"For Study no. 7, Fischinger found in Brahms' Hungarian Dance No. 5 a perfect vehicle for his optical experiments. On one hand, the sharp, fast rhythms are an ideal counterpoint for Fischinger's first complete exploration of absolute darkness as a space matrix, with hard-edged shapes twisting, flickering and curving through it, rushing past the viewer, razor thin, with astounding illusions of depth.
On the other hand, the sensuous gypsy violins are played off against soft but solid shapes that curl about each other with rich geometric languor. Altogether the images are an excellent culmination of the basic visual concepts Fischinger had been working out in the first six studies, wherein the figures gain a modicum of interest in themselves, but function primarily as tracers of complex space constructs.
Conceived, charted and executed like the rest of the black and white studies with thousands of separate charcoal drawings on paper, the classically simple effects here are no less amazing in their own way than the astounding multiplicity of Study No. 8 ." - Dr. William Moritz, Film Culture
1900 | Gelnhausen, Germany / +1967 · USA
Inspired by Walter Ruttmann's work, Fischinger began experimenting with coluored liquids and three·dimensional modeling materials such as wax and clay.
In 1924 he was hired by Louis Seel to produce satirical cartoons that tended toward mature audiences. He also made abstract films and tests of his own, trying new and different techniques including the use of multiple projectors.
After the Nazi coup d'etat in 1933 abstract art was declared “degenerate”, so Fischinger had to find himself some tricks to keep on working on his non·figurative works. He made several films secretly [as his "Composition in blue"] and have been imprisoned on several occasions. He moved to Hollywood in 1936 with his wife and son where, despite suffering integration and financial problems, he continued to create abstract and comercial films as well as several oil paintings.
In 1940 he designed the film based on Bach's "Fugue" for Walt Disney's Fantasia, and by the early 1950's he started experimenting also with 3-D stereo film.
According to William Moritz, he held a dual fascination with ancient spiritual cosmology and new scientific discoveries of atoms and cosmic space phenomena. This duality was somehow always present in his imagery.
He died in 1967 in Los Angeles·CA.