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Alexandre Trauner (born Sándor Trau; 3 August 1906 in Budapest, Hungary – 5 December 1993 in Omonville-la-Petite, France) was a Hungarian film production designer. After studying painting at Hungarian Royal Drawing School , he left the country in 1929, fleeing from the antisemitic government of Admiral Horthy . [1]
Alexandre Trauner. Art Director: The Apartment. Hungarian-born Alexandre Trauner came to Paris in 1929 to escape the anti-semitic Horty regime in his native country, and to paint. Instead, he became involved in the film industry as an assistant to the famous art director Lazare Meerson.
- January 1, 1
- Budapest, Austria-Hungary [now Hungary]
- January 1, 1
- Omonville-la-Petite, Manche, France
Apr 11, 2024 · Alexandre Trauner (born Aug. 3, 1906, Budapest, Hung.—died Dec. 5, 1993, Omonville-La-Petit, France) was a Hungarian-born French motion-picture art director whose studio-built sets—the fairground in Quai des brumes (1938; Port of Shadows), the St. Martin Canal in Hotel du Nord (1938), the metro station in Les Portes de la nuit (1946; Gates ...
- The Editors of Encyclopaedia Britannica
Dec 8, 1993 · Alexandre Trauner, 87, the dean of European art directors whose films ranged from “Children of Paradise” and Orson Welles’ “Othello” to his Oscar-winning work on “The Apartment,” died Dec. 5 in...
TRAUNER, Alexandre. Art Director. Nationality: French. Born: Sandor Trauner in Budapest, Hungary, 3 August 1906; emigrated to France, 1929; naturalized, 1944. Education: Studied painting, School of Fine Arts, Budapest, 1925–29. Career: Assistant art director to Lazare Meerson, in early 1930s, then art director in France, Hollywood, and ...
Hungarian-born production designer Alexandre Trauner (1906-93) fits neatly . into this definition. Time and again, in his groundbreaking and highly evocative designs for a series of 1930s French Poetic Realist films — most notably . Le Quai des brumes (1938), Hôtel du nord (1938) and . Le Jour se lève (1939) — and his
Feb 1, 2009 · Abstract. Alexandre Trauner is remembered for his highly evocative `poetic realist' designs in films such as Le Quai des brumes (1938), Hôtel du Nord (1938), Le Jour se lève (1939) and Les Enfants du paradis (1945). His designs intertwined familiar iconography with stylistic accentuation so that the decor became the narrative's organising ...
