Author: waszut_barrett@me.com

Copyright © 2024 by Wendy Waszut-Barrett

The final day of the Distemper Painting Workshop focused on drapery painting and value. 

The goals for the day were maintaining a consistency of color and contrasting value. As previously explained, a contrast of value supports scenic illusion for the stage (large-scale paintings that are viewed from a distance). Drapery painting is the perfect example to discuss painting for a distance. Typically, the goal of this exercise is to use a thicker mixture of paint, focus on value and aim for a consistency of color.

For years, I have observed that many scenic artists take pains to carefully blend each fold in a drapery composition. Unfortunately, this ultimately destroys the painted illusion from a distance; the subject loses definition. Careful blending only works well when examining a painting from close-up, such as in Trompe l’œil murals in residential and commercial settings. The smallest details and smooth transitions that make Trompe l’œil a success are not visible on stage. Painted illusion for the stage necessitates a great contrast of both hue and value. Again, we want to make the audience eyes work; therefore, making the painted illusion appear more realist from afar. Scenic art is more akin to fresco painting on ceilings; they are also large-scale artworks intended to be viewed from a distance. Throughout my travels, I document the treatment of fabric on figures in ceiling murals. Most recently, I visited the Painted Hall in London. Here is an example of a drapery, showing a sharp division of value and alternation of warm and cool colors (see yesterday’s post for more detail color characteristics).

There is a distinct division of value; a sharp contrast between dark, medium, and light colors. This is what accentuate the folds of the fabric. To illustrate my point about the over-blending of drapery folds, I share two examples.

The scenic artist’s careful blending does not suggest a lack of skill, but a lack of understanding when painting for a distance. Drapery folds really need to be accentuated to remain visible from far away.

Here is how I decipher drapery painting; it is an approach that is based on my documenting thousands of extant backdrops over the years. 

Again, it is the rule of three for value – dark, medium, and light. From a distance, the darkest value suggests the color, a mid-tone identifies the shape, and a highlight identifies the fabric type.

For my presentation, we looked at a variety of drapery examples where I identified the three values, again and again.

This is not meant to suggest that only three colors can be used, but it is the basic approach. In the end, some folds are accentuated with a final shadow wash, and  some highlights get a “flash” (hot twinkle).

Highlights are extremely important in the end. If they are indecisive (“smudgy” and “worm-like”), it is difficult to determine either the type of fabric, or the weight of the folds.  

Here are some photographs, capturing a few moments of the drapery painting project. A special shout to Mike Hume of Historic Theatre Photos for his willingness to document process.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

Painting waves help students become familiar with distemper paint (dry pigment paste and diluted hide glue) process. Seascapes they are very forgiving, and allow a student to focus on viscosity of the paint, blending of colors, and economy of brushstroke. This is also one of those projects where the first step (basing in the water) can be slapped on, or overworked, without later consequences. 

For the second day of distemper painting workshop, the students selected one of five compositions. I am a firm believer in allowing students to select a subject that speaks to them. I hate forcing any class to paint the same picture. My rationale is that learning should never be about competition. When we all paint the same scene, a “best” painter will immediately emerge, and often steal inspiration from those around them/her/him. Most importantly, art should remain an individual journey. I believe that we learn something new, about both the painting process and ourselves, at each step of the process. Distemper painting classes should fuel a students enthusiasm for future projects.

On the first day of the workshop, we analyzed examples of distemper seascape – both historic and contemporary. I explained that there are three basic steps to painting water.

The first step is alternating warm and cool colors for the base coat; it should never be a solid color. This should depict a significant contrast in color and value. The second step is identifying water movement (waves) with a shadow glaze, and the third step is defining each wave with highlights, lowlights, and shadows. I used three process shots to show what I meant from my process for painting the wave rows for the Tyne Theatre & Opera House.

I explained that at the end of the day, the goal was not to simply copy the source, but to understand the shapes and movement in the source.

I typically recommend mixing the distemper paint for this step as thin as possible; stretching the colors so that it almost becomes an exercise in dye work.

This is often the perfect project to explore translucent effects. However, the transparency of the workshop fabric prohibited this aspect, and we went for creating a sea scrim.

For both the seascape project and the drapery project, I provided a color source and a grayscale version (to help identify value). As I was taught (by Prof. Emeritus Lance Brockman at the University of Minnesota), it is more important to match the value in a composition, than color. This frees the student to focus on technique and not copywork. I also gave the students an option to solely use the grayscale version and create their own color palette.

This option meant that everyone could chose their own path towards the finish line. Here were the three steps employed by the class the second day.

1. Alternate warm and cool colors for the base – keep a strong contrast so that it is easier to define the waves.

2. Identify waves – using a deep shadow wash, start to draw the shape of cresting water.

3. Define the waves with highlights, lowlights, and deeper shadows – keep the movement organic without creating a pattern.

Although it is human nature to make order out of chaos – to organize elements– creating patterns that are equidistant destroys painted illusion on stage. When creating scenic art landscapes, vary color and placement; this is paramount in the process.

Here are a few photos from the workshop on July 31, 2024.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

I was asked to teach a three-day distemper scene painting class at the Tyne Theatre & Opera House last fall. The workshop would coincide with my delivering new ground rows to the theatre. It was scheduled immediately before the 19th-century Scenic Art conference on August 2, 2024.

Flyers advertised:

The Tyne Theatre & Opera House are offering a 3-day distemper painting workshop with scenic painter Wendy Waszut-Barrett. The course will take place in Newcastle from Tuesday 30 July – Thursday 1 August 2024. Over 3days participants will learn historic painting techniques and create 2 paintings using distemper. All equipment including painting frames, brushes, pigments, gloves, etc. will be provided. A maximum of 12 places are available.

Day One: Introduction to Distemper Painting/Distemper Paint Preparation/ Colour Theory/English and Continental Methods

Day Two: Seascape Project

Day Three: Drapery Project

I have continued to fine-tune both the timeline and projects for my distemper painting classes; it has taken me years to come up with a framework for this type of workshop. First and foremost, it is extremely important to devote one entire day to color theory and experiencing the nuances of distemper paint.

I always try to start with a presentation about color; selection, mixing and application. Revisiting color theory as a group places all the students on the same page. It levels the playing field before trying to replicate any artwork, or understand a new application technique.

My rationale is that when you discuss color as a group, it is much easier to understand the various characteristics.

Here is my 2023 color theory presentation for CITT, if you want to see a previous workshop example: https://drypigment.net/2023/11/13/travels-of-a-scenic-artist-and-scholar-painting-workshop-at-citt-in-toronto-august-15-16-2023/

I tweak my color theory presentation for each class. It helps me grow as an instructor, allowing me revisit my own thoughts each time. I was extremely fortunate to have such a wonderful group of students and one stellar assistant (pictured below)!

As promised to the class, here is the color theory section of my presentation.

One of the easiest ways to teach color theory for painted illusion on stage is using distemper paint. Pure color (pigment paste) is combined with diluted hide glue (size).

Mixed on the scenic artist’s palette, it was immediately applied to the fabric.  The constant mixing of strategic color combinations worked with various lighting systems to promote special effects on stage.  This is why so most extant drops could transition from day-to-night scenes.

It is VERY important to not get caught up in the name of any one color, as it is the characteristic that’s important – warm or cool.

The easiest way to show color characteristics is with yellow. On the left is a “warm” yellow, and on the right is a “cool” yellow. It is very important to know the various characteristics of the colors that you are planning to mix.

The characteristic greatly affects the result in a color wheel or when mixing neutrals.

Here is an example of a color wheel with primary and secondary colors clearly marked on the ring. However, it will shift if a warm or cool yellow is combined with a warm or cool red to produce an orange.  This ultimately affects the creation of neutrals.

For example, green will shift if blue is combined with a warm yellow or cool yellow.

Also, combining blue with orange produces wonderful variations for shadows that reflect both warm and cool lights. 

We are familiar with spattering a drop to make sure that it will glow on stage, as some contemporary colors look “dead” under certain lighting conditions. That is never the case with distemper painting, as the actual painting process ensures that every color will reflect light.

For example, a blue sky, always has a little warmth (orange/red/burnt sienna) added to the color, and this allows a sky to transition from a beautiful sunrise to midday to sunset. The same can be said for mixing shadow colors and washes, whether applied as a transparent glaze or an opaque wash.

This (orange/blue) color combination appeared on historic scenery in North American, the UK, and Europe.  Here is an example from the Stadsschouwburg (Municipal Theatre), Kortrijk, Belgium.

Working with a minimal color palette in the beginning works best for understanding distemper paint. I love to show Tobias Mayer’s color triangle from 1758. It looks at a unique combination of primaries (blue, red, and yellow). In the end, it is important to select four colors (blue, red, yellow, and dark) when exploring strategic color combinations for the stage.

Once strategic combinations are understood, we move on to the application and an economy of brush stroke.

Here is an example of a floral detail from a palatial courtyard scene.

There is a basic contrast of value that must be used for painted illusion on stage. This is crucial when painting for a distance. The audience’s eye really needs to work.

When a subject is finely painted, with careful blending, like in the art of trompe l’oeil, it does not read well from a distance.  I will later go into depth about this when we get to the drapery painting project.

The flower below shows a selection of dark, medium, and light colors without any careful blending. There is a distinct contrast of color and value.

Each of these values also alternates between warm and cool. The dark-medium-light values alternate cool-warm-cool or warm-cool-warm.

Even when the same value is used (pictured below), there is an alternation of warm and cool. The strategic color placement for the foliage allows the object to shift under stage lights and appear more realistic from a distance. It reads better from the audience and does not appear flat.

Our first exercise explored both color and painting process.

Here are a few examples of my own color swatches. Before any distemper painting process, I familiarize myself with the colors, even if I have used them before. This often includes a “draw-down” so that I also know how far a color will stretch.

I divided the first project into four quadrants. The intent was for the students experiment with color and viscosity of the distemper palette.

The first step helps facilitate a basic understanding of mixing pigment paste and size. Creating basic color swatches helps us understand not only the color’s characteristic, but also how far the color will extend when thinned out. 

I believe that everyone needs a moment to experiment with a new type of paint – where the stakes are very low. It is too much to expect students to immediately replicate a stage scene with distemper paint; too much new information actually creates an obstacle to learning. This is the moment to “play” without any self-judgement.

The second quadrant of the first project was to test the opacity and value of each color. It was an opportunity to also experiment with neutrals that would be used on the upcoming projects. I firmly believe that if you know the range of your color palette (what colors can be achieved), you are one step ahead of the game.

Typically, the next two quadrants of the first project would be two color wheels. However, for this class we jumped into base coats – practicing for the next two projects.

In the end, this proved invaluable, as each student had a chance to work with color combinations and application techniques that would be used in both their seascape and drapery projects.

We learned a lot that first day while overcoming a few obstacles. The stage lighting proved to be a bit of a challenge, as did the fabric weight.

I will start with the fabric and pigments.

Although not quite what I expected, the workshop fabric was the same texture and weight that I have encountered with dozens of historic drops, c. 1890-1920. 

It was a cross between a theatrical gauze and very thin cotton sheeting. The silver lining was that each composition could function as a transparency – another great learning opportunity!

Here are the slides that I added in my presentation to address this particular aspect/challenge of the projects:

I first explained the similarity in materials that I had documented throughout my career. Mill stamps are a delight to find on an extant scene.  The fabric delivered for the workshop was almost identical to that used by J. M. Deeds Scenic Studio in Spokane, Washington, in 1915.

As is the case with most painted scenery, when lit from the front, it all looks opaque. In many cases, it even looks like the painting is on the thickest canvas available. And here is where I want to take a moment and comment on industry standards and variables.

We take it for granted that the scenery fabrics in current use have remained mostly unchanged over the years. That is simply not the case; nor was it the case a century ago. Materials are always dependent upon location, supply, demand, budgetary parameters, and world events.

I agree that there was some consistency in larger metropolitan areas. This was primarily due to client expectations, suppliers and distributers. However, not everyone delivered scenery to prominent New York or London venues.

There was a whole other world where skilled scenic artists in distant locals used a variety of materials. In more rural settings, a wide range of cloth was employed for theatrical scenery, yet the inferior fabric did not detract from the painted illusion.

Here is a detail of extremely thin fabric beneath a distemper painting from the scenic studio of J. M. Deeds in Spokane, Washington, c. 1915.

This type of fabric was popular for its versatility under various lighting conditions.  For example, it was popular for the revelation of a hidden artifact. The detail below shows a 1915 example of a transparency in the center of a treasure chamber scene at the Masonic Theatre in Grand Forks, North Dakota. This is a 1915 drop manufactured by Sosman & Landis Scenic Studio of Chicago, Illinois.

Here is another early-20^h-century example from a theatre in Quincy, Illinois. This was a 1912 transparent drop (same function as a contemporary scrim) manufactured by Toomey & Volland Scenic Studio of St. Louis, Missouri.

And lastly, here is a transparent drop that was produced by Becker Bros. Scenic Studio of Chicago in 1930 for the Scottish Rite Theatre in Moline, Illinois.

Unlike contemporary scenic paint on shark tooth scrim, when holes are filled in the open-weave fabric, it does not destroy the scenic illusion on stage. One could argue that unless the majority of holes in a shark tooth scrim are filled, the entire scene will still successfully function as a transparency on stage.

Here is another view of the same drop from the wings.

The scenic studios of Sosman & Landis, Toomey & Volland, and Becker Bros. were major theatrical suppliers in large metropolitan areas. In the end, the weight of the fabric was often concealed by the skill of the scenic artist.  Using a less-expensive fabric also increased the overall profit margin for many studios. As we learned in the workshop, it paints up quite well.

Here is how the our first day of class went after my PowerPoint presentation… We initially worked as a group, cooking size in the morning. Flints Theatre Chandler (https://www.flints.co.uk/ ) supplied the rabbit skin glue (https://www.flints.co.uk/product/all/adh098500 ) and dry pigment (https://www.flints.co.uk/products/haussman-dry-scenic-colours?page=1 ) for this workshop.

To cook the rabbit skin glue on the stage, we used a double boiler on a hot pot, placed on a metal table. You can successfully use a variety of appliances that use indirect heat – this is just one method. I have often picked up crockpots to cook glue too.

A side note on selecting animal glue… I personally used a combination of hide glue and technical gelatin (high-clarity). In the past I worked with the chemist at Bjorn Industries . The company offers a variety of hide glue grades, ranging in strength and clarity. Their is also a quaint family-owned aspect to the company, with their products being delivered in a Ziplock bag.

For the Distemper painting workshop, we used the following HATO pigments:

Lemon Yellow, Chrome Yellow, Indian Yellow, Raw Sienna, True Orange Medium, True Red Light, Ultramarine Blue, Turquoise Blue, Crystal White.

And two pigments from Mylands: Burnt Umber and Raw Umber.

Everything went well, but I really missed my two standard colors: a cool red (one to counter the warm red) and a really dark brown (Van Dyke). Although black was available, I refuse to place that on my scenic art palette (unless it is for a sign painting project). That is a whole other discussion and has to do with stage light.

Fortunately, the Raw Umber was uncharacteristically dark, almost filling the Van Dyke gap. Despite this minor deficit, the projects did not suffer from a lack of color options.

I am also going to address pigment quality and availability. For me, even poor-quality dry pigments are better than pre-mixed scenic paints.

I also consider sustainability when planning a scenic art project. The distemper paint system is a relatively green process with very, very, very little waste. In its dry form, color and hide glue can be stored for decades. Dry pigment paste that dries on a palette, or in a pail, can also be reconstituted, again and again. The only waste is size water that has turned. However, the shelf life of size can be greatly extended if stored in glass, left uncovered, and refrigerated. It can easily keep for up to a month in proper conditions.

I’ll start with a note on the Flints website concerning their Dry Scenic Colors:

Flints have struggled to maintain a regular supply of good quality Dry Powder Pigments so we have now decided to stock this excellent range from Germany. Haussmann have been producing these fine pigments for many years, so we are very confident that we will be able to provide you with a consistent range of excellent quality scenic powder pigments with some really vibrant bright colours plus a good selection of earths. A hand painted colour chart is available for a nominal sum. Please note, the Raw and Burnt Umber pigments are now from an alternate supplier, as Haussmann are no longer able to supply them. We have elected to do this in order to ensure we can supply an adequate range.

It is wonderful that Flints carries dry colors, and there are many pros to using the distemper painting system. Here is a slide that I included in my presentation:

Also, if you are looking for a color that is not carried by a theatrical supplier, check out the fine art world.

Here are a few other dry pigment suppliers:

Sennelier (https://www.sennelier-colors.com/en/Pigments_17.html )

Gamblin (https://gamblincolors.com/oil-painting/color/dry-pigments/ )

C. Robertson & Co. (https://www.croberson.co.uk/other-brands/cornelissen.html )

Lutea (https://lutea.be/en/ )

Bulk Apothecary (https://www.bulkapothecary.com/pigment-powder-colors/ )

Rublev Colours (https://rublevcolours.com/products/ )

This is not a finite list, and dry pigment is available from numerous art stores, including Dick Blick, Jackson’s, Jerry’s Artarama Art Supplies, Etsy, Archsupplies, and more. Dry pigment is far easier to purchase now, and more readily available, than thirty years ago.

Throughout the duration of the Distemper Painting Workshop, the stage lighting proved to be a challenge, in term of both temperature and direction. However, we were able to rearrange the frames and add some lighting booms to resolve some of the issues.

By the end of the first day, we recognized that two rows of projects created very poor lighting conditions in some areas.

We opted to have a single row of frames, placed directly between two main light sources hanging above the stage. This provided a general wash that equally illuminated all of the projects. It also allowed students to view their projects from the auditorium.

Additionally, we placed a sheet of black plastic between the frame projects, blocking light from the other side, as the fabric was so thin. This was Grit Eckert’s idea, as she was reminded of some scenic studios who used black behind the vertical frame when painting transparent scenes.

I want to take a moment to thank Grit for her amazing assistance throughout the entire workshop. She was there to document the process, as well as lending a helping hand whenever needed. It would not have been possible to run this class as smoothly as it went without her assistance.

My next post will look at seascape projects, and why this type of exercise may be the best introduction to distemper painting.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

David Wilmore and I began discussing new ground rows for the Tyne Theatre & Opera House last fall. It was during a stage machinery demonstration that Wilmore mentioned my name; they were ready for new scenery. Before my departure, the following plan was hatched over a pint of beer.

Our plan: I would design and paint eight ground rows with historic pigments in the US and fly them over, packed in my suitcase.

From the beginning, we planned that I would use traditional materials and techniques; painting the ground rows on a vertical frame with distemper paint (pigment paste and diluted hide glue). This is also what made it possible to fold all of the ground rows into a compact little bundle and not worry about creasing.

Initially, I planned to paint eight water rows, each measuring 3’-0”h x 24’-0”w. However, size, construction, and composition were bantered about, and in the end there were four water rows and four ground rows; the new width measuring 26’-6” wide, with heights ranging from 30” to 60″. Furthermore, each ground row would breakdown into three pieces (for easier handling and storage). The design anticipated that certain sections would be removed with additions constructed at a later date.

Once the sizes were finalized, I began to design each row. Using pastels, I completed a few quick sketches to indicate color palette and layout. I really like using pastels to quickly convey an idea, especially when the final scene is paint in distemper.

A detailed rendering was my next step, and now we were off to the races!

Using 126”-wide lightweight muslin, I tacked two 27’-6” long swaths of fabric. I have taken to using this particular width as it perfectly fits on the paint frame. This saves me a ton of time in the long run.

I budgeted five days to set-up, paint, tear-down, and pack-up the eight ground rows.

I started with the water rows: three rows on the top panel and one row on the bottom panel. As pictured below, the top fabric would contain the 30”, 40” and 50” high water rows. The bottom panel would contain two 60” ground rows (water and foliage).

When the water rows were finished, I replaced the top fabric panel (water rows) with a fresh piece of muslin for the foliage rows. I masked the completed water row on the bottom fabric panel with plastic. Sometimes I throw paint a little too freely!

Each set of ground rows took approximately two days, leaving me a little extra time to pre-hang the panels in the nearby theatre and make sure that everything lined up. This also allowed me to double- check that the painted illusion read well from a distance.

I was also able to document the viscosity of the painting. Over the years, I have learned to use less, and less, paint. THAT is the key to distemper painting!

It was while documenting historic scenery collections that I began to realize how little paint was applied to the surface of historic drops; and it wasn’t because it had all dusted off. Applying thin coats of paint not only means that every drop can function as a translucency, but also facilities packing for a tour. This was also not the first time that I have packed painted scenery in a standard suitcase, so I knew how much wiggle room that I had to work with!

When packing the ground rows, I simply layered them from widest to narrowest before folding.  All eight ground rows easily fit in a suitcase, with room to spare.

Distemper scenes traveled very well, without any horrific wrinkles or creasing.  I sometimes think we forget how hearty this type of scenery can be. Only water poses a threat to newly-painted distemper scenes.

After spending five days in a suitcase, as I journeyed from Minneapolis to London, and then Newcastle-upon-Tyne, they were unfolded at the Tyne on Monday, July 29.

Over the next few days, three of the eight ground rows frames were constructed, so they could be used in the demonstration on Friday, August 2. Only the edges of the fabric were glued to the prototypes (less than an inch). It will be removed and attached to the final version. The final version will have more detailed edges to accentuate the individual leaves.

On Thursday evening, August 1, the ground rows were installed and operated for the first time.

Watching this all come together was one of the more exciting moments of my career.

There is nothing quite like seeing your paintings tucked amongst stage machinery. It was a remarkable experience!

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

An image from my article, A Forum for Progress, made the cover of DIE VIERTE WAND #012!

This is my sixth article for the magazine. It examines an 1897 Sosman & Landis stock scenery collection delivered to Forum Hall. Now known as The Forum, the venue is located in the Bronzeville neighborhood of Chicago, an area that later became known as the Black Metropolis.

The new issue is now available online:

http://www.dieviertewand.com/index.html

or

https://archive.org/details/@d4wglobal/lists/2/d4w-global

DIE VIERT WAND is bi-lingual (German and English) publication with articles about theatre submitted by authors worldwide.

I have Chris Van Goethem to thank for my introduction to Stephan Gräbener, editor of the publication. In 2017, Van Goethem shared an email Gräbener, calling for articles:

The Initiative TheaterMuseum Berlin e.V. is planning its next issue of DIE VIERTE WAND.

As usual we’re going to offer articles about all aspects from the world of the theater.

Historical or contemporary, research, science, theory or practical reports.

Whatever you might think of.

The term „theater“ is synonymous for all kinds of performing arts.

My first article, Staging the Scottish Rite: Degree Productions of Freemasonry, was published in DIE VIERTE WAND #007.

I continued to submit articles for the publication over the years:

#008 – Raising Hell on a Masonic Stage

#009 – Brown’s Special System for Scottish Rite Theaters in North America

#010 – American Scenic Art: The Immigrant Contribution

#011 – Sosman & Landis, Shaping the Landscape of American Theatre

In 2019, I was delighted to meet Gräbener in person at Stage|Set|Scene in Berlin, Germany.

Stefan Gräbener at Stage|Set|Scene. Berlin, 2019.

All back issues of DIE VIERTE WAND #001-#011 are still available via the website and the Internet Archive.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

You may have noticed that it has been a while since my last post.

When I’m not on the road for work, my life consists of scenery preservation, presentations, master classes, writing, scenic design, art, and caretaking (people, places and things). I wrote a similar statement last year, about the same time.

I just returned from a trip to England and Wales. The impetus for my travel began last fall at the Tyne Theatre & Opera House.

View of Newcastle-Upon-Tyne from my hotel window on July 29, 2024.

The Tyne Theatre & Opera House on July 30, 2024.

The Tyne Theatre & Opera House. Photograph by Mike Hume, August 2, 2024.

Last year, on Sept. 15, 2023, I presented a paper at an international theatre conference. 120 delegates attended the event, representing the UK, Europe, Canada and the United States.

My presentation, Stage Craft and Spectacle: Immigrant Contributions to North American Theatre, was part of the Tyne Theatre & Opera House Conference: Victorian and Edwardian Theatre in Performance, Music & Machinery – Stagecraft & Spectacle. Here is a link to my 2023 presentation from last year:

I was part of a session entitled Beyond Great Britain, one that included Mike Hume and Rick Boychuk. They discussed the Booth Theatre and Auditorium Theatre, respectively. Here is a link to more information about the conferences and individual sessions: https://www.tynetheatreandoperahouse.uk/international-conference/

The 2023 event was organized by David Wilmore of Theatresearch. On the final day of the conference delegates were able to watch the functioning stage machinery from both above and below stage.

David Wilmore explaining the stage machinery to delegates. September 15, 2023.

The 2023 conference was a truly a celebratory event, unveiling almost two decades of hard work to rebuild the entire stage house after a 1985 fire.

The theater’s website explains:

Our machinery is one of the only surviving examples of Victorian wooden modular stage machinery in the UK and is of huge historic importance. Prior to the theatre fire in 1985, the machinery was used regularly by fully trained volunteers in productions. Now however there is a real risk of losing historic knowledge from previous years. We are therefore developing a team of committed volunteers who will be trained in the operation and restoration of this machinery.

For more information about the Tyne’s Historic Stage Machinery, visit: https://www.tynetheatreandoperahouse.uk/historic-stage-machinery/

At both conference’s Wilmore provided context for the machinery, giving a full explanation of the bridges, cuts, and sloats during various demonstrations.

Sloats emerging from the cuts at the Tyne Theatre & Opera House. Sept. 15, 2023.

During the 2023 demonstration, Wilmore commented that they were ready to install new scenery. Before my departure, the following plan was hatched over a pint of beer.

Our plan: I would design and paint eight ground rows with historic pigments in the US, then hand-carry them in my suitcase.

In addition to delivering the scenery, I would teach a three-day distemper painting class while the scenery was being installed. The project would culminate at the end of the week with another international conference, featuring 19^th-century scenic art.  The conference would also include a demonstration of the stage machinery, now complete with my scenery attached to frames on the sloats. Less than a year later, we were attaching frames to the sloats, just prior to the conference.

Attaching frames to the sloats on August 1, 2024.

So how did this all come to be?

In the fall of 2023, a survey was sent out to various organizations, inquiring about potential interest in a three-day distemper painting class. There was an overwhelming response, prompting the entire project to move forward. 

As dates were finalized for the summer of 2024, a secondary “travel trip” was hatched with Mike Hume (https://www.historictheatrephotos.com/). In 2023, Hume, Boychuk, and I visited fifteen theaters, both before and after the conference. Our travels brought us to historic venues in London, York, Glasgow, Bristol, Bath, and the Isle of Man. In the end, we documented fifteen theaters.

Wendy Waszut-Barrett, Rick Boychuk and Mike Hume at the Theatre Royal in Bath, 2023.

Hume and I planned a similar trip this year, but by car. Our plan was to drive from Newcastle-Upon-Tyne to Craig Y Nos, Wales. The primary focus was historic scenery collections.

Mike’s map for our proposed 2024 theatre tour.

When all was said and done, I visited:

Georgian Theatre Royal, Richmond

Victoria Hall, Settle

The Plaza, Stockport

Buxton Opera House

Chatsworth House Theatre

Theatre Royal, Nottingham

Nottingham Concert Hall

Nottingham Playhouse

Everyman Theatre, Cheltenham

Adelina Patti Theatre, Craig y Nos

Normansfield Theatre, London

Richmond Theatre, London

The Palladium, London

My next several posts will be about the design and painting of the ground rows, my distemper scene painting class at the Tyne, the scenic art conference, and the historic scenery at various venues. 

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

Many of my projects take years to plan and implement.  Such was the case with the main drape and valance at the Ruby Theatre in Chelan, Washington.

The drapes were intended to accentuate a newly acquired photo-player. The old ones having fallen into an irreparable state of disrepair.

Proving to be a bit of a diva during installation, theatre owner Larry Hibbard, appropriately named his photo-player Valentina. Photo-players accompanied silent movies with both music and sound effects. By the way, Valentina rises from the original orchestra pit, now hidden below the thrust. Hibbard explained that Valentina demanded this grand entrance after learning about the history of photo players from her big-city cousins .

“Valentina” – the photo-player – on stage at the Ruby Theatre in front of the new draperies.

Here is a link to an interview with Hibbard about his photo-player, named Valentina, for Wenatchee World (January 2021)- “Bringing Back a Piece of History to Chelan’s Ruby Theatre.” https://www.facebook.com/watch/?v=416089849649129

Exterior of the Ruby Theatre in Chelan, Washington.

I was first contacted by Hibbard in November 2021. He was interested in replicating the main drape, complete with hand-painted border.

In January 2022, Hibbard shipped half of the main drape to my studio so I could examine the fabric and stencil. The arrival of the curtain at my studio coincided with another Washington State theater event that made national news. On Jan. 27, 2022, CNN reported, “A couple renovating a 115-year-old building discovered two 60-foot-long hidden murals.” The next day I received an email with a link to the article from my Canadian colleague John Madill. Madill was the first of many colleagues to share the online article; all urging me to contact the couple. I was hesistant as my schedule was already booked for the year.

The next day, on Jan. 29, 2022, I received the following FB message:

“Hi, Wendy! My husband and I recently uncovered a 60ft mural from 1915 and are hoping to conserve it. I was wondering if you could offer any advice or expertise as it looks like a theatre backdrop. There are videos and pictures on our Facebook group (mural restoration at the historic Timm building). Thanks so much.”

Great. I decided to see exactly where Okanogan was located.  Amazingly, it was less than an hour north of the Ruby Theatre in Chelan, Washington. That was my sign to plan a quick trip.

Here is a map of the area – west of Spokane, Washington.

The Okanogan Murals were located in a building once known as the Hub Theatre.

A small section of the mural, delivered to the Hub Theatre by the J. M. Deeds Scenic Studio of Spokane, Washington.

They were only seen by the public for three years before being encapsulated behind a wall of plaster. In 1918, the building was again renovated, becoming the Paramount Theatre.

The renovated Hub Theatre when it became the Paramount.

I did a little research, and soon discovered that J. M. Deeds Scenic Studio decorated BOTH Okanogan’s Hub Theatre and Chelan’s Ruby Theatre.  On Dec. 7, 1915, the Okanogan Independent announced, “Improvements at Hub’s.”  The article reported, “Hub Carlton has contracted with J. M. Deeds of Wenatchee for interior decorations, new screen and new curtain for the Hub Theatre that will greatly improve the inside appearance of this popular playhouse. Mr. Deeds came up from Wenatchee last week and is now supervising the work, which is being done by W. J. McConnon, and experienced decorator who has been in Mr. Deeds employ for some time. Mr. Deeds has just completed decorations for the Wenatchee theater, which is said to be one of the finest in this part of the state, and also is the man who did the decorating for the Ruby Theatre of Chelan, known far and near as one of the most attractive playhouses in the country. The new improvements at the Hub include 120 feet of panoramic landscape scenery in light tans. The picture screen will be 11×13 feet in size and have frame effects of moulding. There will also be a pretty drop advertising curtain with an overhead roll, noiseless I operation and will be controlled from the operator’s booth. Mr. Carlton is sparing no means to improve his place of business and is making additions to his equipment as rapidly as business will warrant.”

Here is a link to my previous post about James Marion Deeds: https://drypigment.net/2022/03/07/travels-of-a-scenic-artist-and-scholar-j-m-deeds/

After a quick visit to meet with both theater owners in Okanogan and Chelan, I was soon back in Okanogan to supervise the removal of both murals from a water-drenched building. As they were created with distemper paint (pigment paste and diluted hide glue), time was of the essence.

Removing the murals at the Old Hub Theatre in Okanogan, Washington. March 2022.

That fall, I again led a crew to clean and stabilize the murals before again placing them back into storage.

The murals hanging in an Okanogan Fairground building after Phase 1: cleaning and stabilization. October 2022.

All the while, I remained in contact with Hibbard about the Ruby Theatre project. It took us quite some time to locate a similar fabric. Creating a custom-dye job was not financially feasible, as the project was too small.

In the end we hired Liba Fabrics to manufacture the draperies with a lovely rose-colored fabric that shifted color under light.

They were shipped to the Ruby Theatre during the spring of 2023.

The plain curtains, valance, and side curtains, installed at the Ruby Theatre in 2023.

My trip to paint the draperies was scheduled for spring 2024.  Prior to my April departure, I replicated the stencil and completed several samples to look at on site before commencing the project with local assistants. As light altered the fabric to an alarming degree (that was the magic), we wanted to make sure that everything would work with the space.

Here is one of the three-color stencils…

The base color for the stencil.

Detail of the base color. I came up with a technique that made it look like velvet appliqués.

Two types of gold were applied for detail; warm and cool to help it take dimension from a distance.

Two types of gold paint were used for the second stencil.

Although photographs make it difficult to see the gold, it reflects light beautifully – especially in low-light conditions.

Completed stencil.

As anticipated, the “R” stencil would prove to be problematic. Enter, Patrece Canoy-Barrett. She re-stitched the top and flipped a pleat.

On site assistant, Patrece Canoy-Barrett, who re-stitched the pleats to make the “R” hang flat.

Addition highlight to “R” so it would “pop.” The seam disappears from a distance.

Completed stencil with Valentina, after painting the proscenium arch . Thrust lights are only used when Valentina emerges from the pit.

During my time on site, we also moved a drop curtain from the local museum back to the Ruby Theatre. I really wanted Hibbard to see how a painted element shifted the space. It was so successful that an event was planned to feature Valentina and the historic ad drop. The drop has since been returned to the Museum where it will be on display.

Moving the drop from the Museum to the Ruby Theatre.

Ad drop painted by J. C. Carpenter in 1932 for the Ruby Theatre.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

As promised, here is my powerpoint for “Lies and Misrepresentation Behind the Curtain.” This session was sponsored by the Scene Design and Technology Commission for the United States Institute for Theatre Technology’s annual conference in Seattle, Washington.

USITT PRESENTATION (March 22, 2024):

Welcome to “Lies and Misrepresentation Behind the Curtain.” I am Wendy Waszut-Barrett and this is my colleague Ruben Arana.

Before we begin…

This session is divided into two sections. For the first 20 minutes, I will provide historic context and discuss women scenic artists. There will be a 10-minute break to answer questions. Then I will turn it over to Ruben Arana for the second half.

My quest for women scenic artists began in the 1989. In the midst, of learning about theatre history and scene painting techniques, I inquired about the nineteenth-century women scenic artists and  was told, “They were all boys, get over it.”

Although our profession is more about what we can do, rather than who we are; this statement made me feel like I was not part of scenic art history. So, I threw myself into learning everything I could about historic scenic art, the people and process.  

Who knew that I would discover the name of a woman scenic artist while indexing the diary and scrap book of Thomas Gibbs Moses, a scenic artist whose career spanned from 1873-1934.  The project was assigned to me by Lance Brockman, now Professor Emertitis at the University of Minnesota.

My main task was to print up all the pages (feeding quarter after quarter into a microfilm machine), summarize the content of each page, and then create both subject and author indexes.

One of the articles in Moses’ scrap book mentioned “Little Theresa Sparks,” a scenic artist who was employed at a Chicago studio.

You can imagine my delight when I brought this to Lance’s attention. This began the a debate about when women actually entered the field of scenic art.  

I tracked down the life and career of Theresa Sparks, posting her story to my blog  drypigment.net  in 2020. I knew by the 1920s, there was a growing workforce of women scenic artists gaining attention in various publications.

In fact, a 1927 article in The Scenic Artist mentioned the work of twelve women scenic artists, including Lillian Gaertner, Gretl Urbahn, and Vyvyan Donner.

The article included a very subjective analysis, stating:

“For many years women felt themselves barred from taking a part in the painting of scenery, because it involved extreme physical stamina, which, excepting in rare cases, women do not possess.  However, being more or less tenacious, it is a foregone conclusion that women will work out their own salvation, and this will perhaps lie in the line of designing or art directing, rather than the actual painting of scenes.”

And thus continued the myth that women scenic artists were few and far between, having not really contributed before the 1920s.

Here are a few names women scenic artists who worked between the 1860s and 1940s. These were women who painted stage settings and were listed as such in census reports, city directories, and newspaper accounts.

I believe historians try their best to represent the world as it was.  However, at some point, the contributions of generations of American theatre artists were left out of theatre history. Aesthetic shifts, new design movements, and innovative technology continue to be credited to a select few.

There is a popular image of twenty-four scenic artists who were early officers and charter members for the Protective Alliance of Scene Painters in America.

This group has been constantly referred to as “the foremost scenic artists and designers” in America at the time. That is simply not the case. There is no doubt that each was a skilled and a relatively successful scenic artist, but this group does not comprise the best that America had to offer at the time. They only represent a small number of scenic artists working in a few specific regions. The picture is very telling, especially when you start realize those nationally-renowned scenic artists missing from the picture.

For me, these men represent those who had the most to lose without establishing a protective alliance and keeping OTHER scenic artists out.

I say this having carefully tracked the lives and careers of these gentlemen, including the Thomas G. Moses.

It was not until 1918 that women were allowed to join the Union. Mabel A. Buell’s late entry makes it appear that women were just beginning to enter the scenic art field.

It’s important to understand that when Mabel joined the Union, she was not only a scenic artist, but also a scenic studio owner. Both she and her mother worked as scenic artists, as did her father and brother. In many cases, it was a family affair.

By the way, this is Mable directing her employees. At times her staff numbered twenty people.

When Mabel joined the Union, she was described as the “only girl in the profession.” Buell continued to be listed as such in the early 1920s.

By this time GENERATIONS of women had worked as scenic artists. Some were wives, some were daughters, some were sisters, and some entered the profession all on their own.

The use of “ONLY” to describe a female scenic artist in newspapers, sends an underlying message – they are not a threat. After all, there is only one. 

Here are examples of three women scenic artists identified as the “Only” in America over the course of two decades; On the left is Grace Wishaar (pronounced Wee-shar), listed as the only woman theatrical scene painter by 1901. On the right is Irene Kendrick, listed as the FIRST woman scene painter in 1909. In the center is Mable Buell – pictured in the 1921.

I am going to focus on Seattle Scenic artist – Grace Norton Wishaar- she is pictures on the left.

Born in 1876, she worked at both the Cordray Theatre and the Seattle Theatre in the early 1890s.  An accomplished pianist, singer, and chess player, she was the eldest of 6 children born to Emile Bernard and Marie Ida Smith. When Grace was ten years old, she sailed with her family from New York to California.

Her career as an artist began at the San José Art School, with her first drawing instructor being Lee Lash. Lash was eight years older than Grace, and moved to New York where he established a scenic studio. Ironically, when Grace moved to New York looking for work, Lash turned her down, explaining:  “scene painting was no work for a woman; her sex would make her unwelcome among the workmen’ and that women were too ‘finicky’ for work that demands broad effects.”

In 1894, The Washington Standard reported, “Seattle has a young lady scene painter in Miss Grace Wishaar. A new drop curtain at Cordray’s, which is universally admired, is from her brush.”

Grace had painted scenery for almost two years by this point.

In fact, the same year that Grace entered the scenic art profession, Sosman & Landis sent Thomas G. Moses to Seattle for several months to deliver a massive stock scenery collection. The studio frequently hired local artists to help with on-site work.

In 1901 Grace described her early career in an interview with a Buffalo Express reporter. She said:

“It was like this, I left school out in Seattle and went into society. But my sister cared for music, and I cared for art, and we tired of other things and decided to study. She began training her voice for grand opera. I fitted up a studio – a beautiful room it was, 80 feet long, in the Seattle business block – I kept at portrait work. My mother writes – she lately copyrighted a play on the Philippine war – so she understood how we felt. Then one day the Seattle Theater needed a drop. My father, E. B. Wishaar, is dramatic editor of the Post-Intelligence -sir. He heard about it and mentioned it to me. I thought I could do the drop. Mr. Russell – the manager – laughed at me, but he let me try it. I painted the scene and they said it was just what they wanted. After that, I had all I could do for the Seattle and Cordray theaters and for two years I worked as a professional…”

In the midst of all of this, Grace married her first husband in 1897, celebrated the birth of a son in 1898, and continued her artistic training at the William M. Chase School of Art – moving east in 1900.

When Grace headed to New York in search of scenic work at the beginning of 1901 -it was scenic studio owner D. Frank Dodge who provided an opportunity. Soon, she was painting for him at the Fifth Avenue Theatre, Manhattan Theatre, and Herald Square Theatre.

During the next few years, Grace became Dodge’s right-hand person – meeting with newspapers and explaining both the design and painting process. She continued with Dodge until 1904 when he sent to a project in Seattle. She remained there, painting at theaters in Portland, Seattle, Tacoma, San Francisco, and Oakland. While working for Dodge she married her second husband.

When Grace returned to the West Coast, she worked with Seattle scenic artist, Sheridan L. Jenkins. Photographs of the two working together in 1905 are priceless.

Sheridan was originally from Fairbury, Nebraska. He moved to Seattle by the late 1880s and began working as a scenic artist. In 1892 when, about the time Grace entered the profession, he moved to Chicago, working with Thomas G. Moses’ former business partner, Walter Burridge.

Here is another photograph of Grace and Sheridan on the paint bridge. From a quality standpoint, these are some of the best scenic art process photographs that I have ever encountered.

Here is another of the two in Grace’s studio. We are able to see – in detail – so many of her designs and models.

All of their stage scenery was painted with distemper paint, the mixture of pigment paste with diluted hide glue. By the way, I have solely used distemper paint for the last seven shows I that designed and painted for Haymarket Opera Company (Chicago) and the Gilbert & Sullivan Very Light Opera Company (Minneapolis). It reflects light so much better than any premixed product in a can. In 1903, Grace explained “Distemper is a really beautiful medium. You can produce such fine effects with it! But it’s very tricky unless you know JUST how to handle it.”

In 1904, Harry W. Bishop hired Grace as his scenic artist for Ye Liberty Playhouse in Oakland, California. The theater’s studio measured 100 by 35 feet, and included a machine shop and three paint frames. One frame was movable, and the other two were stationary with adjustable bridges. It was a remarkable stage, with a 75-foot revolve – purportedly the first in the west. Grace was working at a state-of-the-art theater.

Her scenic art at Ye Liberty immediately made the news and was described as “one of the strong points of the theater.” Grace’s gender was looked upon as an asset. On Jan. 12, 1905, The Berkley Gazette reported, “The Liberty is particularly fortunate in this [meaning her being female], for that is the secret of the delicate touches, artistic settings and finished details always present at their performances.” 

In 1907,  another article about Grace announced, “Ye Liberty’s Scene Painted, the only woman in the world of the profession – does amount of work which men scene painters find impossible to do.” Remember that two decades later, the 1927 article in The Scenic Artist reported, “For many years women felt themselves barred from taking a part in the painting of scenery because it involved extreme physical stamina.”

Progress made by one generation of women, can instantaneously evaporate with the next.

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Wishaar’s scenery for Barbara Freitchie at Ye Liberty Playhouse was regarded “as proof of Miss Grace Wishaar’s uniformly good scene painting.” Here is an image of her Frederick Street setting for the show.

While working for Bishop, three major disasters struck:  earthquake, divorce, and fire. In 1906, an earthquake damaged Ye Liberty Playhouse. This was the same year that she married her third husband. The next year, Grace filed for divorce, citing desertion.

In 1909, Grace and her family narrowly escaped a house fire. Evidence suggested that a faulty grate was to blame, but the fire destroyed everything, including her prized collection of paintings.  This was a turning point for Grace. She collapsed at work. Her doctor advised a “rest cure.” This was the medical order for “go on a world tour.”

Enter Marian Smith Oliver, former ward of multimillionaire F. M. Smith, also known as the Borax King. In 1910, Grace and Marian journeyed around the world, ending up in Paris where Grace  set up a studio and Marian be­­gan ­­­­­performing. Scandal ensued, with Marian returning home to her husband. Their marriage did not last. In 1912 Seattle newspapers reported that Grace was in the midst of a three-years art course in Paris and “At present she is on a summer sketching tour through Spain and Italy.” She participated in several art exhibitions, and in 1914 exhibited three portraits at the Salon des Beaux Arts.

Grace had played chess since a child and used it to relax during paint breaks at the theater. In Paris, Grace began competing in chess tournaments. In 1931, she won the French Woman’s Championship, the same year that her fifth husband completed suicide in Ceylon (Sri Lanka).

Grace’s sixth and final marriage was to world-chess champion, Alexander Alekhine (1892-1946). She was playing one of the boards in his simultaneous blindfold chess game. They were in  Tokyo. They married the next year.  Sixteen years her junior, Alekhine was a notorious alcoholic, The two traveled, played chess, and won awards, yet she continued to paint and maintain a studio in Paris.

When Grace passed away in 1956, she was buried next to her husband. Their gravestone even includes a chess board at its base. There is much, much, more to this story that is posted to www.drypigment.net.

The chess world has recently become fascinated with Grace Wishaar. Last year, Alan McGowan, historian at Chess Scotland, contacted me about my posts concerning her early life and painting career. In January 2024, McGowan published his article, “Amazing Grace,” for the English periodical Chess.

Grace left a treasure trove of photographs, newspaper articles and other historic records, yet, she still faded from theatre history by the 1920s. There are still hundreds who remain nameless; their contributions to the development of theatre history have yet to be counted.

Over the past few years, I have identified dozens of women scenic artists while writing the 120 biographies of Soman & Landis studios, including Grace Wishaar. This research is for my upcoming book Sosman & Landis: Shaping the Landscape of American Theatre. The Sosman & Landis staff was quite diverse, including women, African-Americans, and immigrants.

Which brings me to Lara Levero. She represents the thousands who did not make headlines, appearing as a brief spark at a particular moment. In 1920, Levero was counted in the US Federal Census, living in Los Angeles and working as a scenery painter. She listed her birthplace as Mexico and Spanish for her “mother tongue.” Levero emigrated in 1918 and was currently living with fellow scenery painter Felix Garcia.

I have managed to track the scenic art career of Felix Garcia, who settled in El Paso, Texas, and was listed in city directories by 1922. At this time, I have yet to determine if the two married, or went their separate ways. It is so very difficult to trace the lives and careers of women, especially after they marry.

Today, online databases provide massive amounts of information. We are now able to identify thousands of individuals whose contributions to theatre history were either forgotten or ignored. 

Although women scenic artists are not currently included in the history books, they were present and contributed to our industry.

WE can no longer solely teach theatre history from the same books that have been used for generations of students. Teachers cannot teach what they do not learn.

WE are completely in control when choosing the lens through which we depict our industry’s past, present, and future of our industry.

The United States Institute for Theatre Technology is a membership organization, established in 1960 to advance both knowledge and skills in the areas of design, technology, and production. There are several commissions within USITT that focus on specific areas of the industry, such as scene design and technology, costumes, lighting, sound design, education, engineering, and management. Each commission meets at the annual conference to propose sessions and workshops for the next year. The Scene Design and Technology Commission includes scenic art, properties, safety and health, heritage and more.

A few years back, I was appointed Vice-Commissioner of Heritage in the Scene Design Commission, replacing Arden Weaver when he stepped down from the position.

The 2024 conference is in Seattle, Washington (March 20-23). I am one of two presenters for Lies and Misrepresentation Behind the Curtain, a 60-minute session sponsored by the Scene Design and Technology Commission.

Our session is in room 608 at the Seattle Convention Center on Friday, March 22, 2024 (10:00 AM – 11:00 AM). My co-presenter is Ruben Arana of Florida A&M University. We proposed this session last year after meeting meeting for the first time; sitting next to one another at the the Commission meeting.

Our session looks at the history of underrepresented people of color and women in the 19^th and early 20^th century, sharing the stories of four specific individuals. If you are attending the conference this year, please consider joining us!

For more information about the United States Institute for Theatre Technology, visit www.usitt.org

Historic Stage Services, LLC, has partnered with the Theatre Museum of Repertoire Americana to offer scenery preservation workshops!

Here is the link for registration: http://thetheatremuseum.com/event/2-day-preservation-treatment-workshop