proposals or questions formulated by 19th - century artists who preceded their advent—first and foremost the fantasy of "complete realism"—which cinema extended, recycled, questioned, and soon surpassed. The evidence of the mobility of the world or the flow of time is questioned and analyzed through the prism of certain cultural motifs such as the bustle of the city or the perpetual undertow of the waves. In this sense, Jean-Luc Godard was right to point out that cinema was invented by the 19th century .
Not seeking to present a chronology of inventions, the exhibition "Finally the Cinema!" is deliberately synchronic and thematic. It brings French cinematic production from the years 1895-1907 into dialogue with the history of the arts, from the invention of photography to the early years of the 20th century, through a number of major themes: the fascination with the spectacle of the city, the desire to record the rhythms of nature, the desire to test and exhibit bodies, the dream of an "augmented" reality through the restitution of color, sound and relief or through immersion, and finally the taste for history. It concludes around 1906-1907 when the length of films lengthened, projections became more sedentary in theaters and discourses became institutionalized. The cinematograph became the cinema, both a place and a mass leisure activity.
The exhibition brings together nearly 300 works, objects and films, both anonymous and signed by names well known to the general public, from Pierre Bonnard to Auguste Rodin, including Gustave Caillebotte, Loïe Fuller, Léon Gaumont, Jean Léon Gérôme, Alice Guy, Auguste and Louis Lumière, Jules Etienne Marey, Georges Méliès, Claude Monet, Berthe Morisot, Charles Pathé and Henri Rivière.