In 1918, Thomas G. Moses wrote,
“Our last job for the year was Benton Harbor, Michigan, for which we received
$600.00. The New York Studios have done
a good deal of work but there has not been very much money in any of it on
account of the heavy overhead. But I trust if we can get the frames at Peltz
and Carson Studio, where it is clean and warn, we will be able to get out some
work.” Moses’ diary entry brings into play another scenic studio that is worthy
of mention – Peltz & Carsen. This is one more obscure firm in a rapid succession
of Chicago scenic studios.
Like many scenic studios, Carsen
& Peltz evolved from the previous partnership of Buhler, Peltz and Carsen.
Buhler, Peltz and Carsen cited the Criterion Theatre in Chicago as their studio
address. The Criterion Theatre is the key when looking at the evolution of the
firm. In 1900 Julius Cahn’s Official Theatrical Guided listed Herman Peltz as
the stage manager and Buhler & Mann as the scenic artists. By 1906, the Criterion’s
scenic artist was solely listed as H. J. Buhler, with Peltz remaining as stage
manager, the two would remain together, even in 1910 at the New Criterion
Theatre. From 1909 to 1910, Buhler, Peltz & Carsen studio was extremely active,
listing the Criterion Theatre as their business address. Buhler, Peltz &
Carsen was founded by Harry J. Buhler, Robert P. Carsen (sometimes noted as
Carson), and Herman Peltz, Sr.
From 1909 to 1910, Buhler, Peltz
and Carsen Studio was credited with producing scenery for W. F. Mann’s “Dare-Devil
Dan” (The Courier, Waterloo, IA, 10 Sept 1909, page 5). They would also provide
scenery for Mann’s “The Pinkerton Girl” that same year (Akron Beacon, 23 Sept.
1909, page 8). In 1910, the firm manufactured scenery for another Mann
production, “The Plotters” (Dixon Evening Telegraph, 23 Sept 1910, page 5). There
is an interesting evolution from Buhler & Mann to Buhler, Peltz &
Carsen working for Mann from 1901 to 1909. All of the scenery was constructed
and painted at Chicago’s Criterion Theatre.
Not to be confused with the
Criterion Theatre in New York, managed by Chas. Frohman, the Criterion Theatre
in Chicago was managed by Lincoln J. Carter. In 1899, “Julius Cahn’s Official
Theatrical Guide” noted that the width of the proscenium was 42 feet. The height
of the grooves was 20 feet, numbering six and could be taken up flush with the
fly gallery. The height from the stage to the rigging loft measured 70 feet and
the distance between the fly girders was 52 feet.
By 1918, Buhler, Peltz &
Carsen Studio was reduced to just Peltz & Carsen Studio. As Peltz &
Carsen increased business, additional artists were added to the staff,
including Art Oberbeck. After Oberbeck left the employ of Sosman & Landis. He
established ACME Studios, working out of the Peltz & Carsen studio space
for the first three years. This is really a complicated web, with all the same
players shifting from one studio to another; it will take some time to unwrap
and I need to explore the lives of the individual players. Tomorrow, I will begin
exploring the lives of the individual players, dedicating a post to each individual.
There is just so little information out there.
Keep in mind Sosman & Landis
was a “rite of passage” for many scenic artists across the country during the late
nineteenth century and early twentieth century. The studio became one big
training ground for young artists who later founded their own studios.
“History, despite its wrenching pain, cannot be unlived; but if faced with courage, need not be lived again.”-Maya Angelou
There was a book that I purchased few years back, a compilation of newspaper
articles in an obscure out-of-print publication. I quickly scanned the book and
stopped midway, for no particular reason, and started reading. One chapter was dedicated to a story published
in a foreign newspaper. It described a murder committed on an American stage. I
honestly can’t remember whether it was a Parisian publication or an English one. As I read the article, I became physically
ill. The same thing happened this week as
I watched video of George Floyd’s murder in Minneapolis.
The 1911 newspaper story had to do with a young black man randomly selected
for a public execution. Tickets were sold to take a shot as he was tied to a
post and positioned center stage.
I could not unimagine the historic stage scene and had nightmares for
weeks. Every once in a while, it still pops up, a dark shadow in the recess of
my mind. For the past few days, I have tried to locate the book without success.
I began looking on the internet last night while watching footage of the
Minneapolis protests. Looking for this
single incident in a legacy of a white entitlement that allows the public murder
of unarmed black men seemed almost impossible. How do you narrow down one
killing when hundreds of thousands have occurred over the years?
I eventually found it; here is one article published in a Canadian newspaper,
as it is the most informative:
“Livermore, Ky., April 21. – Will Potter, a negro, last night was dragged
to the opera house stage, tied to a post, and riddled with bullets by fifty men.
He had shot and killed Frank Mitchell, 22 years of age in a quarrel. The mob
gathered in the orchestra pit of the theatre and took seats. A signal was given
and the body was riddled with bullets by men in the auditorium” (“Ottawa
Journal” on April 21, 1911, page 1). Kentucky newspapers referred to this incident
as a “lynching” and justified the event in various recounts. Some articles noted that Mitchell was injured,
and others noted that he was killed; it was whatever white people reported to
the newspaper in that particular town.
Not a single day goes by that I do not encounter a description
in some historic newspaper about the murder of black man. The number and
consistency are staggering. A description of the event is often placed in a
section next to entertainment, seldom on the first page. These men were charged
with attempted theft, assault, vandalism, rape, or some other crime, often not
committed, or the crime substantiated. The articles always justify the reason for
torture, hanging, shooting, strangling or other means of execution at the hands
of local white citizens. Frequently these victims were dragged from their homes,
dragged from jail cells, or randomly rounded up on the street. For further
reading, here is an article on lynching in America – https://lynchinginamerica.eji.org/report/
and the “Jim Crow Era: A Solemn Roll Call of Those Brutally Murdered” – https://www.kingscountypolitics.com/the-jim-crow-era-a-solemn-roll-call-of-those-brutally-murdered/
To not admit that these past actions have not informed the
current atrocities is sheer ignorance; it is a carefully constructed system of
oppression for people of color that is alive and well.
In regard to the 1911 murder, the NAACP condemned the murder and
sent letters to President Taft, the Congress, and Gov. Wilson of Kentucky. Warrants
were issued for eighteen of the “lynchers.” Three leaders were separately
indicted and tried for murder, but soon acquitted. The same thing has continued
to occur over the decades, all over the country.
It is hard not to recall every incident of racism that I have encountered over
the years, read about in the newspapers, or watched on television. I encounter
racists all the time and feel helpless. When we elected President Obama, I
thought that America may have finally turned the corner; I was wrong, and it
was a call to action for racists.
I primarily work with, and for, middle-aged to elderly white men throughout
the country. Although the terminology slightly varies from region to region, I
have heard a plethora of derogatory terms for people of different races and
religions. Simultaneously, the older white men also complain about being the
new “minority” and a “victim,” they described nationwide persecution and
oppression of white men. They have no concept of systematic racism in America nor
the shameful legacy of slavery that did not end with the Civil War. I will not
even begin to get into the gender debate with these same men. Whether I spoke
up or not, I have listened to friends and family go on ad nauseum, making their
judgements about those who are different. Racism runs deeply in American and
has no intention of leaving soon. Children have been carefully taught to fear
and hate people who are different, especially in Minnesota.
When those in power, such as an American president, give racists a voice, they
enable the behavior of white supremacists in any profession. I am angry, and
you should be too. This has to stop.
In 1918 Thomas G. Moses wrote, “The Big World War ended November 11th,
and the biggest kind of rally was pulled off.
I never saw such a crowd. It was
not safe to be on the street with a hat on or a good suit of clothes.”
Nov. 11, 1918.
Front
pages of newspapers across the country announced the end of the war to end all
wars, but it was the Los Angeles Times that used the headline of PEACE. The
first page of many city newspapers reported, “The world war will end this
morning at 6 o’clock, Washington time, 11 o’clock, Paris time. The armistice
was signed by the German representatives at midnight. The announcement was made
by the State Department at 2:50 o’clock this morning. The announcement was made
verbally by an official of the State Department in this form” ‘The armistice
has been signed. It was signed at 5 o’clock a.m. Paris time and hostilities will
cease at 11 o’clock this morning, Paris time.’”
Nov. 11, 1918.
In
Chicago, the “Tribune” published, “Chicago Gets Out of Bed; Bedlam Reigns in
the Loop.” The article continued, “The first news of the signing of the
armistice reached THE TRIBUNE office at 1:55 o’clock this morning. It came in a
flash from the Associated Press by telephone. The text of the flash was simply:
“Armistice signed.” THE TRIBUNE immediately verified the flash. By this time
the meager details of the announcement from Washington had reached the
Associated Press offices. Assured that the news this time was authentic, from Washington
had reached the Associated Press offices. Assured that the news this time was
authentic, THE TRIBUNE set off its giant sirens and within a few minutes the
sleeping town was astir. THE TRIBUNE sirens were at least five minutes ahead of
any other noise producing instruments in the informing of the public of the news.
“Within
ten minutes a long procession of blue jackets who were asleep in downtown
hotels or awaiting trains in hotel lobbies had poured into the street and
formed a cheering procession past THE TRIBUNE office in Madison street. Jackies
and soldiers in other parts of the city were soon emulating the first
detachments and they were joined inside of half an hour by yelling, howling
throngs of civilians, who made the sleeping loop resemble the jam and jumble of
midday.
“Bandsmen
were quickly tumbled from their beds and formed into units of loud sound, announcing
to the town that it was over over there. The noise and the hurrah and the
people sprang up as if by magic, and before 3 o’clock the downtown street were taking
on the aspect of madness which ran riot last Thursday when the country went
crazy over a rumor.
“THE
TRIBUNE, with its forms waiting, as they had been for three anxious days and
nights, was, as usual, the first on the street, telling the people that the
hour of democracy throughout the earth had struck. In less than thirty minutes
from the time the first flash reached the telegraph desk the “Peace extra.” Was
being sold by newsboys on loop corners. THE TRIBUNE sirens were quickly followed
in the outskirts of other whistles, and soon from downtown hotels and lodging
houses, and from residents both in the city proper and in the suburbs, the
citizens began flocking downtown to join in the general hilarity.
“THE
TRIBUNE notified the police and fire departments’ headquarters. Instantly the
message was relayed to every engine house and police station in the city. Fireboats
let go their sirens, awakening people for blocks around. Policemen on their
beats were notified and in less than five minutes from the time of the arrival
of the news in Chicago it had been carried to every nook and corner by the
police and firemen.
Hundreds
of taxicabs and other motor vehicles jammed the streets. The police reserves
which had been held Sunday evening in expectancy of the signing of peace had
been sent home, and save for a handful of policemen, the downtown streets were
unprotected. Lieut. William Murphy of the Central station took it upon himself
to call every available man from outside stations. By 3 o’clock 100 bluecoats
were in the loop to keep order and facilitate traffic. I seemed as if the whole
navy was downtown. An observer who came into the office a short time after the
sirens had announced the greatest story in the world, said he thought there
must be more sailors here than at Great Lakes.
“Parade
after parade was quickly swinging up and down through the canons of the city,
and the Stars and Stripes at the front, Uncle Sam’s men at home whopped and
yelled the victory of their brothers in Europe. From hotel rooms the guests who
tossed balls and ribbons of paper, and red fire and rockets soon came into the
had not yet had tie to get outside game of rejoicing.
At
the Hotel Sherman the news brought dozens of theatrical folks and guests into the
lobby. Night manager Michael O’Brien had a general telephone alarm sent
throughout the house, “Chicago Tribune announces armistice signed.” That was
sufficient. The lobby soon looked like the height of New Year’s Eve. Every
known noise devise was soon gathered. Brass cuspidors were grabbed. Flags were
torn down and waved. At Randolph and Clark Street the crowd took possession and
almost wrecked the newsstands. When THE TRIBUNE extra arrived announcing the
news the crowd fought good naturedly for the papers. Dimes, quarters, and even
dollars were tendered, no one waiting for change. Red fire was burned which
lighted up the streets for several blocks. A fleet of taxicabs gathered and
added to the other noise making devices.
“From
the night watchman’s door of the Conway building five shots in the general direction
of the cornice on the county building. A tall, gray-haired man jumped from a
yellow taxi and asked what it all meant. The chauffeur, too, leaped out and
gave the explanation.
“It
means that you owe me just two-sixty,” he said, “if this is the end of your
ride.”
“But
the shots? The shots?” insisted the tall man.
“That’s
the end of Germany’s ride,” said the chauffeur.
The tall
man paid and rushed madly to Righeimer’s, where he pounded vainly on the door,
calling “Let me in! Let me in! The law’s all off on booze this morning of all
the mornings in the world!”
Somebody
passed the hopeful, untrue word that the tall man was Righeimer himself, and
that he was going to open the bar and take a big chance. The door, at the end
of five minutes, was as in the beginning. Then the big man emitted a roar of
rage and pain, tossed his hat to the pave, and raised his long strong arms into
the night.
“Think
of it, all of ye!” he cried to the crowd, now made up of at least five hundred.
“Think of it and weep with me! Any poor, downtrodden, despised bartender might,
with one key and an ounce of nerve share the glory of the world at this moment
with Foch himself!”
It
was evident that hundred had waited in the loop for the bona fide announcement.
Flags and streamers appeared quickly. The “I had told you so” cards bobbed in hatbands
over the crush. Horns and cowbells added to the din. Railroad torches lighted
the crowd with red glare. And all the time celebrants appeared and added to the
delirious mob.
One
of the first incidents to attract a special crowd on THE TRIBUNE corner was an
impromptu speech by an excited blonde. She started out to tell her views to a
bystander, but as she grew more enthusiastic her voice rose and she widened her
circle of auditors. Before long she was shouting at the top of her voice and
had a bodyguard of Great Lakes gobs cheering her on. A motor truck rolled down
Dearborn street with an immense sign torn from a movie house held high above
it. It read: “The Prussian Cur.”
Theaters closed across the country as the Spanish Flu raged through
communities in 1918. Some
theatre managers used the shut down as an opportunity for various renovation
projects.
On October 21, 1918, the “South Bend Tribune” reported,
“Many theater managers throughout the country are taking advantage of the
closed period to renovate their houses. It is not necessary to do this at the
La Salle for the house was just recently gone over with fresh coats of paint
and with the painted cement floors, leather seats and exhaust fan ventilation
it is inviting and sanitary” (page 7).
Moses’ records note a shift in
the theater industry, an increased demand for fabric draperies in lieu of
painted curtains.
Regardless of those who used the
shut down as an opportunity for building and stage improvements, the industry
was hit hard. The stream of orders for
painted scenery slowed to a trickle in many shops. In October, Thomas G. Moses
wrote, “We did some work for a Mr. Lynch at Greely, Colorado, a pair of
sateen curtains.” Moses was referring to Greeley’s Sterling Theater. This was an
extremely small order but was better than nothing. No longer at Sosman &
Landis, Moses’ work for New York Studios was dwindling. Moses was currently painting
at the 20th Street Studio, a month-to
month rental He recorded, “It is pretty cold there but we can manage to keep
going.”
The “Des Moines Tribune” reported,
“Theaters Hardest Hit By Quarantine” (October 10, 1918, page 1). The article
continued, “Aside from those who actually have the Spanish influenza,
theatrical folks are hardest hit by this epidemic.
“Ordering all theaters closed
means that practically all managers and employees are left without employment
and without wages. Several members of the Princess players will go to their
homes for two weeks’ vacation. A few of them will remain in Des Moines without
salaries indefinitely.
“Orpheum circuit players will
remain in the city for the rest of the week and then go on their regular tour.
If they are billed for a city which is under quarantine, they will rest during
the engagement.
“Most of the Orpheum actors have
private arrangements for their expense money to go on automatically. Salaries
in local theaters stop when the theaters close.
“Harold Cavanaugh, manager of
the Berchel, said he had cancelled all engagements for the next two weeks and
tentatively cancelled several beyond that time.
“The cast of ‘Miss Springtime,’
which played here Wednesday night and was scheduled for Thursday, leaves this
afternoon for northern Iowa cities. The company will continue the tour.
“The Behman burlesque show,
which was at the Berchel earlier in the week, left today for Omaha. That city is
now under quarantine, but the quarantine is expected to be lifted early next
week.
“Moving picture houses have
necessarily cancelled all picture contracts.
“Building rent because the theaters are closed by government order will possibly not have to be paid. A decision upon this point will be arrived at today.” It was this last sentence that really caught my attention.
From the “South Bend Tribune,” 23 Oct 1918, page 13.
The shutdown of theaters varied from region to region, but in Phoenix, Arizona, it was nine weeks. On Dec. 6, the “Arizona Republic” announced that Phoenix theaters were again opening after being “dark” for 9 weeks (6 Dec. 1918, page 10). The article reported, “The theater managers yesterday all expressed themselves as positive that from the opening of the theaters Sunday for weeks to come they will do unusual large business. In other cities where the theaters were closed on account of Spanish influenza the theaters when they re-opened did such a business that every seat was filled at every performance for weeks, according to advices from theatrical managers in these cities.”
In 1918. Thomas G. Moses wrote, “Went to Detroit to see Ingersoll about a
lot of work he wants done.” Moses was referring
to Manager Frederick Ingersoll, manager of Detroit’s Coliseum of amusement and many
other entertainment venues.
Portrait of Fred Ingersoll, a client of Thomas G. Moses in 1918.
Fred Ingersoll (1876 – 1927) was
an American inventor, designer, builder and entrepreneur, credited as “the
father of the American roller coaster, responsible for more ups and downs in
American merrymaking than any other man” (“Des Moines Register” 24 October 1927,
the page 1). Starting out as a designer, Ingersoll Construction Company
initially focused on the “figure eight” coaster, scenic railways and
Shoot-the-Chutes.
Ingersoll also created a chain of amusement parks, and during
his lifetime owned and operated 44 amusement parks. Moses first mentioned Fred
Ingersoll, of Ingersoll Construction Company in 1915 when Sosman & Landis delivered
painted scenery for the attractions at Pittsburgh’s and Cleveland’s Luna Parks;
the first two parks in his chain. Ingersoll’s Luna parks are not to be confused
with Frederick C. Thompson’s Luna Park on Coney Island. Moses also designed and
delivered amusement park attractions to Thompson’s Luna Park.
On May 5, 1918, the “Detroit Free Press” announced, “Thousand’s Attend
Coliseum Opening” (page 16). The accompanying article reported, “Boardwalk
bigger and better than ever, is verdict. Better than ever and giving promise of
maintaining its reputation as one of Detroit’s most popular places of recreation,
the Boardwalk at Jefferson avenue and Belle Isle bridge, with the Coliseum of
25 amusements, opened for the season Saturday night. Responding to the
announcement of the opening, thousands took advantage of the balmy spring
evening and journeyed down to the breezes and take part in the hilarious fun
that occupies every minute of one’s stay in the coliseum. Manager Frederick
Ingersoll had taken particular pains to have everything in the best working
order and to provide in all possible ways for the comfort and convenience of
his patrons. The slides, the numerous ingenious contrivances that give thrills
alike to those who venture upon them and onlookers, the mirth-provoking ‘theater’
and all the other stunts that have been devised to give clean, healthful
pleasure alike to men, women and children were in full blast. Several new fun
devices have been installed in the coliseum in addition to those of past
seasons. The boardwalk will be open every evening and all-day Sundays,
beginning today. Its variety of amusement, the modest price of admission, which
entitles one to enjoy all the features, and its easy accessibility to all parts
of the city and to Belle Isle bid fair to render of the mecca of merrymakers throughout
the summer.” Ingersoll’s Coliseum of Amusements was located on Jefferson Avenue
and was under the management of C. S. Rose.
I have written quite a bit about Moses’ work for Ingersoll in past posts. In
1915, Moses recorded, “A short trip to Detroit to see Fred Ingersoll. Closed a picture set for $1,500.00. He had a
fine theatre.” Again, Ingersoll was the manager of Detroit’s Coliseum Theatre,
a 450-seat venue at 4321 Hamilton Street that opened in 1916. In 1920, Moses still
received work for Ingersoll, writing, “A good order from Ingersoll for a lot of
park work was very welcome. I started it
at once so as to be ready on him.”
Unfortunately, Ingersoll’s life
came to an abrupt end in 1927.
Newspapers across the country reported that he was found dead in a
concession stand at Krug Park, Omaha.
Articles reported that the doors and windows were tightly closed, and an
open gas jet filled the room with its fumes. The county coroner convinced that
death was self-inflicted, held no inquest and Ingersoll’s suicidal act was
attributed to ill health.
In Des Moines papers, Ingersoll’s
obituary remembered him as “the amusement park magnate who installed the roller
coaster and other amusement devices at Ingersoll park, the vanished center of
gayety once operated at Forty-eighth street and Ingersoll avenue. At that time,
he was regarded as the foremost amusement park magnate in the country, with
important financial interests in parks in Pittsburgh, Cleveland and
Philadelphia, as well as Des Moines. At one time he operated five Luna parks in
five eastern cities. Besides his interest in the Omaha amusement park,
Ingersoll was associated with similar enterprises in Lincoln, Neb. and Detroit.
At the time of his death, he has lived for the last eight years in Omaha. Among
amusement men, Omer Kenyon of the Garrick Theater said last night; Ingersoll
was regarded as the foremost amusement park promoter in the country. To
Ingersoll is given credit for the discovery, long before the airplane became a
more practical imitation of a bird’s flight, that American’s like the thrill of
bird-like soars and dips and glidings. His inspiration led to the rapid
blossoming of gaunt white roller coaster structures on the outskirts of most
American cities of any size. Later he extended his idea to other thrillers,
such as whirling chairs, crack-the-whip rides, and swift revolving swings, on
which zestful men and women spent three or four exhilarated minutes for 10 to
15 cents.”
In 1918, Thomas G. Moses wrote, “October
10th, I was knocked down by a boy on a bicycle
in Oak Park. It was dark and I did not
see the wheel. It was thought by the
doctor that I had fractured my skull. It
was a couple of months before I recovered.
Only a few days after this I was forced to go to Cleveland to look after
a big Masonic order and I hope we will be able to get the contract.” He was
referring to the new Masonic Temple and massive 2500-seat auditorium being
planned for Cleveland.
The Masonic Temple in Cleveland was home to many Masonic groups, such at the Ancient and Accepted Scottish Rite of Freemasonry.
This should have been an easy sale for Sosman & Landis, as the
Cleveland Masons were a previous client. Sosman & Landis already delivered
Masonic scenery to Cleveland in 1909. That temple theater was located on
Superior Avenue and Sixth Street. Unfortunately, the contract for the new Cleveland
Masonic Temple Theatre was awarded to Toomey & Volland. In 1918 Toomey
& Volland also delivered scenery to Scottish Rite theaters in Watertown, New
York and Peoria, Illinois.
Scottish Rite prospects were diminishing for Sosman & Landis by 1918.
That year, they only delivered scenery to the El Paso Scottish Rite. It would
be another five years before Moses listed another Scottish Rite scenery project
on his resume. 1915 was the last fruitful year for Masonic scenery projects at Sosman
& Landis. This was also the last year that Joseph S. Sosman was alive. Upon Sosman’s death, there was no longer that
essential Masonic connection for the Sosman & Landis studio.
There were major Masonic players at both Toomey & Volland Studio in St.
Louis and John C. Becker & Bro. Chicago. Moses would not complete his Scottish
Rite degrees until February 1925. He then joined the Ancient and Accepted
Nobles of the Mystic Shrine in March 1925. Not being a Mason until the
mid-1920s cost Moses potential work at a time when the demand for other painted
scenery was declining. Whether he was working at Sosman & Landis or New
York Studios, there needed to be someone intimately connected with the
Fraternity to secure the work.
In regard to Cleveland in 1919,
however, Moses received a contract for a Shrine scene. In January he wrote about completing a “big
Mecca scene for Cleveland.” Of the project, he commented, “I painted the top of
the wall in strong sun-light and the bottom in shadow with a number of awnings
and tables of fruit and water jars, which gave a touch of the true Oriental
atmosphere.”
This one scene was not enough to
get Moses back into Masonic scenery game. Scottish Rite work would not pick up
again for him until 1923, and then it would continue in spits and spurts throughout
the decade.
On April 28, 2020, I decided to take a few hours for myself to paint. We were in the midst of “sheltering in place” and I needed to do something to make me feel truly happy. As with most people, much of my work had vanished overnight and was I was becoming increasingly depressed. As each day dragged on, there was no end in sight and I wondered if we would ever meet all of the bills. Although I write a daily blog, even that was not helping draw me out of my depression.
What became one painting, became one painting every day. All of my paintings were done in Golden liquid acrylics and ranged in size from 8″ x 10″ to 16″ x 20″.
I call them my “Quarantine Travels.” They are my daily escape from the reality of COVID-19. Each day I revisit one of the favorite locations that I have photographed over the years.
I am not done with the series, but decided to share my progress. Each day I post a final painting with process photos to my Facebook Page “Wendy Rae Waszut-Barrett.” This post is then shared to my Facebook Group “Dry Pigment.” I will periodically update this post to add new compositions.
Here is what has helps me weather the Coronavirus Storm:
Quarantine Travels – April 28, 2020. The Ink Pots in Johnston Canyon, Alberta, Canada. 12″ x 18″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – April 29, 2020. A view of the Howse River in Banff National Park. 12” x 18” acrylic painting. 12″ x 18″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – April 30, 2020. Johnston Canyon Trail near Canmore, Alberta, Canada, 12” x 18” acrylic painting. 12″ x 18″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 1, 2020. On the Johnston Canyon Trail. 16” x 20” acrylic painting. 12″ x 18″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 2, 2020. On the Johnston Canyon Trail. 16” x 20” acrylic painting. 12″ x 18″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 3, 2020. the Yukon River by Whitehorse, YT, Canada. 16” x 20” acrylic painting. 12″ x 18″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 4, 2020. The Yukon River by Whitehorse, YT, Canada. 16” x 20” acrylic painting. 12″ x 18″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 5, 2020. Fox Lake, north of Whitehorse along the Klondike Highway, YT, Canada. 16”x20” acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 6, 2020. A resting spot while kayaking with Jenny Knott in the Yukon, north of Whitehorse. 10”x14” acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 7, 2020. The Yukon River In Whitehorse, YT, Canada. 16”x20” acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 8, 2020. A view at dusk from the Klondike Highway- north of Whitehorse. 16”x20” acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 9, 2020. View from Echo Canyon (Echo Amphitheater Trail) in Carson National Forest, Tierra Amarilla, New Mexico. 16”x20” acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 10, 2020. Local trail in Santa Fe, New Mexico. 9”x12” acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 11, 2020. Rio Ojo Caliente in New Mexico. 9”x12” acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 12, 2020. Flowers in the Courtyard at the Santa Fe Scottish Rite, New Mexico. 9”x12” acrylic painting by Wendy Rae Waszut-Barrett. Present for my Mom on Mother’s Day. Finished this on May 11 to wrap up.Quarantine Travels – May 12, 2020. Flowers in the Courtyard at the Santa Fe Scottish Rite, New Mexico. 8”x10” acrylic painting by Wendy Rae Waszut-Barrett. Present for my Mom on Mother’s Day. Finished this on the actual day.Quarantine Travels – May 13, 2020. View from Overlook Point at White Rock, New Mexico. 8”x10” acrylic painting by Wendy Rae Waszut-Barrett. Quarantine Travels – May 14, 2020. Petroglyphs at Tsankawi prehistoric site. Bandelier National Monument in New Mexico. 8” x 10” acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 15, 2020. Tsankawi Prehistoric Site, New Mexico. Path worn into white rock on hillside. 8” x 10” acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 16, 2020. Tsankawi Prehistoric Site, New Mexico. 8” x 10” acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 17, 2020. Cloudy day at Taos Pueblo in New Mexico. 8” x 10” acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 18, 2020. Scene from the Taos Pueblo. 8” x 10” acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 19, 2020. View from the Lahaina Pali Trail, Maui. 8” x 10” acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 20, 2020. Our first night in Maui, 2017. View from Lahaina. 8″ x 10″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 20, 2020. Haleakalā National Park, Maui. 8” x 10” acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 21, 2020. View from Lahaina, Maui. 9”x12” acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 22, 2020. Sunset on the clouds of Haleakalā summit, Maui. 8” x 10” acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 23, 2020. Beach at the Mākena State Park, Kihei, Maui. 8” x 10” acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 24, 2020. The western side of Haleakalā in the Kula District of Maui. 16″ x 20″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 25, 2020. View near Lower Pā’ia, Maui. 9″ x 12″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 26, 2020. View near Lower Pā’ia, Maui. 9″ x 12″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 27, 2020. Hidden waterfall in Haleakalā National Park near Hana, Maui. 10″ x 14″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 28, 2020. Sunset in Lahaina. 11″ x 14″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 29, 2020. Kihei, Maui, 10” x 14” acrylic painting by Wendy Rae Waszut-Barrett. Quarantine Travels – May 30, 2020. Moonrise over Lake Superior. Duluth, Minnesota. 16” x 20” acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – May 31, 2020. View of Lake Superior. Duluth, Minnesota. 16” x 20” acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – June 1, 2020. View of Lake Superior. Duluth, Minnesota. 8” x 10” acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – June 2, 2020. View of Lake Superior. Duluth, Minnesota. 8” x 10” acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – June 3, 2020. The new bridge at Gooseberry Falls in northern Minnesota. 8″ x 10″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – June 4, 2020. Split Rock Lighthouse on the shores of Lake Superior, Minnesota. 8″ x 10″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – June 5, 2020. Split Rock Lighthouse on the shores of Lake Superior in winter, Minnesota. 8″ x 10″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – June 6, 2020. Grand Marais Lighthouse on the shores of Lake Superior, Minnesota. 8″ x 10″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – June 7, 2020. Mist rising from a lake in the Boundary Waters Canoe Area, Gunflint Trail, Minnesota. 8″ x 10″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – June 8, 2020. Winter in Grand Marais, Minnesota, 5″ x 7″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – June 9, 2020. Winter in Grand Marais, Minnesota, 5″ x 7″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – June 10, 2020. Sunset at Alpine Lake, Gunflint Trail, Boundary Waters Canoe Area, Minnesota. 8″ x 10″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – June 11, 2020. MacFarland Lake, Boundary Waters Canoe Area, Minnesota. 10″ x 14″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – June 12, 2020. MacFarland Lake, Boundary Waters Canoe Area, Minnesota. 10″ x 14″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – June 13, 2020. Mist Rising from Lower Sylvan Lake at Sunrise, Minnesota. 10″ x 14″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – June 14, 2020. Lower Sylvan Lake, Pillager, Minnesota. 10″ x 14″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – June 15, 2020. Lower Sylvan Lake, Pillager, Minnesota. 10″ x 14″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – June 16, 2020. Road to the Cabin on Lower Sylvan Lake. Near Pillager, Minnesota. 10″ x 14″ acrylic painting by Wendy Rae Waszut-Barrett.Quarantine Travels – June 17, 2020. The road to the cabin on Lower Lake Sylvan. Near Pillager, Minnesota. 10″ x 14″ acrylic painting by Wendy Rae Waszut-Barrett. Quarantine Travels – June 18, 2020. Lily pads on Lower Sylvan Lake. Near Pillager, Minnesota.. 10″ x 14″ acrylic painting by Wendy Rae Waszut-Barrett. The final painting in Quarantine Travels – June 19, 2020. In the Weeds. 10″ x 14″ acrylic painting by Wendy Rae Waszut-Barrett.
I conclude the series with the painting “In the Weeds” on June 19, 2020. Some of my happiest memories of my childhood were swimming at my parents’ cabin on Lower Sylvan Lake near Pillager, Minnesota. At the time, it was one of the clearest lakes in the state, spring fed. Because of the water clarity, I could swim without goggles and look at fish and the aquatic jungle below the surface. Weeds never bothered me as they were so beautiful underwater. The sunlight that filters through water has always been magical for me.
This concludes my painting series of “Quarantine Travels.” I will still keep painting, but start a new series. While snatching a few hours each day to paint, my companions were Minnesota Public Radio Classical and Gov. Cuomo’s daily press briefing. It seemed an appropriate conclusion to my series as today signals the end to many things.
Stay safe!
I ended up starting two other series after this one. Here is the link to “Colors of Colorado” and “Mountains of Rock.”
I reach a milestone today – post
1000. When I first starting writing “Tales of a Scenic Artist and Scholar,” I
never thought that it would go beyond 100 installments, and I would return to writing
posts about painting techniques and materials.
Over a year ago I explained the
reason why I write daily about the life and times of Thomas G. Moses. I am reposting
it today.
Part 600: Why Do I Write?”
There is so much more information to discover online than a
decade ago. I can quickly scan thousands of newspapers with keyword searches,
gathering information about a late-nineteenth century scenery installations and
Scottish Rite degree productions. My trips to the rare books room are almost
non-existent, as I am able to access a ridiculous amount of information in a
relatively short period of time. While preparing for my posts, I dig through
old photos, slides and research files from my predecessors, digital
collections, online archives, historical newspapers, and other public
databases. It takes time though.
Why do I take time every day to blog about the life and
times of Thomas G. Moses? I made a commitment to myself in September 2016 to
share my discoveries, while providing me with both incentive and inspiration to
continue. When my position as Curatorial
Director at the Minnesota Masonic Heritage Center was eliminated, I encountered
a unique form of character assassination. It was an extremely difficult time as
I went through the varying stages of grief. Much of the passion that I had for
Minnesota Masonry simply died, and I had to shift my focus elsewhere.
In the middle of a particularly low point, I made a decision
about my future. I decided to take the high road, ignore the continued attacks,
and make a positive contribution. I
decided to share all of the information that I had gathered over the years in a
public forum, one that would benefit both theatre and fraternal communities; to
increase the awareness of historic scenery as cultural artifact; to change the
perception of historic scenery from old stage backings to large-scale artworks
created by nationally recognized artists; and to broadcast the need for proper
handling and preservation of extant scenery collections. I decided to start
writing – a lot.
Writing one or two pages for a daily blog makes me
re-evaluate preconceived notions and accepted theories, ranging from painting
techniques to basic theater history. I
try to catch things that I may have missed in the past. Hopefully, my journey
will never be about being right, but about getting it right. I also gather more
information than I need, as I never know if a historic scenery collection will
still be hanging upon my return. Scenery and stage machinery hold telltale
signs for the common practices associated with early-twentieth century scenic
studios and artists. Each scenic studio had something akin to a signature. They
all had a specific way of doing things, whether in the sewing room, carpentry
shop, paint studio, or during an installation.
The width of cotton sheeting, the direction of seams on a backdrop, the
shape of a wooden batten, the type of stage hardware, the color used to ink a
composition, and the preferred fabric manufacturer are only a few examples.
It may be the next generation who pieces together my research; a primary reason that I am digitizing and posting as much as possible. Ideally, some artist, historian or scholar may be able to see the connections that I cannot at this time. I may simply be planting seeds for those that come after me. If I am able to help another along the way, that would be the best feeling of all, because then I become part of something much bigger than myself.
In the life and times of Thomas G. Moses, it’s September of 1918. Moses is now working for New York Studios, having resigned as president of Sosman & Landis on September 1, 1918. On October 10, he will be injured when a boy riding a bicycle accidentally knocks him down in the street. Of this incident, he wrote, “October 10th, I was knocked down by a boy on a bicycle in Oak Park. It was dark and I did not see the wheel. It was thought by the doctor that I had fractured my skull. It was a couple of months before I recovered. Only a few days after this I was forced to go to Cleveland to look after a big Masonic order and I hope we will be able to get the contract.”
Keep in mind that this is all in the midst
of 1918 Spanish Flu pandemic. The first wave of the Spanish Flu hit that spring
and the second wave was already in play fall. The second wave would become
recognized as the one with the worst death toll. By the end of December 1918, there
was the reopening of schools, theaters, churches and business, believing that
the worst behind them. A third wave hit during the spring of 1919, a full year
after the first wave.
Early in October, the “Chicago Tribune”
published illustrations on how to make a “germ screen,” a mask (6 Oct. 1918,
page 17). Next to the instructions was another article entitled, “Influenza
Cases Here Estimated 40,000 to 60,000. Majority Declared Light Attacks; No
Cause for Alarm” (page 17). The article continued, “Anxious to avoid unduly
alarming the public, the officials hesitate to make the big figures known
generally, but they did so in order to impress upon every individual the
necessity of his protecting himself against infection. As a whole the public is
said to have headed the warnings issued, but thousands of Chicagoans, it was
said, are still exposing themselves carelessly.” Six days later, the “Rock
Island Argus” announced “Begin Manufacture of Face Masks for Rock Islanders to
Wear as Preventative Measure” (12 Oct. 1918 page 12).
Published in the “Chicago Tribune,” 6 Oct 1918, page 17.
By Dec. 1, 1918, the “Decatur Daily
Review” reported, “Flu Death Toll in Illinois 22,566.” The article continued,
“Springfield, Ill., Nov. 20 – Spanish influenza during the recent episode took
a death toll of 22,566 in Illinois, according to figures announced today by Dr.
C. St. Clair Drake, director of the state department of health. The disease is
still prevalent in southern Illinois, and Dr. Drake estimates that the number
of fatalities due to it will reach 25,000 by January 1. A total of 350,000
cases of the disease have been reported to the health department. This is only
about one-fourth of the number believed to have existed in the state. The death
rate was given by Dr. Drake as about 2 per cent of the cases.”
Moses does not make any mention of the
Spanish Flu at all. In perspective, he only mentions WWI starting and ending,
so his diary entries are not really a barometer to indicate historical
significance of worldwide events. Overall, Moses’ memoirs don’t really
highlight, or describe in detail, many things beyond theatrical projects and
personalities. After all, his memoirs were to be published as “Sixty Years
Behind the Curtain Line.”
We here about the constant comparison
between the Spanish flu and COVID-19.
For many, this is such a distant event that one might as well compare it
to the Black Death. For my family it is
a little more relevant. My grandmother was 25 years old when she survived the
Spanish Flu; it was the year before she married my grandfather. This may have
been why I was raised in a household where you stayed home when you were sick,
taking caution to not infect others. I grew up making sure that I would not
spread germs, especially around young kids and the elderly, almost to an
extreme. It made sense to me even as a young kid; sometimes you alter your
activities for the betterment of others – no big deal. It makes me think of
those who now explain that they don’t wear a mask for themselves, but for others.
In my opinion individual rites does not mean that you get to endanger others.
There are a lot of similarities between
how people acted then and now, those who care and those who justify their
actions of non-compliance. Masks were
recommended and public activities restricted. Certain people rebelled, citing
individual liberties and freedoms. I often think that these are not people who
have lost loved ones or friends to the virus – yet.
And as far as masks go, there are two
kinds: those that protect you from your environment and those that protect the
environment from you. I was astounded
one year when I returned to my alma mater and found surgical masks in the place
of particle masks. It was the first time
I had to explain that surgical masks do not protect the wearer; they protect
the environment from the wearer. We
wanted masks that protected the worker from their environment. Again, I thought
that this was common knowledge, but I was wrong. When considering the big
picture about the mask debate now, the general public may not understand how
masks work; after all, some theatre professionals didn’t.
