Med 129 - shot 87
Copper medal from the Paris Mint (cornucopia hallmark from 1880).
Minted in 1973.
Chocolate and copper patina.
Engraver : Alexandre ALEXEIEFF (1901-1982) .
Dimension : 81mm.
Weight : 222 g.
Metal : copper .
Hallmark on the edge (mark on the edge) : cornucopia + copper + 1973 .
Quick and neat delivery.
The easel is not for sale.
The stand is not for sale.
His work developed within the cultural and political ferment of Quebec cinema at the time. Some of his films will also be made in French.
He experimented with many techniques: scraping film, painting on film, and even painting sound on film, pixilation, live action, stop motion, cartooning. As Olivier Cotte, historian of animated cinema, says: the work of Norman McLaren knew how to combine the most honest experimentation and the pleasure of the senses and the game. If Walt Disney defined a certain animated narrative form, McLaren, more than any other director, explored the essence of the art of animation without ever making the tempting mistake of locking it into a dogma.1
Norman McLaren was particularly inspired by the techniques of superimposing characters on a setting by Émile Courtet, in his painting techniques on film, as in Love on the Wing for example.
Overflowing with creativity, McLaren is constantly experimenting, like a visual artist in his studio. He uses the same initial images in his two films Horizontal Lines and Vertical Lines.
He innovates
He experimented with many techniques: scraping film, painting on film, and even painting sound on film, pixilation, live action, stop motion, cartooning. As Olivier Cotte, historian of animated cinema, says: the work of Norman McLaren knew how to combine the most honest experimentation and the pleasure of the senses and the game. If Walt Disney defined a certain animated narrative form, McLaren, more than any other director, explored the essence of the art of animation without ever making the tempting mistake of locking it into a dogma.1
Norman McLaren was particularly inspired by the techniques of superimposing characters on a setting by Émile Courtet, in his painting techniques on film, as in Love on the Wing for example.
Overflowing with creativity, McLaren is constantly experimenting, like a visual artist in his studio. He uses the same initial images in his two films Horizontal Lines and Vertical Lines.
He innovates