It’s no surprise that Oskar Fischinger chose this famous concerto for strings: the music, like the film, is a series of ornate and detailed rounds and canons which miraculously match the imagery.

Timothy Brock

All my earlier experiments and studies since 1919 lead up to the technique developed in Motion Painting N. 1. The earliest studies of color films found their conclusion in this work which presents in itself an art form of great significance for the future development of motion picture films.
Motion Painting N. 1 draws its importance from the fact that it records the natural, logical growth of a visual form of art which, without any concession, develops its own possibilities. The unknown, unlimited and unborn possibilities of a creative mind, through this technique developed in Motion Painting N. 1, finds its natural, clear way to let the visual expressions flow without any restrictions or chains and reveal the secrets and beauty of art in its purest and most direct way.

Oskar Fischinger, excerpt from unpublished typescript, c. 1950