Henri Rivière created a form of
shadow theatre at the Chat Noir under the name "ombres chinoises". This was a notable success, lasting for a decade until the cafe closed in 1897. He used back-lit zinc cut-out figures which appeared as
silhouettes. Rivière was soon joined by
Caran d'Ache and other artists, initially performing d'Ache's drama L’Epopee. From 1886 to 1896, Rivière created 43 shadow plays on a great variety of subjects from
myth,
history and the
Bible. He collaborated with many different artists and writers, but made the illustrations for only 9 of the productions himself. He concentrated on improving the technical aspects of the production by using
enamelling and lighting to create extremely delicate effects of light and colour.[1] The Ombres evolved into numerous theatrical productions and had a major influence on
phantasmagoria.[2] The technique is considered a precursor to
silhouette animation.[3]
In 1886,
Ottomar Anschütz developed the
Electrotachyscope, an early device that displayed short motion picture loops with 24 glass plate photographs on a 1.5 meter wide rotating wheel that was hand-cranked to the speed of circa 30 frames per second. Different versions were shown at many international exhibitions, fairs, conventions and arcades from 1887 until at least 1894. [4][5]
Frank Moser, American animation director and illustrator (co-founder of the animation studio
Terrytoons, served as Terrytoons' most prolific animator), (d.
1964).[53]
References
^Catalogue, Henri Rivière: The Thirty-Six Views of the Eiffel Tower (1888-1902), Watermarks Gallery,
Pittsboro, NC, 1995.
^Phillip Dennis Cate and Mary Shaw (eds), The Spirit of Montmartre: Cabarets, Humor and the Avant-Garde, 1875-1905, Rutgers University Press, 1996, pp.55-58 excerpted on line as
Henri Riviere: Le Chat noir and 'Shadow Theatre'.
^Jouvanceau, Pierre (2004). The Silhouette Film. Pagine di Chiavari. trans. Kitson.
Genoa: Le Mani.
ISBN88-8012-299-1.
Henri Rivière created a form of
shadow theatre at the Chat Noir under the name "ombres chinoises". This was a notable success, lasting for a decade until the cafe closed in 1897. He used back-lit zinc cut-out figures which appeared as
silhouettes. Rivière was soon joined by
Caran d'Ache and other artists, initially performing d'Ache's drama L’Epopee. From 1886 to 1896, Rivière created 43 shadow plays on a great variety of subjects from
myth,
history and the
Bible. He collaborated with many different artists and writers, but made the illustrations for only 9 of the productions himself. He concentrated on improving the technical aspects of the production by using
enamelling and lighting to create extremely delicate effects of light and colour.[1] The Ombres evolved into numerous theatrical productions and had a major influence on
phantasmagoria.[2] The technique is considered a precursor to
silhouette animation.[3]
In 1886,
Ottomar Anschütz developed the
Electrotachyscope, an early device that displayed short motion picture loops with 24 glass plate photographs on a 1.5 meter wide rotating wheel that was hand-cranked to the speed of circa 30 frames per second. Different versions were shown at many international exhibitions, fairs, conventions and arcades from 1887 until at least 1894. [4][5]
Frank Moser, American animation director and illustrator (co-founder of the animation studio
Terrytoons, served as Terrytoons' most prolific animator), (d.
1964).[53]
References
^Catalogue, Henri Rivière: The Thirty-Six Views of the Eiffel Tower (1888-1902), Watermarks Gallery,
Pittsboro, NC, 1995.
^Phillip Dennis Cate and Mary Shaw (eds), The Spirit of Montmartre: Cabarets, Humor and the Avant-Garde, 1875-1905, Rutgers University Press, 1996, pp.55-58 excerpted on line as
Henri Riviere: Le Chat noir and 'Shadow Theatre'.
^Jouvanceau, Pierre (2004). The Silhouette Film. Pagine di Chiavari. trans. Kitson.
Genoa: Le Mani.
ISBN88-8012-299-1.