Pictorial production and beginnings of the cinepainting
In 1930, after a series of conferences in Morocco, he painted a number of canvases that would allow him to enrich the studies reported from his previous trips to the Maghreb: Marrakech the Red, Casbahs of the High Atlas, Mediterranean (1931), Ouarzazate, Talouet (1932).
In parallel, he began a series devoted to sports, “this other sign of the present times”, and signed Le Rugby, Le Tennis, La Boxe, Le Rowing, and in 1932 it was the beginning of the Symphonies for each season: Spring, summer, autumn and winter.
In 1931 he met “the painter of sounds” Charles Blanc-Gatti, as well as Gustave Bourgogne and Vito Stracquadaini and founded the Association of Musicalist Artists with them.
They wrote a Manifesto which Comoedia magazine published in April 1932. A second manifesto was born in 1934 because the first definition was considered too broad: “Musicalism is not only the translation of musical works by means of a another art, but it consists exclusively in working in another art in the way in which the composer makes his music. Musicalism thus includes musical transposition, but is not limited to this form of expression alone.
The closest to the musicalists are the artists of the “Abstraction-creation” movement, of which Kupka was a part – the group was formed in 1931 with Herbin.
The first musicalist exhibition was held from December 20, 1932 to January 19, 1933, at the Galerie Renaissance, rue Royale in Paris, with paintings and sculptures. The second was held in 1934 at the Galerie Bernheim Jeune, and there will be one every year until 1940. The Salon of 1936 which will take place in the Salon des Indépendants at the Grand Palais in Paris will leave in Holland, Then in Central Europe.
After those of the Seasons, Henry Valensi realizes symphonies of Colors: Blue (1934) – expressive color of all that proceeds from rest, calm, softness, to translate the kindness which is made charity, the rest which opposes to work, and the faith felt unique, whatever god one prays; Red (1935), in order to express force in itself, that is to say, gravity and speed, whether dominated or mad, Yellow (1935); Green (1935), which refers to the triple love of landscape, travel and hope; Pink, Grey (1936) as a translation of the dark intuitions that populate the hyperesthetic space of European artists of the time.
In 1936, he published his book “Le Musicalisme”, Its Origin, Its Theories, Its Future, with a foreword by André Devaux.
And Valensi to go further: to musicalize his work, it is also to animate it, he then turns naturally towards the Cine-painting (a term he created) from 1935, and concentrates on the Spring Symphony, foreseeing the other seasons would follow, and conceiving a prelude which was to be worth for the four seasons. He realizes, alone, from 1936 to 1939 a short film in 16 millimeters Kodachrome, which has shown in different congresses. This is the Prelude to a Spring Symphony.
At the same time, he made more than 200 lectures between 1932 and 1939, throughout France, and obtained the Gold Medal at the Universal Exhibition in 1937 at the Palais des Beaux-Arts (cited in Document 244, No. 244, Geneva, 1967).