Copyright © 2020 by Wendy Waszut-Barrett
On September 10, 1919, the “El Paso Herald” announced, “El Paso Scenic Artists in Okla.” (page 13). The article reported, “Friends of Ben F. Tipton, former scenic artist of the Redmond Follies and Art Phillips, who spent one year in El Paso as scenic artist of the Raymond Teal company, will be pleased to know that they have opened a studio in Tulsa, Okla., and are doing a good business. Tipton left El Paso about two weeks ago to join Phillips who had preceded him to Tulsa and arranged for the opening of the studio. ‘Tip’ writes that the company at present has more scenery than it can handle and that Tulsa at present is a live wire town as a result of the Oklahoma oil boom.”
The Phillips Tipton Scenic studio was credited with providing the scenery for “All Aboard” by the next spring (Morning Tulsa Daily World, 21 April 1920, page 9).
By July 7, 1920, Oklahoma newspapers announced the opening of another scenic studio – Southwestern Scenic Studio. The “Daily Law Journal” announced, “Certificate of Partnership of the Southwestern Scenic Studios…That Chas. Cassius and Raleigh Dent, are associated as partners in the business of furnishing theatrical scenery of all descriptions in the City of Oklahoma city, Oklahoma County, Oklahoma, Scenic Studios; that said partnership is a general partnership, dating from the first day of May, 1920” (page 4). Both Phillips Tipton Scenic Studio and Southwestern Scenic Studio were relatively short-lived, a common trait as scenic studios continued to pop up like daisies all over the country. The abundance of firms often saturated an area, quickly causing supply to outweigh demand and prompting the closure of new companies.
As in the 19th century, American scenic artists followed the work. Scenic studios were established in areas experiencing economic growth and building booms. In 1919, the Ben Tipton cited the Oklahoma oil boom as the cause for an abundance of painting projects. Although the oil boom began in 1897, the money was still streaming in by 1919. Great influxes of money into the economy supported theatrical growth and even shifted the theatrical centers throughout North America. After the 1871 Chicago fire, a period of unprecedented theatrical construction activity drew scenic artists and other theatre technicians from all over the country to the Windy City. By the turn of the Twentieth century a similar period of activity in New York, especially Coney Island and coastal attractions such as the Atlantic Boardwalk shifted the theatrical centers again. Although many believe that the theatrical center remained in New York throughout the duration of the 20th century (Broadway), there were a series of building booms that drew people westward. Oil money offered ample opportunities for scenic artists to secure work, whether it was for live theatre, public spectacles, or residential murals in mansions of the wealthy. During the severe recession that hit the United States in 1920 and 1921 scenic artists left the larger metropolitan areas of the east. Sometimes labeled as a depression, western opportunities in successful towns funded by oil money continued to support a variety of artistic endeavors during this time.
There is something else to consider at this time. There was also the stylistic shift in scenic art that prompted artists to move west. As the “new art” for the stage diminished the demand for painted illusion, film offered additional opportunities for those experienced in romantic realism for the stage. Moses and many of his Chicago colleagues dreamed of both living and working in California. It was not only a vibrant theatre scene, but also an artistic hub for fine artists. Moses actively sought work in the Oakland area, starting in 1918 when he was working for New York Studios (Chicago branch). He became a member of the Laguna Beach Art Association (1est. 919).
Those specializing in traditional scenic art were able to tweak their skill set, tighten their brushwork to produce realistic film backgrounds. It is understandable that the west coast drew and abundance of highly skilled and well-known scenic artists. Those transitioning to work in the film industry likely had an easy choice when examining the set designs of the modern designer. Film offered the continuation of painting large and picturesque vistas.
To be continued…
