Tag: romania

Mime Misu: Film History Series

Mime Misu, “In Nacht und Eis (In Night and Ice)”, 1912, Written and Directed by Mime Misu, Film Runtime 42 Minutes, Continental-Kunstfilm, Berlin, Germany,

Remastered with English Subtitles and Score by Swiss Composer Christophe Sturzenegger

Born in January of 1888 at the county seat of Botosani in the northern part of Romania, Misu Rosescu was a pantomime artist, ballet dancer, film actor and director. He was nephew to the prominent writer Rahel Levin Varnhagen whose home became a center for the intellectual and political figures of German culture. Born into a family of musicians, artists and performers, Rosescu made his stage debut as a child performing ballet and pantomime.

Rosescu’s many talented performances were recognized and gained him free entrance into the Bucharest Art Academy. During his studies, he was assigned to the Royal National Theatre in the capital city of Bucharest. After his graduation with honors, Rosescu began a successful career appearing in theatrical performances at the provincial theaters of Romania. After his performance at the 1900 World Fair in Paris, Rosescu established his own theatrical production company and toured Berlin, Budapest, Vienna and London. 

Misu Rosescu, now using the name Mime Misu, entered into the growing film industry. In Paris, he was initially employed by Lux, a film production company located in the 14th arrondissement, and later at Pathé Frères which was becoming the world’s largest film equipment and production company. In 1912, Misu signed with Berlin’s newly established Continental=Kunstfilm which had just begun to release a mix of comedies, melodramas and documentaries. mis

Through Continental-Kunstfilm, Mime Misu wrote and directed three films in his first year. The 1912 silent film “Das Gespenst von Clyde (The Ghost of von Clyde)” was a media story of Count Arthur Hamilton who died in the British Castle of Clyde under mysterious circumstances. Misu’s 1912 “In Nacht und Eis (In Night and Ice)” was a silent adventure-disaster film depicting the recent sinking of RMC Titanic. Having achieved some success with his drama-documentary narrative style, Misu made the 1912 “Das Mirakel (The Miracle)”. Based on the thirteenth-century temptation legend of Sister Beatrice, the film later appeared under the title “Das Marienwunder: Eine alte Legende (The Miracle of Mary: An Old Legend)” due to legal rulings in the United Kingdom and the United States.

Misu made one more film in Germany, the 1913-1914 “Der Excentric Club”, for Projektions-AG Union, a Frankfurt film production company that soon moved to Berlin, the new center of the German film industry. He traveled to the United States where he made one film, the 1914 “Money God”, under his personal production company Misugraph-Film. Lacking support in the United States just as the First Great War began, Misu returned to Europe and settled with his new wife, Bertha, in Berlin’s inner-city district of Wilmersdorf. In 1915, he directed in the Netherlands his last film, a disaster film of a sinking ship entitled “Ontmaskerd (Unmasked)”; the credits list his birth name, Misu Rosecu, as director.

Mime Misu traveled to the United States every year from 1915 to 1917. He maintained office space in Berlin for his production company Misugraph-Film until 1921. There is, however, no record of any artistic activity from 1915 to 1921. In 1921, Misu apparently misrepresented himself as to his involvement with the Famous Players Film Company, a film venture owned by Paramount Pictures’ founder Adolph Zukor. This led to the publishing of their exchanged letters in Berlin’s film journal Fil-Kurier. An accomplished stage performer and director of six films, (Mime) Misu Rosescu died in Antwerp, Belgium in the summer of 1953. 

Among the films in his career, Mime Misu’s best known work is the 1912 “In Nacht und Eis’, the earliest surviving film depiction of the RMS Titanic disaster. Camera work was done by Willy Hameister, Emil Schünemann and Victor Zimmermann. Most of its footage was shot in a glasshouse studio inside the courtyard of Continental-Kunstfilm’s offices at 123 Chausseestrasse. Other footage was shot in Hamburg and, possibly, aboard the Hamburg-docked German ocean liner Kaiserin Auguste Victoria. 

At a running time of thirty-five minutes, “In Nacht und Eis” was shot in black and white with various scenes tinted to increase their impact. The film starred actors Waldemar Hecker as the telegrapher, Otto Rippert as the Captain, and Ernst Rückert as the First Officer. The Berlin Fire Department provided the flood waters necessary for the scenes of the Titanic’s sinking. “In Nacht und Eis” was considered a lost film until February of 1998. At that time, the German film archivist Horst Lange, after reading an article discussing this loss, informed the newspaper that he possessed a print of the film.

Note: The above video of “In Nacht und Eis” is from the Titanic Officers site which contains a multitude of articles on the ship’s officers and other aspects of the Titanic and its sinking. The Titanic Officers website can be found at: https://www.titanicofficers.com/articles.html

For those film buffs who are purists, there is a restored silent version, sans soundtrack, on the Internet Archive. This slightly shorter film with a runtime of thirty-four minutes is located at:  https://archive.org/details/silent-in-nacht-und-eis

Top Insert Image: Mime Misu, “Das Mirakel”, 1912, Publicity Photo on Cardstock

Bottom Insert Image: Mime Misu, “In Nacht und Eis”, 1912, (Otto Rippert and Ernst Rüchert) Film Clip Photo

Victor Brauner

Victor Brauner, “Le Surréaliste”, January 1947, Oil on Canvas, 60 x 45 cm, Peggy Guggenheim Collection, Venice

Victor Brauner was a Romania painter and sculptor. He aided in the growth of Surrealist art by developing its vocabulary and drawing inspiration from new sources, including mythology, alchemy, Hinduism, Judaism, and both Aztec and Native American  belief systems. Brauner developed a private and very personal iconography and his pictorial presentations of the etheric body had a direct impact on other Surrealist painters.

Brauner was born in June of 1903 in the city of Piatra Neamț nestled in the Eastern Carpathian mountains, His family lived in Vienna for eleven years until they returned to Romania in 1914. Brauner’s father was involved in spiritualism and, in 1916, sent his son to an evangelical school in the city of Brăila, where Victor developed a strong interest in zoology. In 1921, Brauner briefly attended Bucharest’s National School of Fine Arts. He also studied at the private school of Romania director Horia Igiroşanu. 

After his studies, Victor Brauner visited the Moldavian city of Fălticeni and the coastal Bulgarian resort town of Balchik, where he painted landscapes in the manner of Cézanne. In September of 1924, he had his first solo exhibition of expressionist paintings at the Mozart Galleries in Bucharest. Brauner also participated in a November 1924 exhibition sponsored by the avant-garde art and literary magazine, Contimporanul. 

In 1925 Brauner travelled to Paris for the first time, where he stayed in the same building as Swiss sculptor and printmaker Alberto Giacometti and the French Surrealist painter Yves Tanguy, who introduced him to many of the Surrealists in Paris. Brauner also befriended Romanian sculptor and painter Constantin Brancusi, who taught him the methods of art photography. His circle of friends at that time included poet Benjamin Fondane and artists such as Marc Chagall, Marcel Duchamp, Man Ray, and Robert and Sonia Duchamp. 

As Fascism began to take hold in 1930, Victor Brauner settled in Paris more permanently and married Margit Kosch, whom he would divorce nine years later. In 1931 he painted one his most famous images, “Self-Portrait with Plucked Eye”, a work that was eerily prophetic, as on August 28th in 1938 Brauner lost his left eye when he was hit by a glass during a violent argument between Spanish Surrealist painters Oscar Domínguez and Esteban Francés. 

Brauner had his first solo exhibition in Paris at the Galerie Pierre in 1934; the enthusiastic catalogue introduction was written by author and poet André Breton. However, the show was not well received and Brauner, disheartened and low on funds, returned  to Bucharest in the following year. During this period in Bucharest, he stopped painting and instead produced illustrations and caricatures, including his 1935 “Anatomy of Desire”. Financially more secure, Brauner moved back to Paris in 1938.

The German army’s advance into France in the middle of 1940 forced Victor Brauner, a Romanian Jew and former Communist, to flee to southern France. He continually moved throughout France, living for a short time with writer Robert Ruis, before finally settling in Saint Feliu d’Amont, a commune in the very southern tip of France. While living there, Brauner unsuccessfully tried to obtain a visa to travel to the United States, however, he managed to get official permission in 1941 to settle in Marseilles, a haven for many Surrealists. In Marseilles, the surrealists continued their work and created a number of collective projects, that included a deck of Tarot cards to which Brauner contributed two images. 

Near the end of the war, Victor Brauner moved to Switzerland to escape the increasing Nazi persecution of foreign Romanian nationals. There he discovered pioneer psychotherapist Marguerite Sèchehaye’s writings on schizophrenia, treatises which influenced his later paintings. In 1945, Brauner returned to Paris and placed his work at the Galerie Maeght for the 1947 International Exhibition of Surrealism. Not long after his return to Paris, Brauner was expelled in 1947 from the Surrealist group by André Breton for refusing to support the ouster of prominent member Roberto Matta. Brauner began to experiment in other genres and completely left Surrealism in 1948. 

Brauner returned to more personal and primitive themes in his work, in a more stylized and abstracted form, done in the mediums of paper, encaustic painting, and thin oils on board. He established a studio in 1959 at 72 Rue Lepic in the Montmartre district of Paris. After a trip to Italy in 1961, Brauner settled in Varengeville, a commune on the sea in Normandy. In the same year, his work was presented in a solo exhibition at New York City’s Bodley Gallery, a prominent art gallery that became the venue of choice for the Pop Art movement. In 1966, Brauner was selected to represent France and given an entire hall at the Venice Biennale for his work. 

After a period of prolonged illness, Victor Brauner died in Paris on March 12th of 1966. He is buried at the Montmartre Cemetery; the epitaph on his tomb reads: “Painting is Life, the Real Life, My Life”.

Note: In ” The Surréaliste”, Victor Brauner borrows motifs from the tarot to create a portrait of himself as a young man. The tarot was a subject of widespread interest to Brauner and other Surrealists. One tarot card, the Juggler (the first card in the Marseille tarot deck), provided Brauner with a key prototype for his self-portrait. The Surrealist’s large hat, medieval costume, and the position of his arms all derive from this figure who, like Brauner’s subject, stands behind a table displaying a knife, a goblet, and coins. In the Waite tarot deck, the first card is the Magician. A sign of infinity (the symbol of life) that appears above the Magician’s head is also depicted on the hat of Brauner’s Surrealist.

Second Insert Image: Victor Brauner, “Le Codex du Poète, Mythologie du Poète, Première Naissance”, 1947, Oil on Canvas, 91.7 x 72.9 cm, Private Collection

Third Insert Image: Victor brauner, “Prelude to a Civilization”, 1956, encaustic and Ink on Masonite, 129.5 x 202.6 cm, The Metropolitan Museum of Art, New York

Fourth Insert Image: Victor Brauner, “La Couronnée”, May 1945, Oil and Wax with Black Ink on Board, 27 x 22 cm, Private Collection

Bottom Insert Image: Victor Brauner, Title Unknown, circa 1945, Encaustic on Board, Private Collection

Victor Fota

Victor Fota, “Conflicting Metaphysics”, Date Unknown, Oil on Canvas

Victor Fota is a visual artist from Romania whose surreal paintings are inspired by science theories and facts. He is a graduate of the Fine Arts High School in Bucharest. He has a bachelor and masters degree in Conservation and Restoration of Works of Art at the University of Fine Arts in Bucharest, Faculty of Art History and Theory.

During his studies, Fota has been continuously confronted by the structure of works of art, constructed at different scales. He studied mural painting techniques, panel painting techniques on wood and canvas, and also painted furniture. This lead to a better understanding of how works of art have survived in the passage of time, and what made them resist. This profound study of the materials that form the works of art led him to domains of physics and chemistry.

The traditional 15th century Flemish oil painting technique seemed to fit best with Fota’s artistic concepts. The use of transparent coloured layers was the best technical method that could enhance the final message of the subjects of his paintings. These combine science facts and theories but are illustrated with a twist, using his personal, artistic perception of reality.

“The concept is based on the objective or rational observation of reality which is distorted by our senses and personal understanding in a subjective way, the result being the world we know.” -Victor Fota

Victor Brauner

Victor Brauner, “La Pétrification de la Papesse”, 1945, Oil and Wax on Masonite, Private Collection

Victor Brauner was born on June 15, 1903, in Piatra-Neamt, Romania. His father was involved in spiritualism and sent Brauner to evangelical school in Braïla from 1916 to 1918. In 1921 he briefly attended the School of Fine Arts in Bucharest, where he painted landscapes in the style of Cézanne. He exhibited paintings in his subsequent expressionist style at his first solo show at the Galerie Mozart in Bucharest in 1924.

Brauner helped found the Dadaist review “75 HP” in Bucharest. He went to Paris in 1925 but returned to Bucharest approximately a year later. In Bucharest in 1929 Brauner was associated with the Dadaist and Surrealist review “UNU”. Brauner settled in Paris in 1930 and became a friend of his compatriot Constantin Brancusi. Then he met Yves Tanguy, who introduced him to the Surrealists by 1933. André Breton wrote an enthusiastic introduction to the catalogue for Brauner’s first Parisian solo show at the Galerie Pierre in 1934.

The exhibition was not well-received, and in 1935 Brauner returned to Bucharest, where he remained until 1938. That year he moved to Paris, lived briefly with Tanguy, and painted a number of works featuring distorted human figures with mutilated eyes. Some of these paintings, dated as early as 1931, proved gruesomely prophetic when he lost his own eye in a scuffle in 1938.

At the outset of World War II Brauner fled to the South of France, where he maintained contact with other Surrealists in Marseilles. Later he sought refuge in Switzerland; unable to obtain suitable materials there, he improvised an encaustic from candle wax and developed a graffito technique.

Brauner returned to Paris in 1945. His postwar painting incorporated forms and symbols based on Tarot cards, Egyptian hieroglyphics, and antique Mexican codices. In the fifties Brauner traveled to Normandy and Italy, and his work was shown at the Venice Biennale Exhibitions in 1954 and in 1966. He died in Paris on March 12, 1966.

The Bear Dance on New Year’s Eve

Romanian Ursul: The Bear Dance on New Year’s Eve

In Romania, there is the Christmas carol which involves carolers dressed as bears. In the past, a real bear was also included in the dance. The tradition, called Ursul, is mostly kept in Bucovina and Moldova on New Year’s Eve. The tradition aims to purify and fertilize the soil for the next year. The bear cult is of Geto-Dacian origins when the bear was a sacred animal.

The photos were taken as Romanian dancers performed the “bear” dance during a traditional parade in Comanesti. In pre-Christian rural traditions, dancers used to tour from house to house in villages while singing and dancing to ward off evil.