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Transcript
Narrator: Created by Albert Gleizes in 1942, "Painting for Contemplation, Dominant Rose and Green" is a larger-than-life abstract rectangular painting about 7 feet tall by almost 4 1/2 feet wide. It is made of oil on burlap. As alluded to by the painting’s title, various hues of rose and green dominate its color palate. Its composition is roughly divided into quadrants of color. Clockwise from the upper left, colors transition from sea green to moss, to rosy pink, to periwinkle blue. At the center sits a roughly defined segment of pale pink.  

The overall composition is fragmented into various geometric shapes: straight-edged polygons appear near the edges, and toward the middle there are circular and oval forms and triangles with curved sides. The forms vary in their shades of color, from light pastels to deep mid-tones. The shapes often seem to overlap and intersect, especially where the quadrants meet and neighboring colors touch. 

A black dot, centered in the middle of the composition, stands out against the rest of the work’s muted colors. Moving outward, subtle circular outlines radiate from the dot toward the edges of the canvas, each subsequent outline morphing into long ovals that eventually end in a tall, rounded rectangle, mirroring the shape of the canvas itself. A subtle gray-blue dot sits to the upper right of the central black dot. Circles radiate outward here as well, soon intersecting and then merging into one unified set of radiating outlines. Color also adds to this sense of outward expansion, as the dark outer quadrants seem to recede from the foregrounded light pink center.  

The composition contains a diagonal sense of movement as well. The edges of some fragmented shapes align with their neighbor’s to form an impression of continuous lines that proceed from bottom left to upper right across the artwork. Throughout the painting, clusters of four to seven short parallel lines follow this same diagonal direction.  

While the composition is abstract, its forms, colors, and sense of movement suggest representational subjects. The composition’s blue base and upper green sections could reference the natural world—water and foliage. And its pink tones could allude to flesh. The central dots and their radiating outlines reference two abstracted human figures in an embrace— a gently curved line at bottom right indicating a cradled arm, ending with a cluster of short parallel lines for a hand and fingers. 

Gleizes, a Catholic, was committed to Christianity, leading him to produce spiritually inspired work. "Painting for Contemplation" may reference the spiritual act of contemplation in front of an altar or shrine, here featuring a depiction of the Madonna and child.

Orphism - Verbal Descriptions

Exhibition Website

Description of Painting for Contemplation, Dominant Rose and Green, 1942

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Transcript
Narrator: "Broken Forms" by Franz Marc is a rectangular oil-on-canvas painting from 1914. It is about 3 1/2 feet tall by nearly 3 feet wide. The dynamic abstract composition features colorful shapes that are intersected by a large dark and angular form. 

This painting’s colors are strong and include shades of tomato red, mustard yellow, emerald green, and cerulean blue. They gently encircle the composition in soft curving, swirling, and hooked forms, which are intermixed and sometimes combined with vertical and diagonal geometric shapes.  

A dark form protrudes diagonally from just above the bottom-left corner of the composition and extends to its upper right. It is a tall rectangular form, and at its top is a left-facing swirl or hook that resembles a bass clef or the scroll atop a cello’s neck. The form is dark, mainly a mixture of blues and black, making it stand in great contrast to the colorful surroundings. Its sloped angle amid the background’s upright shapes gives a sense that it’s leaning over.  

Just under the dark form sits the center of the composition. Here, the colors seem to blend and lighten into a dusky rose haze with translucent pale yellow bubbles that dissipate within the surrounding well-defined shapes.  

The geometric and organic elements of the composition appear to layer over and under each other. Fluffy brushstrokes at the edges of the dusky rose haze give the impression that this cloudy area hovers over wide yellow vertical stripes that are in the background. Similarly, the crisp edge of the dark form gives the impression that it hovers over the haze. A skipping brushstroke extends down the center of the composition, its vibrant orange paint dragging on top of the dark form, perhaps like the glow of a spotlight. Some shapes’ edges are thinly highlighted with quickly applied white paint in a scumbled technique, producing a shiny three-dimensional effect. 

On close inspection, the painting’s surface is textured, adding a sense of movement and dimensionality to the work. Brushstrokes twirl to form circles that cluster in the central haze and in other places sweep to form curving shapes and edges. In some areas, colors are layered atop each other with hints of underpainting uncovered at the edges, forming a halo effect. In other areas, diluted washes of paint thinly veil the underpainting.

Description of Broken Forms (Zerbrochene Formen), 1914

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Transcript
Narrator: Morgan Russell’s "Four Part Synchromy, Number 7," made from 1914 to 1915, consists of four small oil paintings on paperboard and canvas, mounted into a vertical rectangle on plywood. It is almost 1 1/2 feet tall and 1 foot wide. Its title refers to the early 20th-century artistic movement called Synchromism, a term that means “with color” and plays on the words “symphony” and “synchrony”—allusions to music and simultaneity.  

The four paintings, each tall and rectangular, join to form a unified rectangular composition divided into quadrants. Overall, vibrantly colored geometric shapes group together among a field of bright cobalt blue. The shapes include curved forms and straight-sided polygons that seem to overlap. There are rust red, black, plum, brown, gray, and evergreen shades that recede in contrast to brighter whites, light dusty peaches, grassy greens, teals, and vibrant yellows and siennas.  

While visually unified, each canvas differs in its specific shapes, colors, and overall composition.  The two left canvases are filled with shapes, while the two right canvases reveal more of the cobalt blue background.  The upper two canvases feature softer pastels, while the bottom canvases feature deeper shades and black tones. The shapes in the upper right canvas are straight sided. Moving counterclockwise into the other canvases, the shapes are progressively softer with curves and arcs. Reaching the final lower right canvas, circles are layered among the other straight-sided shapes. Together, the shapes seem to assemble into larger three-dimensional pyramids and other polygons, giving an overall sense of twisting and turning throughout the composition. 

The shapes are delineated by varying textures. Wide brushstrokes indicate the daubs and directions of the artist’s hand. It is apparent that the paint was applied in layers. In some areas, the shapes are vaguely transparent, gently veiling other hues that were painted beneath. These underlayers are also revealed where adjacent shapes are separated by small gaps.  

"Four Part Synchromy, Number 7" refers to Russell’s interest in the composer Ludwig van Beethoven, and in loosely transposing musical concepts into painting. The four small canvases create an ensemble of harmonic abstraction and gesture to parts of a symphonic piece.

Description of Four Part Synchromy, Number 7, 1914-15

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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.

Description of Carrousel Pierrot, 1913

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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

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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

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Lynne Jazz Ensemble - Happy Days Are Here Again, feat. Dirk J J van der Merwe

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

Lynne Jazz Ensemble - Tiptoe Through the Tulips (feat. Dirk J J van der Merwe)

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

Lynne Jazz Ensemble - Tiptoe Through The Tulips (feat. Thomas Penninger)

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

A delightful and sweet cover song version of the famous, classic musical 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 vocals by Abigail Strickland.

Lynne Jazz Ensemble - Tiptoe Through The Tulips, feat. Abigail Strickland

In this track we take a different approach to my music as I begin exploring other genre's and niches; here is a FALLOUT inspired track "Swinging in the wasteland' - a song embodying the style and energy of the FALLOUT universe. 

Don't worry; I'm still making Cyberpunk tracks :) but I'm going to be exploring many different genres and niches in the future :)

SWINGING IN THE WASTELAND

Hey guys! It's time! I will now be expanding my horizons and exploring FALLOUT themed music! (So, 1920's swing and jazz). Don't worry! I will still be making Cyberpunk Music! But i have almost 48 Cyberpunk themed tracks to keep you on your feet for now! It's time - to step out of the vault and dance around the wasteland!

SAND DANCE

This pack contains additional 12 gipsy jazz tracks perfectly looping.

Café Manouche VOL 2 is a collection of looping gypsy jazz and acoustic swing tracks, designed to bring warmth and playfulness to your game. Perfect for cooking games, relaxing sims, cozy adventures, and feel-good casual experiences.

You can cut/paste/loop/fade at your convenience.

License this track from your favorite game music store:
⚡GameDev Market:
⚡Unity Assets Store:
⚡Itch.io: https://valeriopellegri.itch.io/cafemanouche2

Café Manouche - Loops for Cozy Games VOL. 2

1920's HipHop 2

Exploring the future of music with AI and FL Studio. Crafting electrifying soundscapes that push the boundaries of creativity. 

BUISNESS EMAIL: phazikk@gmail.com

Just for fun!

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

Award Winning Music Composer www.valeriopellegri.com. 
CREDITS: Ducati, Ferrari, Woolrich, Juventus, Abarth, Dainese, MaxMara.

+ for Films, Multimedia, TV, Commercials, Short-Movies, Games.
+ for Sound design, Audio-branding, Audio-logo, Audio-editing.

If you need to contact Valerio: info@valeriopellegri.com

DEMOREEL: https://vimeo.com/82627488

Valerio Pellegri is an exciting young composer based in Italy that is fast making a name for himself within the world of media composition. He began his music career studying piano since the age of 6, moving then to explore different styles and genres of music.

Several years of experience has led him to work on feature commercials, films, television documentaries, videogames, short films and also with musicians as arranger and producer. He collaborated with different clients like post-production companies, producers, directors & videogame developers. Many of the projects he has scored, have been shown in several parts of the world including Los Angeles, Shanghai, Lisbon, Turin and Milan.

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.

A Stardust Rebel leading a rebellion against the Evil Cosmic Empire! Follow My Music to see how the war turns out!

New tracks tagged #1920