Polish Experimental Animation Cinema 2

  • April 12, 2014 / 13:30
  • April 13, 2014 / 11:00

  • Sweet Rhythms / 1965 / Dir: Kazimierz Urbański / 6’
  • Steering My Own Destiny / 1971 / Dir: Katarzyna Latałło / 6’
  • Replica / 1975 / Dir: Kazimierz Bendkowski / 9’
  • New Book / 1975 / Dir: Zbigniew Rybczyński / 10’
  • Oh! I Can't Stop! / 1975 / Dir: Zbigniew Rybczyński / 10’
  • Portrait / 1977 / Dir: Stanisław Lenartowicz / 8’
  • Dead Shadow / 1980 / Dir: Andrzej Klimowski / 10’
  • Line / 1981 / Dir: Grzegorz Rogala / 7’
  • First Film / 1981 / Dir: Józef Piwkowski / 10’
  • Block / 1982 / Dir: Hieronim Neumann / 9’
  • Chips / 1984 / Dir: Jerzy Kucia / 10’
  • Video-disc / 1986 / Dir: Maciej Ćwiek / 4’
  • Zoopraxiscope / 2005 / Dir: Hieronim Neumann / 12’

Total running time 108’
Screenings marked with an (*) will be made with the attendance of the director, actor or producer of the film.

Polish Experimental Animation Cinema 1

Polish Experimental Animation Cinema 1

Polish Experimental Animation Cinema 2

Polish Experimental Animation Cinema 2

Polish Experimental Animation Cinema 3

Polish Experimental Animation Cinema 3

Panel: Polish Animation Cinema

Panel: Polish Animation Cinema

From the Age of Reason to the “Tortoise Trainer”

From the Age of Reason to the “Tortoise Trainer”

A Salon exhibition held in the Grand Palais in Paris on May 1, 1906 showcased an Ottoman painting. This was Osman Hamdi Bey’s famous “Tortoise Trainer”. 

Portrait of Martín Zapater (1797)

Portrait of Martín Zapater (1797)

Martín Zapater y Clavería, born in Zaragoza on November 12th 1747, came from a family of modest merchants and was taken in to live with a well-to-do aunt, Juana Faguás, and her daughter, Joaquina de Alduy. He studied with Goya in the Escuelas Pías school in Zaragoza from 1752 to 1757 and a friendship arose between them which was to last until the death of Zapater in 1803. 

The First Nudes

The First Nudes

Men were the first nudes in Turkish painting. The majority of these paintings were academic studies executed in oil paint; they were part of the education of artists that had finally attained the opportunity to work from the live model. The gender of the models constituted an obstacle in the way of characterizing these paintings as ‘nudes’.