Part 377: Theatrical Scene Painting and Homer Emens, first half
About the same time that Thomas G. Moses started working for Henry W. Savage at the American Theatre in New York, an article was published on the scenic design and art of Homer Emens. Emens was a contemporary of Joseph Physioc, John H. Young, Gates & Morange, Hart & Becker, F. Platzer, Walter Burridge, Ernest Albert, Edward Unitt, T. B. McDonald, F. Richard Anderson, and Moses. This is from a time when scenic artists were classically trained; they also understood stage mechanics and the effects of lighting. They were a part of a tradition dating centuries old, when individual artists sought mentors with whom they could study and acquire exceptional skills. Their artistic endeavors went well beyond any hobby, craft or individual art work. Scenic artists were recognized as part of the fine art community; they were the creators “magic” and of visual spectacle. They attained a level of skill that I have strived to achieve since first entering the field of scenic art. It was not a profession for the weak of heart, or those seeking the easy path toward recognition. By 1908, Emens was reported as “one of the most distinguished American scene painters” (Brooklyn Life, 22 August 1908, page 7).
The article “Theatrical Scene Painting” was published in “The Philadelphia Inquirer” on August 20, 1899. The article about Emens was written by James Clarence Hyde (page 46).
Here is first half of the article as it provides great context for the New York theatrical art scene:
“It all looks very pretty and complete to your eye as you sit out in front on opening night. It seems almost real enough to be true – the village street, the tavern, the Governor’s mansion. The painted scene is marvelously correct and effectively lighted. The play is a great success. When you go across the street for supper you will probably talk about the play and the acting. But how many people give more that a passing thought to the art, the labor and the care necessary to produce the scenery that has been such an admirable setting for the play? The performance lasted scarcely two hours and a half. You can rest assured that the scenery and properties alone took weeks, possibly months, to prepare.
New York is the great producing center of the theatrical field in this country. It is there that the best scenic artists, the cleverest property men and the most skillful scene builders are to be found. It is there that the gigantic paint frames are located. A correct estimate of the number of people who directly derive their living from the theatre and yet who are never seen by the public would surprise some who think that they are pretty well informed upon theatrical matters. Certain mills make a specialty of turning out the canvas used for scenery. There is one big lumber dealer in New York who makes it his exclusive business to supply stage carpenters with material. In the construction of scenery, lightness and strength are the essentials, and the patents on clamps, braces and hangers used only in scene building number over two hundred.
One of the heaviest productions for the coming season will be “Peter Stuyvesant, Governor of New Amsterdam,” which has been written for William H. Crane by Brander Matthews and Bronson Howard. As an illustration of how scenery is painted we will take this production as an example. Last winter Mr. Crane decided that he wanted a new play, and in view of his success in “The Henrietta” he wanted Bronson Howard to write it. Mr. Howard did not feel like undertaking the task. Then Mr. Brander Matthews was seen, but he, too, gave an evasive answer. Finally the dramatist and novelist were brought together and induced to collaborate, and the result is “Peter Stuyvesant.”
The first thing to be considered in a strictly historical play is accuracy, and the Astor and Lenox libraries were ransacked for this purpose. From the mass of material secured a scenario, or outline of the play, was drafted and submitted to Mr. Crane. He approved of it, and then it was found that time was flying; the winter had passed and spring was slipping by. It was decided to go right ahead with the scenery from the scenario without waiting for the play – an unusual proceeding. Homer Emens, one of the leading scenic artists of the country whose work is known not alone to the theatre-going public, but to the visitors to the National Academy of Design and the exhibitions of the Society of American Artists, was engaged.”
To be continued…
