
	Culture and Art Reference: Zabelina, E. V. Simultaneism as a Breakthrough of Visial Images into Tempoeral Dimension // Culture and Art. 2012. № 4. P. 75-83. URL: https://en.nbpublish.com/library_read_article.php?id=61224 Zabelina, E. V. Simultaneism as a Breakthrough of Visial Images into Tempoeral Dimension Abstract: In 2012 it is going to turn 100 years since simulateniusm was founded. Simultaneism is one of the avantgarde movements in art of ХХ century, one of the founders of which was Robert Delaunay. Being born at the junction of art and science and being based on the theory of light and color by French chemist Michel Eugène Chevreul, simultaneism armed people of art with completely new expressive methods of artistic language and inß uencing the audience. Expirements with simultaneous contrasts and forms allowed to depict the illusion of movement in art. Figurative art was changed into transformative art. Leger’s film ‘Mechanic Ballet’ clearly proved that the principles of simultaneism could be used in the black-in-white cinematograph. He used a certain form of film editing built on quick connection of fixed fragments (which was called ‘simaltenous editing’ in cinematograph). This particular article is aimed at clarying the definition of simultaneism and showing certain aspects of its implementation in art. Keywords: history of art, simultaneism, movement, film editing, fine arts, cinematograph, illusion, color, Robert Delaunay, Fernand Leger. This article can be downloaded freely in PDF format for reading. Download article References 1. Vinogradov V. V. Frantsuzskiy kinoavangard 1920-kh godov i neoavangard «novoy volny» kak faktory raz-vitiya vyrazitel'nykh sredstv kinematografa: Diss. … dokt. iskusstvovedeniya. M.: Vserossiyskiy gosudarstvennyy universitet kinematografii imeni S. A. Gerasimova, 2011. 2. Kuzin V. S. Psikhologiya: Uchebnik / Pod red. B. F. Lomova. Izd. 2-e, pererab. i dop. M.: Vyssh. shkola, 1982. 3. Yampol'skiy B. M. Pamyat' Tiresiya. Intertekstual'nost' i kinematograf. M.: RIK Kul'tura, 1993. 4. Alexandrian S. Marcel Duchamp. Paris: Flammarion, 1976. 5. Baron S., Damase J. Sonia Delaunay: the Life of an Artist. New York: H. N. Abrams, 1995. 6. Chevreul M. E. The Principles of Harmony and Contrast of Colours, and Their Applications to the Arts. London: Henry G. Bohn, York street, Covent garden, 1860. 7. Chevreul M. E. De la loi du contraste simultané. Paris: Pitois-Levrault, 1839. 8. Damase J. Sonia Delaunay: Fashion and Fabrics. New York: H. N. Abrams, 1991. 9. Delaunay R. Du cubisme à l’art abstrait / Documents inédits publiés par P. Francastel. Paris: S.E.V.P.E.N., 1957. 10. Der Blaue Reiter. Siniy vsadnik / Pod redaktsiey V. Kandinskogo i F. Marka. Myunkhen, 1912. Perevod, kommentarii i stat'i Z. S. Pyshnovskoy. M.: Izobrazitel'noe iskusstvo, 1996. 11. Golding J. Le cubisme. Paris: Julliard, 1965. 12. Lawder S. The Cubist Cinama. N. Y.: New York University Press, 1975. 13. Léger F. Fonctions de la peinture. P.: Gonthier, 1965. 14. Schmalenbach W. Fernand Léger. P.: Cercle d’art, 1977

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Zabelina, E. V. Simultaneism as a Breakthrough of Visial Images into Tempoeral Dimension