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Transcript
Narrator: Alexander Archipenko’s "Carrousel Pierrot," from 1913, is a painted plaster sculpture nearly 2 feet tall with a rectangular base around 2 feet wide by 1 foot deep. Brightly colored three-dimensional geometric shapes are assembled into an abstract human figure. The figure’s torso leans forward, and its legs are spread apart widely as if taking a large step.  

The sculpture is made of roughly geometric forms that bend and curve—including a cone, spheres, cylindrical shapes, and irregular three-dimensional blocks. The figure stands atop a rectangular base with a sloping, undulating surface. These forms are all painted in cheery, bright colors: fire-truck red, mustard yellow, bubble-gum pink, grass green, sky blue, cream, and black. Generally, the planes of each shape are composed of alternating solid colors, separated by straight lines, some curving. 

A small sphere sits atop the sculpture, forming the figure’s head. The top of the sphere is painted cream and black while its face is painted a solid brick red. The small head rests on a large downward-pointing cone, forming the figure’s torso. The top of this conical torso is a flat circle about four times the diameter of the sphere, so the head seems to poke out from a playfully wide yellow collar. Gently curving arms are attached to the cone, which narrows downward to the figure’s waist. Colorful vertical stripes on the torso taper with the cone, forming triangular shapes alternating in emerald green, brick red, sky blue, and black.  

Long, slightly curving legs extend from the base of the cone. Other elements are adjacent to the figure. For example, a second sphere, painted sky blue, seems to hover in front of the figure’s torso; its edge is attached to the conical torso. A curving cross-shaped form extends from the figure’s right arm and rests beside the figure. Looking closely, one can read two words painted on a mustard plane of the arm: venez rire, or “come and laugh.”  

The entire sculpture is solid yet light, with parts that seem to be in movement or suspension, especially as we move around the work and experience it from all sides. Its forms have a softness to them with rounded and dented edges. Overall, the sculpture has a handmade quality. Textured brushstrokes are visible, and some parts of the glossy paint are cracked or flaking.   

This subject of this sculpture is the sad clown Pierrot, typically presented as an all-white figure. Inspired by a festival where “dozens of carousels with horses, swings, gondolas, and airplanes imitate the rotation of the earth,” Pierrot’s body evokes the dizzying feeling of spinning., The repeating colors and clown’s circular torso – like an upside-down tented carousel – combines velocity with the thrills of modern entertainment.

Orphism - Verbal Descriptions

Exhibition Website

Description of Carrousel Pierrot, 1913

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Transcript
Narrator: "Paris Through the Window" by Marc Chagall is an oil-on-canvas painting from 1913 that is about 4 1/2 feet square. 

Two stylized figures — one a double-faced human head and pair of shoulders and the other a human-faced cat — face each other in profile along the bottom of the composition. The human figure sits in the bottom right corner; it faces the cat to its left and is unnaturally blue in color.  Both figures appear in the foreground, close to the viewer, and sit in front of a busy scene. 

Behind them, a city skyline stretches across the composition’s center line, filling its middle ground. Here, multistory buildings are simply outlined in thin plum-colored lines with tiny daubs and strokes of paint that indicate windows, roofs, and other architectural features. A thin tower stretches all the way up the right side of the composition. It tapers as it rises, and its top is not visible—it seems to extend beyond the canvas. An arched opening at its base suggests that it is Paris’s iconic Eiffel Tower, which is confirmed by the work’s title. The tower’s imposing scale perhaps expresses the artist’s reverence for it as a symbol of the city’s modernity. 

In this middle ground, a wide ivory stripe near the composition’s bottom right stretches diagonally to the upper left. The stripe runs behind the blue-faced figure, crosses behind the cat, passes through the cityscape, and cuts across the sky above. It roughly divides the square composition into lower-left and upper-right triangular segments as its light color severs through the otherwise muted beige background. The stripe seems to illuminate everything in its path like the beam of a spotlight, and subjects outside of its path remain muted as if sitting in shadow.  

To the left of the cat figure, a multicolor window frame extends upward from the foreground to fill the composition. Its eight panes are arranged in two columns, and the frame is red at its base, transitioning upward to yellow, green, and then blue.  

The work’s title suggests this is an interior scene, and through this window lies the Parisian skyline. Under the window appears the backrest of a chair, and tiny daubs of white, red, yellow, blue, and deep green paint suggest that bunched flowers are placed on the seat, which itself is below the bottom of the canvas and not visible. At the base of the window, a ledge runs to the right edge of the composition. Here, the cat sits. 

On closer inspection, the unusual figures are joined by other dreamlike elements throughout the painting. For instance, the figure with the blue face holds in its mouth a small purple flower. Under, a blue hand is lifted at the figure’s chest. In its palm rests an ochre heart.  

Out in the city, at the base of the Eiffel Tower, two small dark figures appear to stand horizontally, as if rotated against gravity. One is dressed in a suit and holds a cane. The other wears a dress, and both don hats. Near the top right of the Eiffel Tower, another person appears to float in the sky. This figure’s arms are outstretched and hold onto the corners of a triangular shaped parachute above its head.  

Behind this figure stretches another bright beam. It begins in the painting’s top-right corner and widens until it fades behind the tower. The beam is blue at its top and transitions to white and then to red, like the colors of the French flag.  

Through the bottom windowpanes, situated in the dark, shadowy area of the skyline, are a string of train cars. Strangely, they are upside-down, and smoke puffs downward out of the smokestack of one car.

Read more at Guggenheim.org/audio

Description of Paris through the Window (Paris par la fenêtre), 1913

Access a slow-looking exercise of this work.

Transcript
Narrator: Sonia Delaunay’s "Toy Box," from 1913, is a sculpture made of wood and painted with acrylic. Its body is a rectangular box around 8 inches tall, 14 inches wide, and 9 inches deep. It has an upper lid that is hinged on one of its long sides. The lid gently rises in the middle to form a barrel-shape with an arching crest along the two shorter sides. 

Brightly painted playful geometric shapes cover the entire surface. They include rectangles, triangles, quadrilaterals and other multisided polygons, as well as stripes of varying thicknesses. The shapes are oriented in different directions and some of their edges seem to overlap as if layered. Each shape is a single color, saturated yet muted. The box primarily features tomato red, cantaloupe orange, mustard yellow, navy, and mint green, and there are touches of blush, butter yellow, slate blue, toffee, mahogany, black, and creamy white.  

The paint has been applied to the surface in layers. Throughout the box, the top layer has chipped away to reveal speckles of an underlayer in cantaloupe orange. At some places along the sculpture’s edges, the paint has completely worn away to reveal its wooden form and the tiny nails that hold it together. In some areas, the blocks of color are vaguely transparent, gently veiling the orange color beneath. Wide brush strokes are often visible, indicating the daubs and directions of the artist’s hand. 

On close inspection, a few unique shapes on the box stand out because they suggest stylized representative forms, rather than abstract elements. On the top of the lid, a dark circle outlined thinly in red sits near one corner. The circle’s center is divided into three segments: One quarter is white, another quarter is black, and the remaining half is brown. There are other brown, white, and black circles on the lid: one bordered with a crescent shape at its edge; one with stripes beaming from it like rays, and one uniformly dotted in white. These represent cosmic forms such as moons, suns, and stars. These dark tones seem to recede within the brighter, colorful surroundings.  

Also on the top of the lid, a brown square sits tilted at an angle with a red triangle projecting from one side. This form is a simple building with a gabled roof. Nearby, a subtle brown arrow extends from one of the lid’s edges, indicating how the box opens. On the box’s sides, other shapes are possibly representational, such as a simplified windmill, a tree, and streetlights.  

Just beneath the lid, a thin horizontal stripe of blue runs along the box’s four sides, and a similar stripe runs along the base in tomato red and black. The lid’s four sides are painted with side-by-side blocks of color in cantaloupe orange, tomato red, creamy white, navy, and black. The blocks vary in width and height, getting taller where the lid arches upward on its two shorter edges. 

Adapted from Caitlin Glosser’s essay “Sonia Delaunay: Simultaneity Freed from Painting”, Delaunay produced work in diverse materials, including this wooden toy box, regardless of their perceived value. She explained, “[T]he true beauty of an object is not an effect of taste but is intimately tied to its function.”

Description of Toy Box (Coffret à jouets), 1913

A bright and uplifting vocal jazz version of the classic song Happy Days Are Here Again from the 1920's. This song was composed by Milton Ager (music) and Jack Yellen (lyrics) and was, amongst other things, used as the campaign song for Franklin J Roosevelt's 1932 presidential campaign. Originally released in 1929, this song came into Public Domain in the USA on January 1st, 2025. This version is performed by the Lynne Jazz Ensemble featuring lead vocals by Dirk J J van der Merwe. [Please note: This historical composition may, or may not, be in the public domain in the country of your residence, as every country has its own laws on when a historical music composition enters public domain. In the USA it is public domain as of January 1, 2025. You must investigate your own country's copyright laws before using this music.]

LYRICS:

So long sad times
Go 'long bad times
We are rid of you at last
Howdy gay times 
Cloudy grey times,
You are now a thing of the past

'cause
Happy Days are here again
The skies above are clear again
Let us sing a song of cheer again
Happy days are here again

All together shout it out
There's no one who can doubt it now
So let's tell the world about it now
Happy days are here again

Your cares and troubles are gone
There'll be no more from now on

No more sighing, no more crying
Clouds of grey have turned to blue
Sorrow flying, cares denying
All our rosy dreams have come true

'cause
Happy Days are here again
The skies above are clear again
Let us sing a song of cheer again
Happy days are here again

Buy/License

Happy Days Are Here Again

A happy, toe-tapping, upbeat version of the famous, classic, historical song, Happy Days Are Here Again. This song was composed by Milton Ager (music) and Jack Yellen (lyrics) and was, amongst other things, used as the campaign song for Franklin J Roosevelt's 1932 presidential campaign. Originally published in 1929, this song came into Public Domain in the USA on January 1st, 2025. [Please note: This historical composition may, or may not, be in the public domain in the country of your residence, as every country has its own laws on when a historical music composition enters public domain. In the USA it is public domain as of January 1, 2025. You must investigate your own country's copyright laws before using this music.]

Happy Days Are Here Again (Instrumental)

sound 1920

A light-footed, easy, fun and feel-good vocal version of the classic song 'Tip-toe Thru the Tulips', composed by Joe Burke (music) and Al Dubin (lyrics). Originally released in 1929, this song came into Public Domain in the USA on January 1st, 2025. This version is performed by the Lynne Jazz Ensemble featuring lead vocals by Dirk J J van der Merwe.

LYRICS:

Shades of night are creeping
willow trees are weeping
old folks and babies are sleeping
silver stars are gleaming
all alone I'm scheming
scheming to get you out here
my dear

Come tip toe to the window
By the window, that is where I'll be
Come tip toe through the tulips with me

Tip toe from your pillow
to the shadow of a willow tree
Come tip toe through the tulips with me

Knee deep in flowers we'll stray
We'll keep the showers away
And if I kiss you in the garden
in the moonlight
will you pardon me
come tip toe through the tulips with me

(Instrumental solos)

Tip toe to the window
By the window, that is where I'll be
Come tip toe through the tulips with me

Tip toe from your pillow
to the shadow of a willow tree
Come tip toe through the tulips with me

Knee deep in flowers we'll stray
We'll keep the showers away
and if I kiss you in the garden
in the moonlight
will you pardon me
come tip toe through the tulips
with me

Tiptoe Through the Tulips

A light-footed, easy, fun and feel-good vocal version of the classic song 'Tip-toe Thru the Tulips', composed by Joe Burke (music) and Al Dubin (lyrics). Originally released in 1929, this song came into Public Domain in the USA on January 1st, 2025. This version is performed by the Lynne Jazz Ensemble featuring lead vocals by Thomas Penninger.

LYRICS:

Shades of night are creeping
willow trees are weeping
old folks and babies are sleeping
silver stars are gleaming
all alone I'm scheming
scheming to get you out here
my dear

Come tip toe to the window
By the window, that is where I'll be
Come tip toe through the tulips with me

Tip toe from your pillow
to the shadow of a willow tree
Come tip toe through the tulips with me

Knee deep in flowers we'll stray
We'll keep the showers away
And if I kiss you in the garden
in the moonlight
will you pardon me
come tip toe through the tulips with me

(Instrumental solos)

Tip toe to the window
By the window, that is where I'll be
Come tip toe through the tulips with me

Tip toe from your pillow
to the shadow of a willow tree
Come tip toe through the tulips with me

Knee deep in flowers we'll stray
We'll keep the showers away
and if I kiss you in the garden
in the moonlight
will you pardon me
come tip toe through the tulips
with me

Tiptoe Through The Tulips

A happy and toe-tapping, instrumental jazz band version of the classic 1929 song Tip-toe Thru the Tulips, performed by a jazz combo consisting of piano, drums, upright bass, acoustic guitar, clarinet and trombone. Originally released in 1929, this song came into Public Domain in the USA on January 1st, 2025. This version is performed by the Lynne Jazz Ensemble. Stem files available.

Tiptoe Through The Tulips (Instrumental)

Chinese New Year Special
Colin's warming up for the year of the snake this week, with music from Glen Gray, Paul Whiteman, Bob Zurke, and Billy Cotton. We take a suitable track from Sinatra’s top selling album 'Come Fly With Me', plus a great vintage chart topper from Zhang Lu, setting the scene for the up-coming festivities.

Broadcast, Sunday, 26th, January, 2025

Ep 4 - S11 - VCT - Chinese New Year Special

Lynne Publishing is a music label representing a library of high-quality, carefully developed, production music / stock music, available to license for use in your own media. We founded our company in April of 2000 and since then we have added new music to our catalog weekly. We develop our own music with contracted professional composers, both young and exciting talents and experienced film- and TV composers.

All our music is available for easy licensing and immediate download for use in media creations, such as videos, films, games, TV, online, social media, corporate use, etc. To obtain a Master Synchronization license for any of music, contact us via www.Shockwave-Sound.com

Listen to audio about exhibitions and artworks at the Solomon R. Guggenheim Museum in New York City. Frank Lloyd Wright's landmark building is home to a collection of modern and contemporary masterpieces.

New tracks tagged #1920