There is very little posted online in regard to contemporary uses for dry pigment in the theatre or for replicating historic compositions for the stage. Old books, manuscripts, and other articles cover certain studio techniques that have been frozen in time – often in a ragged publication. Lost words from forgotten artists describe painting techniques and color palettes. These artists warn of fugitive or poisonous colors and proclaim the various color kings on the palette. I have decided to start an online journey and dialogue with my fellow historians, passing along information for future generations of artists to decipher. Please be patient as I figure out how to use an unfamiliar forum. I just want to pass along a little information your way and keep the use of dry pigment for the theatre alive.
Author: waszut_barrett@me.com
Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.
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