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Lot 1360
An Oskar Fischinger preliminary concept drawing from Fantasia
1 March 2015, 10:00 PST
Los AngelesSold for US$1,250 inc. premium
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An Oskar Fischinger preliminary concept drawing from Fantasia
1940, pastel on storyboard animation paper, depicting geometric patterns from the Toccata and Fugue sequence in the film. Together with a preliminary pencil drawing on animation paper that resembles the pastel.
German-American filmmaker Oskar Fischinger (1900-1967) was, inadvertently, one of the driving forces behind Fantasia. His series of short abstract films synchronized to classical music were very popular in the 1930s and distributed worldwide to first-run theaters. In 1931, Fischinger made an abstract film synchronized to "The Sorcerer's Apprentice," and he contacted conductor Leopold Stokowski to clear rights to use his arrangement. In 1935, Fischinger published in a Berlin film trade paper his wish to create a concert-length film with abstract images and diverse music. After emigrating to Hollywood in 1936, Fischinger ran across Stokowski while both were employed at Paramount. He spoke again of his idea to Stokowski, but unbeknownst to Fischinger, Stokowski pitched the idea to Walt Disney, who hired him as his major collaborator on the "Concert Feature" project. Fischinger was offered a low paid position on the film as a "motion picture cartoon effects animator."
Fischinger's previous abstract films synchronized to music were screened weekly to instruct the Disney animators, but his own ideas and designs for the film (mostly for the first segment) were constantly altered, simplified and made more representational. He finally left the project and requested that his name be removed from the credits. The Bach "Toccata and Fugue" sequence was adapted from many of his original designs, and his influence can be seen throughout Fantasia.
8 1/2 x 8 in.; 9 1/2 x 12 in.
German-American filmmaker Oskar Fischinger (1900-1967) was, inadvertently, one of the driving forces behind Fantasia. His series of short abstract films synchronized to classical music were very popular in the 1930s and distributed worldwide to first-run theaters. In 1931, Fischinger made an abstract film synchronized to "The Sorcerer's Apprentice," and he contacted conductor Leopold Stokowski to clear rights to use his arrangement. In 1935, Fischinger published in a Berlin film trade paper his wish to create a concert-length film with abstract images and diverse music. After emigrating to Hollywood in 1936, Fischinger ran across Stokowski while both were employed at Paramount. He spoke again of his idea to Stokowski, but unbeknownst to Fischinger, Stokowski pitched the idea to Walt Disney, who hired him as his major collaborator on the "Concert Feature" project. Fischinger was offered a low paid position on the film as a "motion picture cartoon effects animator."
Fischinger's previous abstract films synchronized to music were screened weekly to instruct the Disney animators, but his own ideas and designs for the film (mostly for the first segment) were constantly altered, simplified and made more representational. He finally left the project and requested that his name be removed from the credits. The Bach "Toccata and Fugue" sequence was adapted from many of his original designs, and his influence can be seen throughout Fantasia.
8 1/2 x 8 in.; 9 1/2 x 12 in.