Name: Love from miami by umgroom in 6th sound (the beats album) by 6secs
Duration: 3 min 51 s
Description: An instrumental or beat album released by umg's foremost music producer 6secs. it an album for all musicians and lovers of good sound.

Different genres produced by 6secs for all lovers of good sound.

6th sound (the beats album) by 6secs

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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.

Orphism - Verbal Descriptions

Exhibition Website

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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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

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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

An instrumental or beat album released by umg's foremost music producer 6secs. it an album for all musicians and lovers of good sound.

Love from miami

umgroom

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