Part 457: William F. Hamilton and an Evolving Form of Art
In 1914, W. F. Hamilton’s name appears in “The Brooklyn Daily Eagle” (10 May 1914, page 48). The article reported that Hamilton “painted several thousand feet of profile and hanging effects for a carnival.” This was for the big Actors Fair. The Actors Fair was produced by an organization of players who banded together as the “White Rats.” Their club was located on West 46th Street in Manhattan. The Actors Fair ran for eighty days and included burlesque, vaudeville, circus, sideshow, a medicine troupe, musical comedy, minstrel shows and grand opera. W. F. Hamilton’s painted effects began at the entrance where he created a miniature replica of the average one-night stand town hall. By this time, Hamilton was still living in New Jersey, but he was working all over the country.
In 1918, Hamilton met up with Moses again when he was superintending work for Labor Day floats in San Francisco. Side note: this was for the same parade that the Carpenters Union’s did not include a float as it was part of their Patriotic Act. “The San Pedro News Pilot” reported, “the carpenters turned out in goodly numbers, wearing their white-bib-bed overalls, a big sign being prominently displayed in their division, which read: “Instead of constructing a float the carpenters have donated $25 to the Red Cross” (Vol. 5, No. 284, 4 Sept. 1914, page 2). Much of the San Francisco Labor Day Parade of 1918 focused on labor unions and worker’s rights. There were eighty-seven unions participating in the parade that day, spread out over seven divisions – each with separate Marshals! Some unions who lined up in the first division of the parade were the Riggers, Machinists, Draftsman and Painter’s unions, while the second division included the Theatrical Federation, Stage Employees, Moving-Picture Operators, Bill Posters and Musicians. The same article in “The San Pedro News Pilot,” continued, “A large and gaily decorated palette, which entirely covered an automobile, constituted the feature of the Painter’s Union float, followed by members of the union.”
This is a time when scenic artists and painters were moving in droves to California, following a variety of projects. You can see the shift of scenic artists throughout the country at various times during the late nineteenth and twentieth centuries. After the 1871 fire, Chicago draws many of the artists from the eastern United States, as there were so many opportunities during the rebuilding and expansion of the city. During the late 1890s, New York became another magnet for scenic artists as theater production increased and Coney Island was developed. A third shift occurred during the post-World War I era as the West Coast underwent a dramatic construction boom and the movie industry expanded throughout the region, offering a variety of artistic opportunities. In each instance, artists were brought together and the traditional aesthetic associated with the performing arts is further developed; scenic illusion adopted new effects. Obviously, I am speaking of general artistic shifts and divisions within the theatre industry, as not all artists would have implemented new styles and techniques. Some would hold onto the popular techniques from a previous era. As new forms of entertainment were developed, such as film, scenic painting adapted to each new aesthetic.
The same thing should be happening now – scenic art adapting to accommodate the increased use of digital media and printed images. Here are my thoughts on the matter of increased digital printing, even though my life is steeped in history and traditional scene painting techniques. Please, take it for what it’s worth. Scenic art has always been so much more than the simple act of painting a picture, or replicating a design; it is the continued development of scenic illusion for a performance-based art form. Applied arts programs are following the standard development of scenic art traditions – some theatre arts programs are not. It is a benefit to the scenic artist to not only master pictorial painting and historical techniques, but also to remain knowledgeable about new paint products and digital possibilities. Just like the scenic artists from the late 19th century, you need to familiarize yourself with all of the possibilities to succeed.
There has not been a single painting project that I have not adapted some form of historical painting technique, as they are often the most efficient way to paint both two-dimensional and three-dimensional objects. A few weeks ago, I painted a zombie grinder for Comic Con 2018 (San Diego). For my part of the project, I used the same approach that I have repeatedly incorporated into historical replicas over the years. Why? It increased productivity. In short, it was the fastest technique that I could pull from my “tool kit.” Understanding and practicing historical techniques is always a great asset when completing any painting project, as it helps with seeing the forest for the trees.
To be continued…
