Tales from a Scenic Artist and Scholar. Acquiring the Fort Scott Scottish Rite Scenery Collection for the Minnesota Masonic Heritage Center, part 22.

Keep it under your hat

 Austin immediately found another dust-encrusted piece of fabric after the paint sweater. But this one was a paint cap. It had the same colored dry pigment specks as the sweater and I imagined the paint flying through the air as Moses painted the drop. It suggested the speed at which Moses painted, one of his greatest strengths.

The speed at which scenery was painted reduced the overall labor costs, thus returned the greatest profits to the shareholders. In 1881, Moses had recorded, “The others were able to draw more, because they were better in the artistic end, but I had it over them when it came to speed.” And it was this speed that mattered in both a studio and as a freelance artist.

Upon closer inspection of the little black cap, I noticed the Masonic insignia. This wasn’t simply any painter’s cap, it had a Scottish Rite eagle on it! It was just too much to comprehend and I floated back to the hotel after work. When you receive news that is so absolutely fantastic, there is a moment where you just want to keep it to yourself. I didn’t immediately call my husband, tell my mother, or notify any colleague. For just a day, I savored the discovery with the crew.

(Moses wearing New York)

(Had while painting drop curtain)

(Moses painting landscape in center of studio photo)

(Studio photo)

This was a turning point in my career and I could feel that this was simply the beginning. These artifacts, their discovery, and their further linking Freemasonry with scenic art would continue to expand.

To be continued…

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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