/tagged/hans+richter/page/2
Dada meeting at Weimar, Sept. 1922 -nd   [+](left to right)  Kurt Schwitters, Jean Arp, Max Burchartz, Lotte Burchartz, Hans Richter, Nelly van Doesburg, Cornelius van Eesheren, Theo van Doesburg yama-bato: ANONYME REUNION DADA A WEIMAR, Septembre 1922 Photographie en noir et blanc Tirage argentique Cachet de la succession Hans Richter au dos 12,5 x 8,5 cm Numéro d’inventaire de la succession: PH3-49 Note: De gauche à droite : Kurt Schwitters, Jean Arp, Max Burchartz, Mme Burchartz, Hans Richter, Nelly van Doesburg, Cornelius van Eesheren, Theo van Doesburg

Dada meeting at Weimar, Sept. 1922 -nd   [+]
(left to right)  Kurt Schwitters, Jean Arp, Max Burchartz, Lotte Burchartz, Hans Richter, Nelly van Doesburg, Cornelius van Eesheren, Theo van Doesburg

yama-bato:

ANONYME
REUNION DADA A WEIMAR,
Septembre 1922
Photographie en noir et blanc
Tirage argentique
Cachet de la succession Hans Richter au dos
12,5 x 8,5 cm
Numéro d’inventaire de la succession: PH3-49
Note: De gauche à droite : Kurt Schwitters, Jean Arp, Max Burchartz, Mme Burchartz, Hans Richter, Nelly van Doesburg, Cornelius van Eesheren, Theo van Doesburg

4 months ago  117 notes View high resolution

Philippe Soupault and Erna Richter [Soupault], Berlin, 1934 -nd [Ré Soupault]   [+] Philippe Soupault and Erna Niemeyer-Richter (then divorced from Hans Richter) met in 1933 and get married in 1937. Meta Erna Niemeyer (1901-1996) was a Bauhaus student, she worked with Viking Eggeling on Diagonale Symphonie (1924). She worked (photographer and writer) under several pseudonyms: Renee Meyer, Renate Green, Ré Soupault. from: makimesser

Philippe Soupault and Erna Richter [Soupault], Berlin, 1934 -nd [Ré Soupault]   [+]

Philippe Soupault and Erna Niemeyer-Richter (then divorced from Hans Richter) met in 1933 and get married in 1937. Meta Erna Niemeyer (1901-1996) was a Bauhaus student, she worked with Viking Eggeling on Diagonale Symphonie (1924). She worked (photographer and writer) under several pseudonyms: Renee Meyer, Renate Green, Ré Soupault.

from: makimesser

1 year ago  117 notes

8 X 8, A Chess Sonata in 8 Movements (1957)

This is the second (of 2) movie that Hans Richter directed in the US. Co-directed with Jean Cocteau and Marcel Duchamp, the movie (70 min.) was released on March 15, 1957 in New York City.

Described by Richter as “part Freud, part Lewis Carroll,” it is a fairy tale for the subconscious based on the game of chess.
The movie is divided in 8 parts with each part depicting a series of acted chess moves.

Like for ‘Dreams that money can buy’, Richter did not use any professional actors, but his friends (the cast include: Jean Arp, Paul Bowles, Ceal Bryson, Alexander Calder, Jean Cocteau, Willem de Vogel, Marcel Duchamp, Max Ernst, Richard Hulsenbeck, Frederick Kiesler, Julien Levy,  Man Ray, Jacqueline Matisse, Eugene Pellegrini, Yves Tanguy, and Dorothea Tanning)

1 year ago  4 notes

Scene from  ‘Chesscetera - Passionate Pastime’ (Hans Richter, 1958), 1956-1957 -by Arnold Eagle   [+] from CdSC

Scene from  ‘Chesscetera - Passionate Pastime’ (Hans Richter, 1958), 1956-1957 -by Arnold Eagle   [+]

from CdSC

1 year ago  12 notes

Hans Richter (lt), Larry Evans (cent.) and Marcel Duchamp preparing a sequence for ‘Chesscetera - Passionate Pastime’ (Hans Richter, 1958), 1956-1957 -by Arnold Eagle   [+] from CdSC

Hans Richter (lt), Larry Evans (cent.) and Marcel Duchamp preparing a sequence for ‘Chesscetera - Passionate Pastime’ (Hans Richter, 1958), 1956-1957 -by Arnold Eagle   [+]

from CdSC

1 year ago  28 notes View high resolution

Darius Milhaud in his sequence of ‘Chesscetera - Passionate Pastime’ (Hans Richter, 1958), 1956-1957 -by Arnold Eagle   [+] from CdSC

Darius Milhaud in his sequence of ‘Chesscetera - Passionate Pastime’ (Hans Richter, 1958), 1956-1957 -by Arnold Eagle   [+]

from CdSC

1 year ago  29 notes View high resolution

Hans Richter about “Dreams”

Mes vieux amis de la regrettée Europe, Duchamp, Man Ray, Max Ernst et l’Américain Calder, fournirent la matière: Duchamp, ses roto-reliefs; Calder, des mobiles; Max Ernst, des collages; Man Ray, un poème. De tout ceci je fis un film. Ainsi naquit en pleine guerre un très pacifique document attestant la collaboration amicale de deux Américains, de deux Allemands et de deux Français, dans le centre culturel du monde occidental qu’était alors New York. C’est en fin de semaine et pendant la nuit que se faisaient les prises de vue de ces ‘Rêves’, dans une vieille maison destinée à être démolie et située dans le centre de la confection de cette ville géante; on tournait à la cave, dans l’escalier, sur le toit. Pendant la journée, j’étais pris par mon activité de professeur au City College, où j’avais à diriger l’Institute of Film Techniques.
— Hans Richter, in ‘Hans Richter’ (Éditions du Griffon, Neuchâtel, 1965) [Hans Richter by Hans Richter, New York, 1971]

1 year ago  3 notes

Les hommes, les formes abstraites, les objets ne sont en fin de compte rien d’autre que le matériau de l’expression artistique, en peinture comme au cinéma.
– Hans Richter, in ‘Hans Richter’ (Éditions du Griffon, Neuchâtel, 1965)  [Hans Richter by Hans Richter, New York, 1971]

1 year ago  9 notes

What film needs is not so much an audience as artists.
– Hans Richter in ‘Rhythm’ (Berlin, 1921)

1 year ago  5 notes

Max Ernst and Dorothea Tanning in their sequence “Middle Game” of the movie 8x8, 1955-1957 -by Arnold Eagle   [+] from CdSC

Max Ernst and Dorothea Tanning in their sequence “Middle Game” of the movie 8x8, 1955-1957 -by Arnold Eagle   [+]

from CdSC

1 year ago  10 notes

Max Ernst, Dorothea Tanning and Jo Maison in the sequence ‘Desire’, “Max saves Dorothea” [Dreams that money can buy], 1944-1947 -by Arnold Eagle   [+] from CdSC

Max Ernst, Dorothea Tanning and Jo Maison in the sequence ‘Desire’, “Max saves Dorothea” [Dreams that money can buy], 1944-1947 -by Arnold Eagle   [+]

from CdSC

1 year ago  8 notes

Max Ernst in his role as ‘President’ in the movie ‘Dreams that money can buy’ [first Sequence: ‘Desire’], 1944-1947 -by Arnold Eagle   [+] from CdSC

Max Ernst in his role as ‘President’ in the movie ‘Dreams that money can buy’ [first Sequence: ‘Desire’], 1944-1947 -by Arnold Eagle   [+]

from CdSC

1 year ago  5 notes

Dada meeting at Weimar, Sept. 1922 -nd   [+](left to right)  Kurt Schwitters, Jean Arp, Max Burchartz, Lotte Burchartz, Hans Richter, Nelly van Doesburg, Cornelius van Eesheren, Theo van Doesburg yama-bato: ANONYME REUNION DADA A WEIMAR, Septembre 1922 Photographie en noir et blanc Tirage argentique Cachet de la succession Hans Richter au dos 12,5 x 8,5 cm Numéro d’inventaire de la succession: PH3-49 Note: De gauche à droite : Kurt Schwitters, Jean Arp, Max Burchartz, Mme Burchartz, Hans Richter, Nelly van Doesburg, Cornelius van Eesheren, Theo van Doesburg

Dada meeting at Weimar, Sept. 1922 -nd   [+]
(left to right)  Kurt Schwitters, Jean Arp, Max Burchartz, Lotte Burchartz, Hans Richter, Nelly van Doesburg, Cornelius van Eesheren, Theo van Doesburg

yama-bato:

ANONYME
REUNION DADA A WEIMAR,
Septembre 1922
Photographie en noir et blanc
Tirage argentique
Cachet de la succession Hans Richter au dos
12,5 x 8,5 cm
Numéro d’inventaire de la succession: PH3-49
Note: De gauche à droite : Kurt Schwitters, Jean Arp, Max Burchartz, Mme Burchartz, Hans Richter, Nelly van Doesburg, Cornelius van Eesheren, Theo van Doesburg

Philippe Soupault and Erna Richter [Soupault], Berlin, 1934 -nd [Ré Soupault]   [+] Philippe Soupault and Erna Niemeyer-Richter (then divorced from Hans Richter) met in 1933 and get married in 1937. Meta Erna Niemeyer (1901-1996) was a Bauhaus student, she worked with Viking Eggeling on Diagonale Symphonie (1924). She worked (photographer and writer) under several pseudonyms: Renee Meyer, Renate Green, Ré Soupault. from: makimesser

Philippe Soupault and Erna Richter [Soupault], Berlin, 1934 -nd [Ré Soupault]   [+]

Philippe Soupault and Erna Niemeyer-Richter (then divorced from Hans Richter) met in 1933 and get married in 1937. Meta Erna Niemeyer (1901-1996) was a Bauhaus student, she worked with Viking Eggeling on Diagonale Symphonie (1924). She worked (photographer and writer) under several pseudonyms: Renee Meyer, Renate Green, Ré Soupault.

from: makimesser

8 X 8, A Chess Sonata in 8 Movements (1957)

This is the second (of 2) movie that Hans Richter directed in the US. Co-directed with Jean Cocteau and Marcel Duchamp, the movie (70 min.) was released on March 15, 1957 in New York City.

Described by Richter as “part Freud, part Lewis Carroll,” it is a fairy tale for the subconscious based on the game of chess.
The movie is divided in 8 parts with each part depicting a series of acted chess moves.

Like for ‘Dreams that money can buy’, Richter did not use any professional actors, but his friends (the cast include: Jean Arp, Paul Bowles, Ceal Bryson, Alexander Calder, Jean Cocteau, Willem de Vogel, Marcel Duchamp, Max Ernst, Richard Hulsenbeck, Frederick Kiesler, Julien Levy,  Man Ray, Jacqueline Matisse, Eugene Pellegrini, Yves Tanguy, and Dorothea Tanning)
Scene from  ‘Chesscetera - Passionate Pastime’ (Hans Richter, 1958), 1956-1957 -by Arnold Eagle   [+] from CdSC

Scene from  ‘Chesscetera - Passionate Pastime’ (Hans Richter, 1958), 1956-1957 -by Arnold Eagle   [+]

from CdSC

Hans Richter (lt), Larry Evans (cent.) and Marcel Duchamp preparing a sequence for ‘Chesscetera - Passionate Pastime’ (Hans Richter, 1958), 1956-1957 -by Arnold Eagle   [+] from CdSC

Hans Richter (lt), Larry Evans (cent.) and Marcel Duchamp preparing a sequence for ‘Chesscetera - Passionate Pastime’ (Hans Richter, 1958), 1956-1957 -by Arnold Eagle   [+]

from CdSC

Darius Milhaud in his sequence of ‘Chesscetera - Passionate Pastime’ (Hans Richter, 1958), 1956-1957 -by Arnold Eagle   [+] from CdSC

Darius Milhaud in his sequence of ‘Chesscetera - Passionate Pastime’ (Hans Richter, 1958), 1956-1957 -by Arnold Eagle   [+]

from CdSC

Hans Richter about “Dreams”

Mes vieux amis de la regrettée Europe, Duchamp, Man Ray, Max Ernst et l’Américain Calder, fournirent la matière: Duchamp, ses roto-reliefs; Calder, des mobiles; Max Ernst, des collages; Man Ray, un poème. De tout ceci je fis un film. Ainsi naquit en pleine guerre un très pacifique document attestant la collaboration amicale de deux Américains, de deux Allemands et de deux Français, dans le centre culturel du monde occidental qu’était alors New York. C’est en fin de semaine et pendant la nuit que se faisaient les prises de vue de ces ‘Rêves’, dans une vieille maison destinée à être démolie et située dans le centre de la confection de cette ville géante; on tournait à la cave, dans l’escalier, sur le toit. Pendant la journée, j’étais pris par mon activité de professeur au City College, où j’avais à diriger l’Institute of Film Techniques.
— Hans Richter, in ‘Hans Richter’ (Éditions du Griffon, Neuchâtel, 1965) [Hans Richter by Hans Richter, New York, 1971]

Les hommes, les formes abstraites, les objets ne sont en fin de compte rien d’autre que le matériau de l’expression artistique, en peinture comme au cinéma.
– Hans Richter, in ‘Hans Richter’ (Éditions du Griffon, Neuchâtel, 1965)  [Hans Richter by Hans Richter, New York, 1971]
What film needs is not so much an audience as artists.
– Hans Richter in ‘Rhythm’ (Berlin, 1921)
Max Ernst and Dorothea Tanning in their sequence “Middle Game” of the movie 8x8, 1955-1957 -by Arnold Eagle   [+] from CdSC

Max Ernst and Dorothea Tanning in their sequence “Middle Game” of the movie 8x8, 1955-1957 -by Arnold Eagle   [+]

from CdSC

Max Ernst, Dorothea Tanning and Jo Maison in the sequence ‘Desire’, “Max saves Dorothea” [Dreams that money can buy], 1944-1947 -by Arnold Eagle   [+] from CdSC

Max Ernst, Dorothea Tanning and Jo Maison in the sequence ‘Desire’, “Max saves Dorothea” [Dreams that money can buy], 1944-1947 -by Arnold Eagle   [+]

from CdSC

Max Ernst in his role as ‘President’ in the movie ‘Dreams that money can buy’ [first Sequence: ‘Desire’], 1944-1947 -by Arnold Eagle   [+] from CdSC

Max Ernst in his role as ‘President’ in the movie ‘Dreams that money can buy’ [first Sequence: ‘Desire’], 1944-1947 -by Arnold Eagle   [+]

from CdSC

8 X 8, A Chess Sonata in 8 Movements (1957)
Hans Richter about “Dreams”
"Les hommes, les formes abstraites, les objets ne sont en fin de compte rien d’autre que le matériau de l’expression artistique, en peinture comme au cinéma."
"What film needs is not so much an audience as artists."

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