My week at the Tyne Theatre & Opera House in Newcastle-upon-Tyne, England, culminated with a conference on Friday, August 2, 2024. “Theatrical Scene Painting in the 19th Century: The Artist and the Picture Frame” was the second theatre conference held at the venue.
The first conference occurred less than a year before (Sept. 13-15, 2023), with 120 delegates attending from the UK, Europe, Canada, and the United States.
Second Annual Conference at the Tyne Theatre & Opera House, 2 Aug. 2024.
Both events were organized by David Wilmore of Theatresearch and Rachel Snape, Heritage & Development Project Manager at the Tyne Theatre & Opera House. This year, the entire conference took place upon the stage, with delegates facing the auditorium. An Act Drop was hung (in reverse, facing the upstage wall), to set the stage for the delegates. The painting was from the brush of Deborah Mitchell in 1997, replicating an earlier curtain painted by Ernest Howard for the Royal Theatre Opera House, Northampton, 1896.
Photograph by Mike Hume of Historic Theatre PhotosBackside of Northampton Act Drop painted by Deborah Mitchell.
The morning panel featured three papers.
Raymond Walker (left) explored the visual aspects of Victorian scenery and how it evolved during the 20th century. Dr. David Wilmore (center) explored the original portraits for Gilbert & Sullivan’s “Ruddygore”, now on display at a private theatre (Normansfield). Karen Thompson (right) examined the Normansfield Scenery Collection and its conservation.
After lunch we were invited back to the stage for a stage machinery demonstration. The sloats in the stage cuts supported three of the eight ground rows I painted for the venue. The previous evening David Wilmore and Colin Hopkins (Project Site Manager & Stage Carpenter) led a crew to install the ground rows.
Colin Hopkins attaching a ground row to a sloat. Photograph by Mike Hume of Historic Theatre PhotosPreparing a ground row for attachment to the sloats. Photograph by Mike Hume of Historic Theatre Photos
The afternoon panel in my presentation, “Scenic Art, Past & Present”, Grit Eckert’s presentation “We are still here!!! Scene Painting – a Historical Study and still a Theatrical Trade”, and Prof. Christina Young’s “19th Century Scottish Scenic Painters: Paint Frame to Picture Frame”.
As promised to those who could not attend the conference, here is my Powerpoint with text:
My name is Wendy Waszut-Barrett and I come to you as a theatre historian, scenery preservation specialist, scenic designer, and – most importantly – scenic artist. My presentation will look in detail at the paint medium used by 19th century scenic artists and its capabilities. Then I will explain how I became so passionate about the history of scenic art and how both past and present research has altered my understanding of theatre history.
Each aspect of my career creates a lens through which I view theatre history. For me, the phrase, “Preserving the Past” goes far beyond the conservation of historic artifacts; it also applies to the preserving the theatrical trades.
Although many scene painting techniques remain well-documented in various publications and memoirs, much has been lost from contemporary application – more specifically, the institutional memory in most scenic studios. I am going to shed some light on nineteenth-century scene painting practices. Understanding the nuances of the distemper painting system helps us appreciate the metamorphic nature of stage settings created by 19th- and early-20th-century scenic artists.
Distemper paint solely consists of two ingredients: color (dry pigment paste) and binder (cooked and diluted hide glue). It really is an amazing artistic medium. In dry form, both pigment and glue can be stored for decades, weathering a wide range of temperatures. There is also no waste during the painting process, as dried piles of pigment paste on a can be quickly reconstituted with water.”
In 1903, American scenic artist, Grace Wishaar (pictured on the left) 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.”
Over a decade later, her colleague Frank Atkinson wrote the following statement about distemper paint in his scene painting manual “.. distemper colors change greatly in value as they dry out…the student must not let a few failures discourage him. True ‘color deductions’ will come with experience.”
In 1924, Joseph Harker described distemper paint in his publication “Studio and Stage” as ”a peculiarly difficult medium to handle” explaining “In some instances the color, when applied, dries several degrees lighter in tone than it was originally, while in others remains unaltered. Considerable skill, if I may put is so baldly, is therefore needed in the direct painting with this medium and no fixed rules can be laid down for overcoming the characteristics I have mentioned. Long and pain staking experience is alone capable of solving each fresh color problem as it arises.” For over 35 years, I have been challenged with each distemper painting project. That being said, there is no other paint I would rather use for stage settings.
Every time I pick up a brush and paint a backdrop, I become part of the scenic art timeline, continuing the legacy of those who came before me. I still prefer painting stage scenery with distemper paint. Nothing feels quite so pure to handle, or reflects stage lights quite so well.
Let’s look at how the paint was prepared. Pigment arrived at the scenic studio in three forms – dry powder, compressed block, or wet pulp. Blocks of dry color necessitated grinding prior to their transformation into a paste.
Pigment paste was placed on a scenic artists palette and mixed with diluted hide glue, also called “size water” or “working size” or just size – hence some artists referring to this as “size painting.” Both color and binder necessitated careful preparation, the tasks completed by skilled individuals. In larger studios, “Color men” supervised preparation and distribution of colors, as ill-prepared pigment paste (pigment granules that weren’t fully dissolved) could compromise an entire composition.”
Making size from hide glue was also a skilled task, each batch affected by heat and humidity. Water is added to dry hide-glue granules, or a slab, and slowly-cooked to a honey-like consistency, then diluted with water.
Here is an example of a scenic artist’s palette, filled with bowls of pigment paste, and a size warmer below. The pigment paste and size water were mixed together on the large palette, then immediately applied to the fabric. The preparation of pigment paste, cooking of size, and set-up of a palette takes time. However, the actual distemper painting process makes up for any lost time in the set-up.
As presented in my paper last year, there were two prominent scenic art traditions at play in 19th century; each defined by the viscosity (or thickness) of paint and its application. There was the use of transparent glazes (depicted in the left images) and opaque washes (depicted in the right).
Distemper was applied to scenery in two ways – “up” on a vertical frame or “down” on the floor. Both versions were transported to the United States, and referred to as “English” method (for up) and the “Continental” method (for down). Painting a drop that was tacked to the floor require long handles, or bamboo poles that extended the handle of a brush. Tacking backdrops to vertical frames often meant that either the frame or bridge upon which the artist stood on was movable.
Where do I fall within the framework of scenic art history? I am a hybrid. I was trained in the Midwestern United States using distemper paints (in the form of opaque washes) on a motorized frame at University. However, as a freelance scenic artist, pre-mixed paints and the continental method (floor) were preferred.
This is the motorized paint frame that I use in the States. My past eight shows have featured distemper settings.
Distemper paint and vertical paint frames were made for each other. As distemper paint permeates each underlying layer, drips are not an issue, even when the viscosity looks like milk. Distemper paint permeated the underlying layer, so even a drip will soon reabsorb into the fabric. Some contemporary (pre-mixed) color may reactivate, but not to the same extent as distemper paint – there is more of a layering effect which will cause pre-mixed paints to run.
From a paint process standpoint, a motorized paint frame allows the artists to quickly and accurately lay in vertical lines without a straightedge. It is an extremely quick way to paint lines.
Which means that painting vertical drapery folds is extremely effective, as you can play with the viscosity of paint for translucent effects.
Here is a view from the back of the frame, to show how thinly the paint is applied to the muslin.
Backlit with a simple white light, muslin painted with distemper can take on the appearance of glowing silk.
Here are three of the distemper palettes that I use while painting scenery, all ranging in size for the scale of the project. I have tweaked the traditional methods to use large baking pans – easier clean-up.
Regardless of what type of paint is used for stage settings, scenic art is more. It is a way of seeing and applying color.
That being said, distemper paint is the easiest was to teach color theory and scenic illusion for the stage.
The success of scenic illusion for the stage is understanding the nuance of each color, strategic color combinations, and economy of brush stroke.
I want to get us all on the same page in terms of color, as painted illusion necessitates the alternation of warm and cool colors. The three primary colors are yellow, red, and blue. Each primary and secondary color also has a characteristic – warm or cool.
The easiest example to see warm versus cool is yellow. I don’t want to get caught up in any specific color name – as they are dependent on suppliers. On the left is a warm yellow, and on the right is a cool yellow.
Of supreme importance in painting is the true understanding of value – going from light to dark. The success of painted illusion is based on the contrast of value
Scenic artists paint for a distance. This means that their artwork is intended to be viewed from afar – any careful blending will make a painted composition appear “fuzzy” from a distance. That is why a scenic artist contracts both value and hue. The audience’s eye needs to work, so the scene will appear more dimensional and realistic. When you examine the painting close-up, it all falls apart into dashes and dabs – an economy of brushstroke.
There is a rule of three for value selection – light, medium and dark, to work up any object. This contrast applies to foliage, architecture, drapery painting, etc. making the painted details remain visible at a distance.
Light, medium and dark values also alternate warm and cool colors. For example, the dark base is predominantly cool, the mid-tone warm, and the highlight cool.
Even when applying the same value, some compositions – such as foliage- with place warm and cool colors next to one another. This helps give definition to the shape. This strategic color placement helps reflect stage light and accentuate painted details, providing dimensions.
Here is a drapery example (on your left) of over blending, painting that shows a lack of contrast in both value and color. It can make the subject look fuzzy from a distance. The drapery painting on the right shows the contrast of value and color; draperies that will have definition when viewed from a distance.
And if we take color out of the composition, we can still see the difference and need for contrast with value for an object to remain visible from afar.
Many 19th-century, and early-20th-century, scenic artists were visionaries, They fully understood how painted illusion was supported with stage machinery and lighting. Pause – Scenic art is an interactive art form, partnering with various stage lighting systems.
Scenic artists understood the characteristics of various lighting systems, adjusting the color and value accordingly. Here is an example of scenery produced for electric light – blue, red and white, a popular combination from the 1890s to 1920s.
This all goes back to the color selection and application of distemper paint. The use of a warm and cool consistently creates a color that will reflect stage lights. Strategic color combinations increase the opportunities to reflect light – supporting day to night transitions on stage. So if you have a blue sky, you always make sure there is a small amount of warmth added (orange, red, etc.).
It was through documenting and preserving historic scenes that I realized so many backdrops could function as translucencies.
Here is an example from 1902. You can see hoe the view from behind the drop (on your right) reveals how little color was applied to the fabric.
This practice continued into the 1920s, despite stylistic changes.
Here is another comparison with a view from the front and from behind – to show how thin the paint is applied to the fabric. Those white areas on the left are stage lights shining through the fabric.
Here is a distemper detail that I painted for a Haymarket Opera Company production in Chicago, Illinois – L’amant anonyme by the Chevalier de St. George. I firmly believe that the key to distemper painting is how little pigment is used and the body of the paint – whether it is dense or flowing. Very thin paint, or low viscosity, will appear opaque with front lighting, but will remain extremely flexible. That is how I was able to pack eight 27’ ground rows, ranging in high from 30 to 60 inches in a standard suitcase. Although the scene appears quite opaque, there is very little pigment applied to the fabric. When you stand behind the scenes you recognize how thin each layer of paint was applied.
Another painted detail from the same show. In many cases, we have forgotten how much we can do with any ordinary white light source placed behind a distemper drop. And this has to do with the viscosity and layering of colors. The image on the left shows a section of distemper drop under work lights. The image on the right is the same painting, but with a standard white lamp behind the painting. Underlying colors are revealed – transitioning the entire palette without the necessity of colored light. No glass or gels. Again, this is the metamorphic nature of distemper paint that supported 19th century scenic illusion and spectacle.
Another detail with a gelled incandescent on the right. This is more of what we are used to. But when we combine colored front lights and illumination from the backside – possibilities are endless and the whole scene glows.
Another example of a translucency – one created with distemper paint – not dye; one that we are more familiar with in contemporary effects. This one shows how a sky can transition to sunset without the use of dyes.
Many audiences have never experienced the magical allure and metamorphic nature of distemper settings on stage.
This beauty, however, can instantaneously be destroyed with poor lighting.
Screenshot
When lit poorly, painted legacies from our past resemble dull-colored and thread-bare rags at best. Side light will especially accentuate wrinkles. Front light erases wrinkles in an instant.
This is nothing fancy, just a shift in direction. Keep this in mind the next time you encounter a deteriorated backdrop, because with proper lighting, some of the most damaged scenes can look fresh.
So why am I so passionate about the history of scenic art? It all started in college. As I took one scene painting class after another in college (same distemper painting class, different levels), I repeatedly queried my professor about early women scenic artists. His response – “They were all boys, get over it.” This was not a subjective statement, or one intending to put me in my place. My teacher was teaching what he had been taught. His statement, however, really lit a flame inside me. I decided to learn everything I could about scenic art, the people, and the processes.
Part of this quest involved extracurricular studies and museum exhibits. In 1989, I received an Undergraduate Research Opportunities Program (UROP) grant to process an historic scenery collection – the Great Western Stage Equipment Company, established in Kansas City, Missouri, ca. 1920s. I worked in the Performing Arts Archives, part of the University of Minnesota archives. This UROP grant was followed by another – Holak Collection. The second collection contained designs from two primary firms – the Chicago-based studio of Sosman & Landis Studio and their affiliate studio New York Studios.
The acquisition of these collections, spearheaded by my mentor, Prof. Emeritus Lance Brockman, was contingent upon their open access and use by students. Copy work was critical to his scenic art program. This meant that University students could request a design, set up their watercolor palette, and replicate the composition in the reading room. In addition to copying historic designs, I enlarged them on 5’ x 5’ flats – using traditional materials and exploring painting techniques. His future hope was to digitize the collection so that theatre students, academic colleagues, and professionals would have free access to all of these materials.
From 1999-2000, I worked with these two collections, and a previous, the Twin City Scenic Co. Collection, Minneapolis, MN, to create an online digital database. I was in charge of layout, contents, text, content and assigning metadata to over 3000 artifacts.
I still return to the collection, examining details of many designs. This project has continued to inform my own research.
Assigning meta data, replicating designs, and preserving historic stage scenes have all helped me make a series of immediate connections while working on site. It is my continued work with these collections over 35 years has allowed me to immediately locate many original designs for extant curtains. For example, when I unrolled a drop curtain at the Theatre Museum of Repertoire Americana in Mount Pleasant, Iowa, last January I remembered that the design was part of the Twin City Scenic Collection in the database, and quickly located the file in the scenery database.
For me, the past continues to informed my present, as a theatre historian, scenic designer, and artist. I still have that fire burning, a drive to learn all I can, while I can.
Such was the case when I catalogued and repaired the scenery collection at a 1912 Theatre in Santa Fe, New Mexico. From 2002-2005, I led a crew of eighteen local hires to preserve this 74 drops over the course of three years. I was also leading the preservation of a sister collection in St. Paul, Minnesota – same design, same scenic studio, but installed in 1911.
We were granted permission to photograph all of the scenes with original costumes and properties. Again, these were scenic designs that I first encountered in 1990 while processing the Holak collection. The descriptions, installations, sizes, signatures were all engrained in my memory.
This is one of the reasons that I am so adamant to share my research, to help jog the memories of others, whether they be theaters owners, back stage crews, or the descendants of scenic artists and designers; many historic theaters do not understand that they are part of a much larger network. It also re-frames our understanding about scenic artists, painting process, and liberties taken from design to installation.
Screenshot
I am going to conclude with a topic that I introduced last year during the conference, English Scenic artist Harley Merry, aka Ebeneezer Brittain. He worked as a performer and scenic artist, emigrating to the United States in the late 1860s. I bring Merry to your attention, as it brings another aspect of the scenic art trade into focus. After moving to America, Merry was integral in organizing serval groups, including the Protective Alliance of Scene Painters in America.
This organization became the current scenic art union known as United Scenic Artists. Recently, the Union produced a video about their history, still listing these men as…
There is no doubt that each was skilled, 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.
Artists like Mabel Buell. It was not until 1918 that women were allowed to join the Union – 2 years before women were able to vote. Mabel A. Buell’s late entry makes it appear that women were just beginning to enter the scenic art field; few and far between. This perpetuated misconceptions that the scenic artists were primarily white men.
It’s important to understand that when Mabel joined the Union, she was not only a scenic artist, but also was a scenic studio owner. Both she and her mother worked as scenic artists, as did her father and brother. As in many cases, it was a family affair.
By the way, this is Mable directing her employees (center picture). At times her staff numbered over 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.
Here are three examples of women scenic artists identified as the “Only” over the course of two decades. On the left is Grace Wishaar, listed as the only woman scenic artist by 1901 She had been painting for over a decade at this point. On the right is Irene Kendrick, listed as the FIRST and ONLY scenic artist in 1909. In the center is Mable Buell – pictured in the 1921; still listed as the only woman scenic artist in America throughout that decade.
Well, that wasn’t necessarily the case – Here are a few names women scenic artists from the mid-19th to early 20th century.
Although there are many, many more. These were women who painted stage settings and were listed as such in census reports, city directories, and newspaper accounts. Not all scenic artists were listed as such.
I believe historians try their best to represent the world as it was. However, at some point, the contributions of generations of artists were left out of theatre history. Aesthetic shifts, new design movements, and innovative technology continue to be credited to a select few.
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. The same language was used to describe scenic artists who were people of color.
Over the past few years, I have identified women, indigenous people, and people of color who worked as scenic artists in the 19th century. Many of these discoveries occurred while writing the 120 biographies of Soman & Landis studios). This research is for my upcoming book, “Sosman & Landis: Shaping the Landscape of American Theatre.”
Today, online databases provide massive amounts of information about individuals who worked as scenic artists. We are now able to identify thousands of individuals whose contributions to theatre history were either forgotten or ignored. This means that we are responsible for reframing the history of scenic art and theatre history.
Women and people of color who were often not counted, but they were present, they contributed to our shared theatre industry.
WE can no longer solely teach theatre history from the same books that have been used by generations of students.
WE are completely in control when choosing the lens through which we depict our industry’s past, present, and future of our industry.
On Monday, Oct. 2, 2023, I returned from Chicago with the set for La liberazione di Ruggiero dall’isola d’Alcina. Less than two weeks later, I loaded in the set of H. M. S. Pinafore for the Gilbert & Sullivan Very Light Opera Co. (Howard Conn Fine Arts Center in Minneapolis). Although the show had been designed for months, it had yet to go into production. My husband, Dr. Andrew Barrett, took on the role of stage carpenter to help me out.
The Gilbert & Sullivan Very Light Opera Company production of HMS Pinafore.
The set in the Howard Conn Fine Arts Center space.
In fact, I was unable to start painting the show until Monday, Oct. 9. This meant I had less than five days to paint the the show, knowing that the structural pieces and flooring would be painted after load-in. As with other recent productions, I used distemper paint (pigment paste mixed with diluted hide glue) for all of the soft goods. This painting process facilitated the compressed timeline, as I spent less time mixing color, washing brushes, and cleaning buckets; the list goes on. Also, with painting on a vertical frame, and not the floor, everything dries faster.
Dry pigment paste is combined with diluted hide glue during the distemper painting process.
View from the aisle, house right. Gilbert & Sullivan Very Light Opera Company’s production of H.M.S. Pinafore, 11 November,2023.
Painted details. behind the helm.
My painting schedule was as follows:
Monday, Oct. 9 – Load in all painting supplies to Hamline University, set up palettes, make glue, attach fabric to frame, and size.
Tuesday, Oct. 10 – Base paint ship pieces, draw out composition and finish.
Wednesday, Oct. 10 – Remove ship pieces from frame, attach cloud/water pieces and size.
Thursday, Oct. 11 – Paint cloud/water pieces and cannons.
Friday, Oct. 12 – Remove all painted pieces from frame and load out of Hamline University.
Saturday, Oct. 13 – Finish set construction.
Sunday, Oct. 14 – Load into space.
A partially-constructed set during load-in, Oct. 15, 2023.
Under work lights before the floor is painted.
Painting the floor during tech week. I ran tape to save time, and used the existing “black floor” as the crevices.This meant I was able to paint the floor all by myself in only an hour. The “key” to this process is to let the floor fully dry before pulling up the tape.
After painting the floor and railings.
Before the remaining ropes and seagulls are added for “character.”
My favorite seagull.
The final painted “bits” stage right- seagulls and belaying pins.
The final painted “bits” stage left- seagulls and belaying pins.
The speed at which I was able to paint also really relied upon the subject matter and my own skill set. I have always loved painting skies, water, wood, draperies, and foliage. Getting to paint three out of your five favorites, isn’t bad.
It also helped that I was the scene designer. It gives me a little wiggle room.
On-site “touch-up” with distemper paint also means every color is instantaneously available without having to store of unpack a “touch-up kit.”
My “warm” distemper palette for on-site touch-up.
The new thing that I tried during the painting process this time was positioning the seascape compositions sideways. Why? Because it fit better on the frame and made running the long horizon lines easier.
Painting water and sky scenes SIDEWAYS to fit on the paint frame at Hamline University. Notice how the distemper paint dries from dark to light.
Another view of the process.
Running the horizon line on a motorized paint frame without a lining stick
You do have to pay VERY close attention to what you are doing. However, I would choose this orientation again, as running the horizon line was substantially easier. No lining stick needed when you have a steady hand and motorized paint frame. This is also why painting vertical folds in draperies is also stream-lined on a motorized paint frame.
Waiting for canon flats and doors to dry.
Recycling portions of an existing stencil to save time.
Here are a few process shots from tech week and the final production.
The set with pre-show lighting.
The scenery under cool lights.
How the colors can shift. Distemper paint reflects color so much better than contemporary (pre-mixed) scenic paints.
The show runs for one more weekend! There are some absolutely lovely voices in this production. It is a very fun show directed by Gary Briggle, with musical direction by Dr. Randall Buikema.
The added bonus this time is that our son is playing accordion in the pit orchestra!
The Gilbert & Sullivan Very Light Opera Company Orchestra under the baton of Dr. Randall Buikema.
In January, I was contacted by Diane Nagy, President of the Kimmswick Historical Society. For geographical context, Kimmswick, Missouri, is a very small river town about 26 miles south of St. Louis. The Kimmswick Historical Society had recently acquired a large painting by J. U. Tschudi. Dated 1914, the artist titled the painting, “Early Days on the Mississippi River.” While searching for information about the artist, Nagy stumbled across my post about Tschudi at www.drypigment.net. Tschudi represented the Kansas City Scenic Co. in 1887. This firm was affiliated with the Sosman & Landis Scene Painting Studio in Chicago. The two firms shared projects and artists over the decades, remaining affiliates until the 1920s.
My trip to St. Louis for the United States Institute of Theatre Technology conference this month provided me with an opportunity to examine the Tschudi painting and meet Kimmswick Historical Society members. On March 18, I journeyed south, accompanied by my close friend and colleague, Jenny Knott. Diane Nagy and Nadine Garland provided shuttle service and conversation for the day. We spent most of the afternoon chatting about historical artifacts and the intriguing history of Kimmswick.
Our first stop was to see the oil painting, currently stored at the studio of Irek T. Szelag. Szelag is a Polish immigrant nearing retirement. In fact, this will be his last commission. We were joined at Szelag’s studio by a few other Historical Society members; they were curious to about hear about my knowledge of Tschudi and his work. The decision to preserve Tschudi’s work was hotly contested by half of the ten-member Kimmswick Historical Society Board of Directors, necessitating a tie-breaking vote by the president. Not everyone was keen to spend a large amount of money on this heavily damaged painting.
Painting by J. U. Tschudi at Szelag’s studio on March 18, 2023.
The Kimmswick Historical Society is a small non-profit organization that does not accept State or Federal aid. Their operating budget is obtained through donations and the sale of apple butter. The funding of every Historical Society project is translated into the sale of “jars” and “cars.” “Jars” refers to the sale of apple butter and “cars” refers to the sale of parking spots when thousands of people descend upon this small town of 146 residents for the Apple Butter Festival https://gokimmswick.com/apple-butter-festival-kimmswick/ . Each year, the Historical Society sells approximately 6000 jars of apple butter. Of this amount, 500 jars are still made on site, using a massive copper kettle over an open fire. By the way, each jar of apple butter sells for $6; a fabulous deal, considering the extensive amount of time is takes to prep, cook and can the apples.
The Kimmswick Historical Society stand at the Apple Butter Festival.Apple butter pot on display at the Kimmswick Historical Society.
Back to Tschudi’s artwork…
When I initially examined pictures of Tschudi’s painting, I was struck by his inclusion of a title and painted surround. It looked more like circus banner than an oil painting intended for a residential wall. In fact, it reminded me of early twentieth-century state displays at world fairs or other industrial expositions. Upon close inspection, I notice that the edges of the canvas had been hemmed, like early marketing banners that were intended to advertise a public entertainment. I am positive that this artwork was created to be tacked onto a wall, the side of a building, or fence; advertising some public event or spectacle.
Hemmed edge of the Tschudi painting.Title and painted frame of the Tschudi painting.
After leaving Szelag’s studio, we spent the remainder of the afternoon touring the Kimmswick Historical Society and enjoying a fabulous lunch at the oldest building in town. Designated, “The Old House” this structure was originally built in 1770. The reason for selecting tis particular eating establishment was that Tschudi’s painting once hung in a front room, near a fire place; a fireplace that never vented properly, hence the discoloration of the painting over time.
Wall where the Tschudi painting was once located in the Old House.Sketch of the Old House in Kimmswick, currently on display at the Kimmswick Historical Society.
In addition to lunch, our hosts gifted us Kimmswick Historical Society cookbooks upon our departure. It is one of the more interesting compilations of Midwest and Southern recipes that I have come across in recent year. Yes, the apple butter recipe is included too! Overall, I had a delightful time learning about Kimmswick and its history.
The Kimmswick Historical Society Cookbook includes the recipe for their apple butter.
While sitting in the St. Louis airport on March 19, I began to re-examine the life and career of J. U. Tschudi, searching for possible clues that might lead to the origin of his painting. This quest continued upon my return home. I arrived sick and began a week-long quarantine in the basement, desperately trying to keep my germs to myself. My son’s High School Orchestra was spending the first part of Spring Break in New York City. I really didn’t want him to catch this bug. Fortunately, my self-imposed quarantine provided me with an opportunity to re-examine Tschudi’s life and career. My previous post about Tschudi from 2020 was quite brief, intended as only a side story to my history about the Kansas City Scenic Company. Tschudi was associated with the Kansas City Scenic Co., working alongside B. F. Dunn and C. A. Oldham.
Here is my expanded tale about this fascinating artist and painting.
Like many nineteenth-century American immigrants, the story of Tschudi begins in Europe and ends in the Midwest. His tale could be called “From Switzerland to St. Louis,” was he passed away at 728 South Second Street, only a short walk from the Convention Center that hosted USITT. Both Tschudi and his son worked as scenic artists for the Kansas City Scenic Art Co. during the early Twentieth Century. Combined, they are responsible for hundreds of stage settings delivered throughout the United States between 1880 and 1940.
John Ulrich Tschudi was born on March 22, 1850, in Switzerland. Named after his father, he was the son of Johann Ulrich Tschudy (1822-1886) and Anna Margaretha Egli (1821-). In 1856, the Tschudi family emigrated to the United States with his family. They departed a ship named the Ocean Steed on March 22, 1856 – Tschudy’s 6th birthday. Passengers included John Ulrich Tschudy (34 yrs.), wife Ann Mary (35 yrs.), and children Cath (10 yrs.), Valentin (8 yrs.), Margaretha (7 yrs.), John M. (6 yrs.), Walter (4 yrs.), Tobias (11 mths.). Ann Mary’s father, W. Egli (59 yrs.) also sailed on the same ship. They arrived in the US on July 30, 1856, and soon settled in Burlington, Iowa. Two other Tschudy children were born after moving to Iowa- Minnie (b. 1856) and Lily (b. 1859).
I am going to take a moment to discuss historical records and reported names for John Ulrich Tschudi Sr. and John Ulrich Tschudi Jr. First of all, the family used both Tschudy and Tschudi as their surname in city directories, public records, and newspaper articles. This shift primarily occurred in the 1870s. For the purpose of this post, I will use both.
Secondly, the “U” for Ulrich was often misrepresented as an M, W, A, or even H. This is understandable when you begin to examine how a handwritten cursive capital U can look like other letters, especially in passenger lists and census reports.
To further muddy the waters, there was another Swiss emigrant named John Ulrich Tschudi/Tschudy (1828-1901) who settled in Minnesota. He is a completely different individual who has greatly confused many family genealogists. Minnesota Tschudi lived his life as a farmer, while the main characters of my story – John Ulrich Tschudi Sr. (1822-1886) and John Ulrich Tschudi Jr. (1850-1921) – who worked as a German Presbyterian Church pastor and scenic artist, respectively. With this little bit of information, here is the tale of scenic artist J. U. Tschudi.
In later years, Tschudi Jr. recounted that the Tschudi family only stayed in Burlington for two years before relocating to Memphis, Tennessee, where “he learned his business under the tutelage of his father, who was also an artist.” I can neither confirm nor disprove this statement, as evaded public record until the onset of the Civil War.
By 1861, Tschudi Sr. enlisted in the Union Army. Tschudi Sr. is listed in the “US Adjutant General Military Records, 1631-1976,” available at ancestry.com. The 1864-1864 report lists “John Ulrich Tschudy” of Burlington, Iowa, as a Private in Co. G. of the 57th Illinois Infantry. At the age of 38, he entered into military service on August 26, 1861. Co. G. rendezvoused in Chicago and was quartered at Camp Douglas. Tschudi Jr. was too young to enlist; the official enlistment age was 18 yrs. old. Again, to make things even more confusing, Minnesota Tschudi also fought in the Civil War (Minnesota Infantry, 2nd Regiment).
By 1867, the Tschudy family was living in Dubuque, Iowa. Between 1867 and 1869, Tschudi Sr. is listed as a student at the German Seminary. After completing his studies in Dubuque, In 1867, Tschudi Jr. is listed as a student. It is in Dubuque that Tschudi Jr. meets his future wife, Marguerite Merkes (1850-1931). Merkes is exactly the same age as, Tschudi Jr., was born on March 23, 1850, in Diekirch Luxembourg. Merkes was the daughter of Jean Pierre Merckes/John Peter Merkes (1811-1861) and Clara L. Abend/Abendt (1817-1895). The Merkes family emigrated from Luxembourg to Dubuque, Iowa in 1859, with John Peter Merkes passing in 1864. His widow, Clara Abendt Merkes, remarried in 1864. Her second husband was Michael Fohrman (1811-1894), also an emigrant from Luxembourg.
In 1867, Clara’s 17-yrs. old daughter, Marguerite Merkes, becomes pregnant. As an unwed mother, Marguerite is removed to Chicago where she waits for the impending arrival of her first born. On August 1, 1868, Marguerite gives birth to a son whom she names John, after the baby’s father John Ulrich Tschudi, Jr. It is important to note that the actual birth year of baby John’s birthdate vacillates over the years, ranging from 1867-1869.
Two things happen at this point; decisions that were very characteristic when a child was born out of wedlock. First, the baby is born, but then raised by a grandparent. In this case, baby John returned to Dubuque where he was raised by his maternal grandmother, Clara Abendt Merkes Forman, and his, maternal step-grandfather, Michael Fohrman. John Merkes name instantly becomes John J. Fohrman, and he is clearly listed as the son of Michael and Clara Fohrman. It is only in Michael Fohrman’s will that John J. Fohrman is listed as an “adopted son.” Despite the eventual marriage of John’s parents, Marguerite Merkes and John Ulrich Tschudi Jr., their son is never returned to their care.
In the meantime, Tschudi Sr. completes his training at the Germany Seminary in Dubuque and answers his first call in Platteville, Wisconsin (1870),where he relocates with his wife and four daughters (Margaretha, Lucy, Minnie, and Lillie). Tschudi Jr. and Marguerite remain in Iowa. In 1869, Tschudi Jr.’s occupation was listed as “cigar maker” in the Dubuque Directory; this was when he was living with his father at “Couler av bet Nineteenth and Twentieth.”
By 1872, Tschudi Sr, answers a call to ministry in Memphis, Tennessee. During this entire time, Rev. J. U. Tschudi is associated with the German Presbyterian Church. He is repeatedly listed in the newspapers. During this period, Memphis struggles with yellow fever, losing thousands of its citizens to five major outbreaks. On Oct 15, 1873, “The Central Presbyterian” of Richmond, VA, reported, “Another Bereavement – Rev. J. A. Tschudy, pastor of the German Presbyterian church in Memphis, lost his son, Walter, Oct. 6th, in his 23rd year of his age, of yellow fever” (page 2). This was part of the fourth Yellow fever epidemic in Memphis, where 2500 people passed away between Aug and Oct of that year. At the time it constituted the largest yellow fever outbreak in any inland city. A few months later, the Tschudi family is able to celebrate the marriage of Margaretha Tschudi to minister, Henry A. Grentzenberg. I have yet to locate any mention of Tschudi J. in Memphis during this time. Rev. J. U. Tschudi is last mentioned in Memphis newspapers during 1878. At the time, he was associated with the First German Presbyterian Church, located on the corner of Venice and DeSoto streets. I have yet to uncover any information that links Tschudi Jr. to Memphis. Although he likely traveled throughout the country painting scenery, he married and celebrated the birth of two children in Iowa between 1871 and 1875.
In later years, Tschudi Jr. suggested an alternative story, explaining that from 1868 to 1873 he studied art in Europe. This is highly suspect, especially since he married Marguerite Merkes in Dubuque, Iowa in October 1871 and began raising a family in Iowa by 1873. Daughter Lucy was born in the spring of 1873, with her younger sister, Minnie Lillian, arriving in the spring of 1875. Later newspaper articles about Tschudi Jr. purported, “After his school days he studied with his father and assisted him with his work and soon developed such an artistic taste in landscape painting that the father concluded in 1868 to send him back to France to finish his studies. ‘After five years,’ says Mr. Tschudi, ’I returned to America and took a fancy to large work and consequently went to theatrical scene painting, and have since that time worked in many of the finest theaters both in this country and abroad.” I have yet to locate any information that suggests his father ever worked as an artist, but you never know.
Here is what I have tracked down about Tschudi Jr.’s scenic art career; a tale compiled from city directories, historical records, and newspaper headlines.
By the late 1870s, Tschudi begins working with Cincinnati fresco artist, William Theodore Blomberg (1829-1909). Tschudi Jr. has several relations in Cincinnati, including his older sister Margaretha (Margaretha Tschudy Grentzenberg). In 1880, Tschudi and Blomberg head to Kansas, where they work as itinerant artists throughout the region that year. Blomberg returns to Cincinnati in 1881, with Tschudi remaining in Kansas.
The first line of Tschudi’s biographical listing entry in “Cutler’s History of Kansas” is “JOHN U. TSCHUDI, fresco and scenic artist, came to Kansas in July 1880.” He arrived a bit earlier than that as Tschudi is mentioned in a Kansas newspaper advertisement that June. On June 16, 1880, the “Augusta Republican” of Augusta, Kansas, reported, “Messrs. Tschudi & Blomberg, painters and frescoers are on hand according to promise and ready to do any kind of fancy work in their line at reasonable rates. Call and leave your orders” (page 3).
Tschudi initially settled in Wichita, before relocating to Emporia. His initial tie to Wichita was to the newly constructed opera house; he and Blomberg were credited with the scenery, as well as their ties to Cincinnati. They were mentioned in letter published in the “McPherson Republican” on August 12, 1880:
“Elk Falls Letter.
Elk Falls, August 9th, 1880.
Editors Republican:- Since leaving McPherson two weeks ago we have taken in the counties of Marion, Butler, Sedgewick, Cowley, Sumner, and now we are now in Elk. From Florence we ran down the Eldorado Branch to Eldorado, the county seat of Butler, and from thence to Augusta by stage. In this town, situated on the St. Louis & San Fransico line to Wichita, we were somewhat surprised to find a regular opera hall, and our surprise was somewhat increased in visiting the hall, to find everything first class. In the construction of the stage, etc., Mr. Israel Zimmerman, the stage carpenter proved himself to be a master of his profession. Messrs. Tschudi & Blomburg, the scenic artists, whose headquarters are at Cincinnati, Ohio, were completing the advertising drop curtain when we were there. They will have one forest scene, six wings, one street scene, one rustic kitchen scene, four wings; one garden and landscape scene, two wings; one prison scene, four wings, and one scenic drop curtain. The stage is arched and the arch is frescoed. The work when done will give them an opera hall to be envied by many towns double their population…” (page 2).
On October 16, 1880, the “Cowley County Monitor” of Winfield, Kansas, reported, Messrs. Tschudi & Blomberg, the fresco artists, are at work on M. L. Robinson’s residence. They also have engagements with J. C. Fuller and M. L. Read. Our citizens who want fresco work cannot do better than secure these gentlemen” (page 3).
On Nov. 25, “The Sumner County Press” of Wellington, Kansas, reported, “Messrs. Tschudi & Blomberg, the artists who did scene painting and fresco work for the opera hall here, also did some fresco paintings on the dwellings of M. L. Reed, S. H. Myton and M. L. Robinson. They have now gone to Wellington to fresco the hall of the PRESS building. On their return they will commence work on Mr. Fulton’s fine dwelling. If the Presbyterians and the Methodists would have their churches frescoed in first class style it would be worth bragging about. Tschudi and Blomberg have done the best work in the State.- Winfield Monitor”(page 3).
Despite their success, Blimberg returned to Cincinnati in 1881, with Tschudi settling in Wichita. It remains unclear as to when Tschudi’s family joined him in Kansas. However, in 1881, Tschudi was living in Wichita. On Oct. 31, 1881, “The Daily Leader” of Wichita reported, “John W. Tschudy, the artist of Wichita, went to Emporia yesterday to paint the scenery in the new Opera House in that town” (page 4). A month later, his ties to Cincinnati were mentioned in an Emporia newspaper. On Nov. 29, 1881, the “Emporia Daily News” reported, “J. W. Tschudi, a scenic artist of much merit from Cincinnati, Ohio, is superintending the painting of the scenery for the Whitley Opera House” (page 4).
Tschudi soon partnered with stage carpenter, J. W. Morris, to deliver scenery and stage machinery to the Whitley Opera House. On Dec. 1, 1881, “The Emporia Ledger” reported “Messrs. John W. Tschudi, scenic painter, and J. W. Morris, stage carpenter, the gentlemen who have the contract to furnish and fit the scenery and stage trappings of the Whitley Opera House, commenced work yesterday. They will put in a complete set of scenes and all the latest improvements in stage equipment. They say they find everything about the house in excellent shape for their work, and that they will be able to compete their contract in six or seven weeks. Their work will be so well advanced by the first of January that the house may be used at that time, of desired” (page 3). That same day, the “Emporia Weekly News” reported, “J. W. Tschudi, a scenic artist of much merit from Cincinnati, Ohio, is superintending the painting of the scenery for the Whitley opera house” (page 3). Tschudi was repeatedly mentioned in Emporia newspapers.
Tschudi continued to work in Emporia. On Jan. 26, 1882, “The Emporia Weekly News” reported that Tschudi was painting scenery for Ed White’s touring production of ‘Fantanitza,’ scheduled to visit Emporia in March, detailing, “He left an order with Mr. Tschudi, the scenic artist who has been employed for some weeks past at the Whitely opera house, for some scenery to be used in bringing out the grand illumination tableau in ‘Fantanitza” The article also mentioned Tschudi’s current work at the Whitley reporting, “There is also a water main behind the drop curtain on the stage with sufficient hose attached to reach over the flys. The scenery has been done by that skillful and well-known artist, John Tcheudy of Switzerland, and is a marvel of beauty…The scenery is sized with fireproof sizing and cannot be kindled into a blaze…” Tschudi’s work at the Whitley certainly boosted his career. On Feb 2. 1882, “The Emporia Weekly News” reported “The stage, one of the best in the west, is 30-x60 feet and is furnished with all the accessories of a metropolitan theatre. These include a variety of excellent scenery suitable for the preparation of all classes of drama; complete and secured appliances for shifting lights, and an exquisite drop curtain representing a charming scene on the Rhine, painted by Mr. Tshudi, one of the most talented scenic artists in the country” (page 3).
The Whitley Opera House in Emporia, Kansas, featured scenery by J. U. Tschudi and W. T. Blomberg.An interior view of the Whitley Opera House in Emporia, Kansas, c, 1898.
Tschudi’s success in Emporia soon prompted him to relocate there from Wichita. Initially, he set up a studio at the Whitley Opera House. On March 22 and 23, 1882, “The Evening News” in Emporia announced, “You will find John W. Tschudi at the Whitley opera house ready to do all kinds of house painting, kalsomining, frescoe decorating, plain and fancy sign writing, etc. First-class work at reasonable rates, guaranteed” (page 4). He continued to place one advertisement after another in local papers, securing a variety of local projects that ranged from private residences to commercial signs. On April 8, 1882, the “Emporia Daily News” reported, “Two of the handsomest signs in town were placed in position this morning at the entrance of Robert Jeff’s tobacco ad cigar emporium on Commercial street. They were painted by Mr. Tschudi, the scenic artist at the Whitley opera house and cannot fail to attract attention” (page 4). On April 20, 1882, The Weekly News-Democrat” reported, “A very handsome altar recently completed by the Roberts Brothers has been placed in the upper room of the Franciscan convent, which is used at present as a place of worship for the congregation. The painting, which is beautiful and highly artistic, was done by John Tschudi, scenic artist at the Whitley opera house.” (page 4).
Tschudi landed so many projects at this time, that it became necessary to hire an assistant. On April 15, 1882, “The Evening News” (page 4) reported, “W. S. Walborn, a sign painter, lately of Harrisburg, Pennsylvania, is assisting Mr. Tschudi, the scenic artist at the Whitely Opera House” (page 3). This announcement was also published on April 20, 1882, in “The Emporia Weekly News.” In later years, both Tschudi and Walborn worked as scenic artists as the Kansas City Scenic Co.
Tschudi’s work was drawing other prospective theatre proprietors to Wichita to see his work. . On April 22, 1882, and on April 27, 1882, “The Emporia Weekly News” reported, “Friday evening we had a pleasant call from Mr. Samuel Smith and a Mr. A. W. Barker, both of Ottawa, Kansas. These gentlemen were in the city for the purpose of viewing the Whitley Opera house, more particularly the stage appointments and scenery. Last evening the opera house was lighted, and they were shown through it, and expressed themselves as much pleased with the result of their inspection. The new opera house in Ottawa is about completed, and it was with a view to gaining some points as to scenery, etc., that these gentlemen visited Emporia. They were greatly pleased with the Whitley opera house stage scenery, and it is not unlikely that Mr. Tschudi, the artist, will secure a contract of the same at Ottawa” (page 3).
All the while, Tschudi continued to run a series of advertisements in local newspapers. Here are a few of note:
On July 27, 1882, the “Emporia Daily News” announced, “John Tschudi, the Whitley opera house scenic artist, sent a number of ornamental signs to Colorado yesterday.”
On July 29, 1882, Tschudi’s advertisement in the “Emporia Daily News” stated, “Signs! Signs! —In Japanese, East Lake, Queen Anne, and Oriental styles by Tschudi, the artist. Leave orders at Moore’s drug store.”
By summer, Tschudi had customers placing orders at Moore’s Drug Store. An advertisement in the “Emporia Daily News” on July 29, 1882, announced “Let the work speak for itself,” is my motto, Tschudi, Artist, Fresco Decorator, Ornamental Painter, and Sign Writer. Leave orders at Moore’s Drug Store” and “Why not have a neat sign when it costs you no more than a poor one? Tschudi, the artist, can guarantee you work and figures that cannot be beat. Leave orders at Moore’s Drug Store” (page 4). Tschudi’s ads ran continuously until October 1882.
On Aug. 15, 1882, and the “Emporia Daily News” reported, “Why not have a neat sign when it costs you no more than a poor one? Tschudi, the artist, can guarantee you work and figures that cannot be beat. Leave orders at Moore’s drug store” (page 4).
His association with Moore’s drug store, meant that Tschudi needed someone to take orders, while he traveled for work. This ensured a constant stream of income when he returned from out-of-town projects. On Oct 18, 1882, “The Evening News” reported, “John Tschudi, the scenic artist, returned to-day from Wellington, where he has been painting the scenery for the new opera house at that place” (page 1). Despite his absences, Tschudi would advertise, “Remember that Tschudi, the artist, is still here, and will do you the highest and latest artistic style, and at bottom figures. Leave orders at Moore’s drug store” (Emporia Daily News, Oct 18, 1882, page 4). On Dec 21, 1882, “The Emporia Weekly News” reported, “Tschudi has made a large transparent street sign which will be placed in position soon and bear the letters ‘Ice cream and oysters.’ The same artist prepared the beautiful parlor screen upon whose surface are painted six different attractive designs in oil” (page 3).
By 1883, Tschudi was included in the Emporia Directory. Interestingly, his listing suggests pervious work in Tennessee, and not Wichita or Cincinnati: “Tschudi, John U., fr Tenn., ornamental frescoe scenic painting, and sign writer, shop 197 Commercial st, res same.” His wife was also listed in the directory at the same address. Marguerite began going by Margaret.
Painting projects for 1883 included G. T. Carlton’s Billiard Hall and Fithian’s Ice wagon in Emporia. On Feb 20, 1883, “The Evening News” reported, “Mr. G. T. Carlton to-day opened to the public his handsome new billiard parlor in the Soden building on Fifth Avenue. Tschudi. The artist has been busy for several weeks past frescoing the walls of the room and the result of his skillful hand is seen in the excellent effects he has produced…” (page 4).
On April 19, 1883, the “Emporia Weekly News” reported “A Thing of Beauty. Fithian’s ice wagon made its first trip for the season Thursday, and it attracted as much attention as a circus chariot as it rolled along the street resplendent in brilliant colors and decorations by the brush of Tschudi, the scenic artist. The arctic sketches on the sides are excellent works of art, and it will be refreshing to even look at them when the mercury begins to crawl up into the sky parlor of thermometer” (page 1).
However, he continued to paint stage scenery for a variety of venues throughout the region. On March 22, 1883, “The Emporia Weekly News” reported, “John Tschudi has received an order to paint a set of scenes for the Amateur Dramatic club of Newton” (page 4).
On May 17, 1883, “The Weekly News-Democrat” reported on the dedication of the Welsh Congregational Church on Merchants Street” (page 1). Of the new auditorium, the article reported that sections of ornamental plaster work were “artistically frescoed by Tschudi, the scenic artist, whose happy combination of complimentary colors and agreeable shades proclaim him an artist of superior merit…”
On October 19, 1883, the “Iola Register” reported, “Mr. J. N. Tschudi has been at work in the opera house all week and has made quite a change there. In addition to the business cards which adorn the front of the stage, Mr. Tschudi has been painting a new and elegant drop curtains which he expects to have ready by Saturday night. He has also made new and larger wings, to correspond with each scene, and before he leaves will paint the woodwork on the front of the stage. He expects to finish his work sometime next week, and the opera house will certainly ne much handsomer for his having been there” (page 5).
On Dec. 1, 1883, “The Humboldt Union” of Humboldt, Kansas, credited Tschudi with delivering scenery to the Germania Hall. The article reported, “The scenery [described in detail] and the arch of the stage is handsomely decorated. The artist, John W. Tschudi, of Kansas City, has performed his work in first class style” (page 3).
As in the past, Tschudi was not working alone, nor was he simply hiring local amateurs. A variety of skilled personalities were working for Tschudi in Emporia, including Charles Stebbins. On May 2, 1883, “Emporia Daily News” and “Evening News” reported, “Charles Stebbins, who is employed by Tschudi, the artist and painter, has returned from Hartford, Michigan, where he recently fell heir to a legacy of $1,000” (page 1).
Tschudi began to secure an abundance of scenic work for stages throughout Kansas. On Jan 25, 1884, “The Weekly Kansas” of Independence reported, “Of all the improvements made during the past year in Independence there are none in which so much interest is felt as in the Opera House block erected by Mr. Payne….The stage is large and commodious, it being 24×66 feet, with four dressing rooms, and the footlights are fixed with a lever so they can be shut off or put in place at will. It will be supplied with good scenery. Mr. John Tschudi. The artist, is now here for that purpose. He comes highly recommended as a scenic painter. There will be thirteen sets of scenes and fifteen set scenes” (page 4). While working on a theater project, however, Tschudi would land a variety of other painting projects. Such was the case in Chanute, Kansas. On Aug. 28, 1884, the “Chanute Blade” of Chanute, Kansas reported, “The Chanute Bank is being neatly frescoed by John U. Tschudi, and will be one of the nicest finished rooms in the city when completed” (page 3).
Tschudi’s comings and goings were announced in a variety of small-town newspapers, making it easy to trace his travels. For example, On Oct. 16, 1884, “The Chanute Blade” reported, “John U. Tschudi went to Kansas City last Tuesday, to paint some new scenery and drop curtains at Kansas City. He painted two very beautiful scenes for Williams’ Hall in this city, last week. He will return here in about two weeks to paint the scenes and drop curtain for the new opera house now being erected here” (page 3). Tschudi was also working on the new stage setting for an opera house in Red Cloud, Nebraska. On October 16, 1885, the “Webster County Argus” of Red Cloud reported, “The proprietors of the opera house expect to have the same opened on Monday, the 26th inst. A good dramatic company has been engaged for the occasion. The house will be seated with six hundred chairs. Prof. Tschudi, the scenic artist, with a force of carpenters in making and placing the scenery, which will consist of eight complete settings, besides a handsome drop curtain.”
Sometime between the fall of 1885 and 1886, Tschudi moved to Kansas City, By 1887, he was associated with the Kansas City Scenic Co. The firm’s offices were located in the Gillis Opera House.
The Gillis Opera House in Kansas City, Missouri.A photograph of the Gillis opera House in Kansas City, Missouri.
This is where it gets interesting, and a little confusing. Sosman & Landis Scenic Studio outfitted the Gillis, with L. L. Graham and W. P. Davis working as the scenic artists on the project, while representing the firm. Sosman & Landis. Sosman & Landis opened a branch office in Kansas City in 1884; it was headed by L. L. Graham. At the same time, Graham and Davis also operated a studio, known as Graham & Davis, frequently working as subcontractors for Sosman & Landis. Sosman & Landis’ work for the Gillis was well-known and mentioned in a variety of newspapers. For example, on April 21, 1887, “The Times” of Clay Center, Kansas, reported that Sosman & Landis had “fitted the Gillis Opera House, Kansas City, and the Grand at Topeka.” Graham’s Studio in Kansas City, the Kansas City Scenic Co. and Sosman & Landis’ scenic studio were not directly competing in the region, they were divvying up work and sharing artists. Even in 1888, Dunn was listed as not only a scenic artist at Graham’s Studio, but also on staff at the Kansas City Scenic Studio. By 1890, an new iteration of the Kansas City Scenic Co. opened, solely under the management of Dunn and J. C. Bronaugh. On July 13, 1891, the Kansas Patron commented that Bronaugh was “the traveling member of the Kansas City Scenic Co.” Bronaugh secured the contracts and Dunn painted the scenery. This new iteration of the firm still maintained a close business alliance with the Sosman & Landis until the 1920s.
In 1887, Kansas City Scenic Co. advertisements list J. U. Tschudi, B. F. Dunn, C. A. Oldham and C. J. Lorella. On March 22, 1887, the “Wichita Star” reported “A reporter was shown the number of samples from scenic-artist work from the brush of Kansas City Scenic-Artist company, in which company figures, as an artist, Mr. J. W. Tschudi, formerly of the city. The work is artistic and ranges throughout the entire term of scenic work. Landscapes, rocky passes, woods, streets, palaces, parlors, chambers, kitchens, hovels – in fact every known term of scenic effects were painted in the highest style of art. The JOURNAL congratulates Mr. Tschudi on the excellent work of the firm in which his brush is prominent” (page 4).
On June 16, 1887, “The Little River Monitor” of Little River, Kansas, reported, “The carpenters’ work on the new opera hall is going on at a lively rate, Canfield & Co. are doing the work in good shape. Messrs. Tschudi, Dunn and Oldham, of the Kansas City Scenic company, are painting a set of scenes for the hall, and are doing a fine job.” On June 18, 1887, “The Little River Monitor” reported, “Messrs. Tschudi Dunn and Oldham, of the Kansas City Scenic company, are painting a set of scenes for the hall, and are doing a fine job. The mammoth drop curtain is a beauty. It is ornamented with the business cards of our merchants and others and will be first class in every particular.”
On May 20, 1887, “The Lyons Daily Democrat” in Lyons, Kansas, reported, “Mess. Tschudi, Dunn, and Oldham, scenic artists from Kansas City, are preparing a very fine new drop curtain for Tom’s Butler’s Opera House. Tom very properly thinks the public would be pleased to have a brand new curtain to gaze at between acts. The gentlemen represent a firm of scenic artists who are furnishing many of the finest Opera Houses in Kansas with stage settings, and our citizens must admit, when their work is first shown, they understand their business thoroughly and are first-class artists in every respect. They will furnish scenery for the fine new opera house at Wichita, and when Lyon’s new Opera House looms up, they will probably again have an opportunity to display their artistic powers” (page 3).
On October 22, 1887, “The Caldwell News” of Caldwell, Kansas, reported, “Judge J. G. Woods is now moving into his new building this week. The lower story is occupied by the Woods bank, This room is elegantly fitted up in solid walnut. The south room is occupied by C. E. Flaudro’s clothing house. The opera house occupies the second story. It is the same size as the Crawford Opera House at Topeka. The stage is 50 feet wide and 25 feet deep and is furnished with fifteen complete sets of scenery including an elegant drop curtain painted by the artist John U. Tschudi…” (page 1) [reprinted on Oct 12, 1922, p 1].
On Dec. 1, 1887, “The Kingman Courier” reported, “Prof. John W. Tschudi, of Kansas City, will have completed the scenic work at Garfield Opera House by the 6th of December. The scenes painted by this talented artist display true genius, combined with the highest-class conceptions of the true and beautiful. When completed the Garfield Opera house will surpass anything of a similar character in Kansas” (page 6).
Tschudi also painted scenery for the Garfield Opera House in Kingman, Kansas. The time he was traveling with a stage mechanic named Mr. Foreman. On Dec. 7, 1887, “The Kingman Daily Courier” reported, “Tschudi, the scenic artist, and Foreman, the stage builder of the Garfield Opera House, will be given a benefit by the amateurs of Kingman Saturday night. They are worthy gentlemen and the entertainment in their interest should be ell attended” (page 3). On
On Dec. 12, “The Kingman Daily Courier” reported “Messrs. Tschudi & Foreman desire to return their sincere thanks to the ladies and gentlemen who so kindly assisted at their benefit on Saturday evening last and thereby insured its success, And they also hope that those who by their presence graced the auditorium enjoyed a peasant evening” (page 3).
Dec. 22, 1887, “The Kingman Daily Courier” reported, “Prof. John Tschudi, artist at the Garfield Opera House, will pass the holidays with his family at Kansas City” (page 3). This indicates that Tschudi moved his family from Emporia to Kansas City when he became associated with the Kansas City Scenic Co. in 1887.
By 1888, Tschudi had left the Kansas City Scenic Co. and had established Tschudi, Loffing, & Roberts at 400 East 12th in Kansas City. His new business partners were Albert Roberts and Antoine Loffing. Tschudi’s residential address was listed as R. 1731 Walnut.
On Feb. 1, 1888, “The Kingman Daily Courier” of Kingman, Kansas, reported, “Prof. Tschudi is, beyond all doubt, the thorough, classical scenic artist in Kansas. His fine conceptions of mountain and sea, of glen and valley, of hill and dell, when spread upon canvass by his deft hand, are gems of beauty on which the eye fondly hangs. The COURIER heartily commends Prof. Tschudi to the managers of the Greensburg Opera House.” (page 5).
The Tschudi’s relocated to Omaha, Nebraska, by 1890. Tschudi is working as the scenic artist at the Eden Musee, living at 1108 Farnam. Interestingly, John S. Tschudi, artist, also listed 1108 Farnam as his address for 1890 and 1891. This may be a double listing, or John S. is actually Tschudi Jr.’s son, John Fohrman; the baby that was born out of wedlock and raised by maternal grandparents, Clara and Michael Fohrman. By 1890, John is over 21 years old. It is very possible that he reunited with his biological father and began working as an artist. The Tschudi Family continued live in Omaha, with Tschudi’s daughters also securing employment.
The 1892 Omaha Directory listed:
Tschudi John S, scenic artist Eden Musee, res. 612 S 18th
Tschudi Lucy Miss, folder O Ptg Co, res 612 S 18th
Tschudi Minnie, candy stand Eden Musee, res. 612 S 18th
The 1893 Omaha Directory listed:
Tschudi John U, scenic artist, Wonderland, res. 612 S 18th
Tschudi Lucy, clk Candy stand Wonderland, bds 612 S 18th
Miss Minnie, folder Klopp & Bartlett Co., res 612 S 18th
Tschudi’s 1892 connection with Eden Musee also makes Indiana’s newspapers. On Jan 25, 1893, “The Indianapolis News” reported, “No Chance for an Eden Musee. For two weeks past T. U. Tschudi, a scenic artist, who has been in the museum business for some years, and Mme. L. Brouillard have been staying at the Circle Park Hotel. Together they have been looking for a suitable building in which to start Eden Musee in New York. The only building in the city that seemed available was the Speigel & Thomas building on Washington street, but Mr. Tschudi was unable to agree on the amount of security that he should give for the lease, and could not make a satisfactory arrangement with the owner” (page 2).
This particular moment signals a shift for Tschudi Jr. and his family, possibly indicating a temporary separation from his wife. His family returns to Kansas City where Tschudi rejoins them in 1897.
During the mid-1890s, Tschudi Jr. heads east, traveling throughout Indiana and Kentucky.
On Aug. 28, 1895, the “Richmond Item” of Richmond, Indiana, reported, “Beautiful Scenery. The Phillips Opera House Greatly Improved and There will be a pleasing surprise to those who attend ton-night. Manager Dobbins has not been idle this summer. He has one of the country’s finest scenic artists at work in the Phillips Opera House for several months, and to day there is completed one of the most elaborate outfits of scenery to be found in the state. Artist Tschudi’s taste in this line of work is not to be equaled, and he has painted thirteen beautiful sets of scenery for the theatre, which must be seen to be properly appreciated. Last night a display was made of new property, and the few persons who were given special invitations to be present were more than delighted. There is nothing which adds more to the enjoyment of first-class performance than appropriate scenic effects and this year the patrons of the Phillips will find that all stage settings will be elaborate. Besides this plentiful supply of new scenery Manager Dobbins has gone further. Another new drop curtain has been painted by Mr. Tschudi, and it is a rare specimen of his artistic skill. The big curtain is rich in its coloring, and almost perfect in its execution. The central figure is a splendid reproduction of Turner’s celebrated painting of “The Harbor in Venice,” and it is a picture the eye does not tire to look upon. The stage of the Phillips, which is one of the largest in the state, has been thoroughly renovated and painted and it presents a neat and clean appearance. The entire auditorium will be re-frescoed within a few days, this portion of the work not having yet been completed. The opera house is now in better trim than ever before and the patrons who are in attendance at the opening this evening will not be long in distinguishing this fact” (page 3).
On Aug 24, 1895, “The Richmond item” reported, “Almost finished. Scenic artist Tschudi who has been in Richmond all summer will still be ‘one of us’ for a considerable time. His work of painting the Phillips opera house scenery will be finished next week and then he will begin work at the Grand. Mr. Bradley has given him the contract to paint the entire set of new scenery which will be of the finest and it is probable that he will get started on the work the last of next week” (page 1).
On Sept. 5, 1895, “The Richmond Item” reported, “The plasterers will soon be at work on the opera house. Scenic artist Tschudi has his scaffolding all arranged for painting the scenery for the Grand theatre” (page 4).
Tschudi was still in Richmond at the beginning of 1896. On Feb 26, 1896, “The Richmond Item” reported, “An Item reporter visited the room of Prof. Tschudi, the artist, this morning and took a hasty inspection of a number of his water-color paintings which are to be exhibited the remainder of the week. The collection represents about four years’ work, and some of the pictures re original while others are copies from celebrated paintings. Arranged as they will be at Stigleman’s studio, they certainly will be well worth the inspection of the people, whether they contemplate purchasing or not” (page 4).
In the same newspaper, Tschudi’s name popped up in a court case: “In ‘Squire Jessup’s court a judgement has been rendered against John U. Tschudi for $16 in favor of J. H. Dobbins. The suit was on account.” Whether this signaled a financial downturn or something else, Tschudi soon left town.
By summer, he was working in Lexington, Kentucky. On July 13, 1896, the “Lexington Herald-Leader” reported:
“Magnificent.
Will be Lexington’s Opera House this season.
Scenic artist Tschudi Now Hard at Work. How House will appear.
Everything is business and bustle at the Lexington Opera House, and when the coming theatrical season opens the citizens of Lexington will see one of the handsomest interior of a theatre in the country. Manager Scott will spare neither time or expense in refitting and refurbishing his house. The scenic artist, Mr. J. U. Tschudi, of Chicago, assisted by the old reliable John Uttinger, is already hard at work and has completed a number of handsome places. None of the old scenery will be used, but everything on the stage will be brand new. There will be sixteen new sets, all beautiful and fresh. The new drop curtain is going to be one of the very handsomest in the country, as Mr. Tschudi told a Leader reporter this morning that he was going to try his hand on this especial piece of work and make it guilt edge, so that our theatre goers can expect something beautiful. The work already completed by Mr. Tschudi is magnificent and shows him to be an artist of high rank. Redecorating the auditorium of the Opera House will be commenced at once, as the scaffold is now being erected for the frescoe painters” (page 5).
It was in Lexington, that Tschudi received what may have been the greatest publicity of his career. There were two extensive articles about Tschudi that I am sharing in their entirety. The first was published on Aug. 15, 1896, in “The Daily Leader” of Lexington, Kentucky (page 3). Again, not everything adds up.
“Mr. J. R. Tschudi who painted the New Opera House Drop Curtain.
An artist of some fame.
J. W. Tschudi, of Chicago, the famous scenic artist who has just completed the scenery and the magnificent drop curtain of out Opera House, was born in Switzerland (the land of William Tell) in 1852, and emigrated to America with his parents in 1857, and from childhood, was fond of painting and drawing. While at school he very often got punished for drawing cartoon on his slate, which kept the scholars laughing. After his school days he studied with his father and assisted him with his work and soon developed such an artistic taste in landscape painting that the father concluded in 1868 to send him back to France to finish his studies. ‘After five years,’ says Mr. Tschudi, ‘I returned to America and took a fancy to large work and consequently went to theatrical scene painting, and have since that time worked in many of the finest theaters both in this country and abroad. My father was a famous fresco artist (in relief); he studied under the old masters in France for ten years. His work can be seen in France, Italy, Switzerland and America at the present time. He died in his 69th year in 1886 in New York.’ Mr. Tschudi is an extensive traveler and had been to all the principal parts of the world. The Leader called on him at the Opera House yesterday, and was shown a beautiful collection of sketches and paintings from all parts of the globe. The artist’s works both in oil and water color, but the last three years there has been no sale for oil paintings, and he has devoted his time entirely to water colors. He says he will give the people of Lexington an exhibition of water color paintings at one of the prominent down-town stores. Mr. Tschudi has been frequently asked why he did not change the spelling of his name, so it would be easily pronounced. He simply answers; “I have no reason to be ashamed of it, as it is famous in Swiss history, being the name of one of the oldest royal families on record, and was borne by artists, generals and men of high rank, and at the present time there are a number of recognized artists in the family. Mr. Tschudi will remain in Lexington until October painting twelve sets of scenery for the new Parkersburg W. Va., theater, which opens about the middle of that month” (page 3).
Another article published in Lexington’s “The Daily Leader” on Aug. 24, 1896, described Tschudi’s scenic art process. I am including the article in its entirety, as this is a wealth of information for future generations:
“Scenery,
And how it is painted by the Theatre Scenic Artist.
Mr. Tschudi Tells the Leader Some of its Mysteries.
Painting a drop curtain.
How the immense canvas is stretched for the work.
A scenic artist’s life a hard one at times.
Mixing paints in buckets.
Few people are acquainted with that part of theater commonly referred to a ‘back of the scenes,’ and fewer persons have a well-defined idea of how scenery for a modern playhouse is painted. A Leader man recently called upon Mr. J. U. Tschudi, who has been busily engaged in painting new scenery for the Lexington Opera House and who is now engaged in painting some for a theater soon to be opened in Parksburg, W. Va. Mr. Tschudi has remained in Lexington to do his work as the facilities here are the very best, and then he has become conveniently settled and likes Lexington. Mr. Tschudi’s drop curtain painted for the Lexington Opera House some weeks ago is certainly a thing of beauty, a masterpiece of scenic art, and has called forth expressions of extreme admiration from all who have seen it. Personally, Mr. Tschudi is a charming man to converse with, always interested in his work and ever ready and willing to impart that interest to others. To the question, ‘where were you born,’ put by the Leader man, Mr. Tschudi said, “I was born in Switzerland in 1852, but am an American artist. I came to the United States in 1857. My father was an artist in France and I, only one of eight children, am an artist. I was fond of it from childhood. When I was a boy, I sometimes got punished for drawing comic sketches on the walls, and I would neglect my lessons to draw those pictures and frequently get kept in school on that account.’
‘Tell me something, Mr. Tschudi about the scenic artist.’
‘The scenic artists,’ said he, ‘do not wear long hair and work with a palette and brushes as most people imagine. He is an ordinary looking man, pleasant in his conversation, and if you see him at work on the paint bridge, you will see him dressed in a neat suit of white overalls and jacket, surrounded by buckets, tomato cans, tin cups, etc. containing the various tints and colors and brushes, some of them as large as our whitewashers use Every large theatre, such as the one here in Lexington, which is well up to the average in modern equipment, is provided with a paint bridge and frame of enormous size. The paint bridge is built at the back wall of the stage, reaching from one fly gallery to the other, all the way from twenty to forty feet above the stage floor, according to the height of the stage, and ranges from four to six feet in width. Between the bridge and the wall there is a paint frame, reaching from one end of the bridge to the other and ranging from 20 by 30 to 40 by 60 feet. Looking at this frame you would think it impossible to move it because of its enormous size and weight, but when you hear the artist say, “Let’er down or up Charley (Charley is the artist’s helper or paint boy) you will see Charley go to the end of the bridge where there is a windlass, take hold with one hand or turn it and the frame is moved up or down as the artist wishes.
‘It may seem strange to you that this paint boy can with ease turn the crank and raise or lower the 40 by 60 feet frame which alone weighs half a ton without the scene that may be on it, also mounted as you see it when finished. However, it is very simple, this monster being hung precisely as a window sash is hung in your house. There is a counterweight attached that balances the frame, and instead of pushing it up like you would a sash, the paint boy turns the crank, and she goes up or down. So, you see, the artist stands on the stationary bridge and can paint a scene by 40 by 60 feet without having to climb up or down a scaffold as you may imagine on seeing some of the enormous scenes in large theaters in cities.
How the artist works.
‘Now, if you will follow, I’ll tell you how the artist works. Stretched on this frame here is, as you see, a canvas 24 by 30 feet, and ‘sized’ as the artist calls it. That is, ready to paint on. With this piece of charcoal tied to a stick, which, I suppose, is about five feet in length. He commences to sketch or outline a scene, which, by the way, is a puzzle to make out at first. Presently, after having mixed all of his colors in his buckets, cans, etc., you will see him apply the colors with large brushes, giving a slap and a dab of color here and there, and before you realize what he is trying to do, you will see the bright sunny sky, the distant hills, the rippling brook, the foliage of trees, and each appear and gradually grow as if by magic until there is a beautiful and finished landscape before you.
‘And all to aid the work of the players,’ suggested the Leader man.
‘Yes, indeed, without the scenic painter’s brush what would the play amount to? The scenic effects carry the principal productions of the present day, as you know.
‘Yes, it was pretty hard at times on the artist, still we had times when we were in not rushed, as some of the scenery which we called stock, such as wood scene, modern street, kitchen, prison, plain, chamber, garden and landscape could be used in some of the modern plays. Sometimes we would have it very easy for a week or two and then again it would be a case of rush.
Artist in a rush.
‘I remember one instance in particular, while getting up the scenery for the Coleen Bawn, there was a tremendous amount of all special scenery to get up. The play was to be put on Monday afternoon matinee. On Saturday night I found myself way behind with the work. The manager came to me, excited and said: ‘Mr. Tschudi, you have been with us for six years and always ready when the time came. By heaven, I am afraid you will not get through in time.’ I said, ‘I never mind, there is lots of time between now and 2 o’clock on Monday, and I will get here just the same.’ I went on the paint bridge Saturday evening after supper and never left until Monday at 11:30, when I had all the scenery finished. It was pronounced by the manager and public as being the grandest production of the Colleen Bawn that had ever been staged. It was pretty hard on me. I went to bed after dinner Monday and slept until Tuesday at 9 o’clock a.m. There are, however, more pleasant things in an artist’s life. Our work is not a burden, it is a life’s study and a pleasure, and I may say I love it. It is the artist who dazzles and deceives the eye and carries you imagination to every part of the globe. When you witness the grand spectacular production, for if you would take the scenic effects away it would be like taking the feathers from the peacock. The bird would be left, but its glory would be gone. Mr. Tschudi will remain in Lexington several weeks while finishing up his work for the Parksburg theater. He may open a temporary studio in Lexington while here, where he will exhibit some of his studies in water colors. A display of his work can now be seen in the show windows of Brower, Scott & Frazee, and they have attracted considerable attention since being put there a few days ago.” (page 3).
By 1897, Tschudi was again listed in the Kansas City Directory, living with his family at 10 East 16th St. His son, also going by John Tschudi, was living with him. He and his son soon had embarked upon a new adventure, traveling with a new form of entertainment – Edison’s warograph. On Dec. 2, 1898, the “Keytesville Chariton Courier” of Keytsville, Missouri, reported, “The Messrs. Tschudi of the ‘War Graphic Co.’ exhibited their moving pictures at Dickenson’s hall, Tuesday evening. The entertainment was well attended, and the illustrations were both instructive and amusing” (page 8). For clarity, this was a moving picture show.
Two years later, Tschudi was still promoting the warograph. On Sept. 18, 1899, “The Evening Kansan-Republican” of Newton, Kansas, reported, J. U. Tschudi, with the warograph, who will give war pictures every night at some corner on Main street on a monster screen.”
On Oct. 2, 1899, “The Evening Kansan-Republican” went into detail about the attraction in an article entitled, “Warograph in Black Tent.” The article described:
“A very interesting attraction for this week will be the Warograph exhibition in the black tent. This exhibition presents life and action nearly all the battles fought in Cuba and the Phillipines. There you will see the charge of the Rough Riders, battle at San Juan Hill, Evacuation of Havana, Grand Parade of troops at Camp Alger, Destruction of Cevera’s fleet, the Kansas boys fighting before the trenches at Candabar and many other interesting scenes.” The article then quote the Hastings, Nebraska, Republican: “No attraction has commanded a greater patronage nor received more complimentary words than Edison’s Moving War Scenes. This feature of the carnivals has been a ‘hit’ and is certainly worthy of the good words and patronage it has been daily received. It is worth several times the price of admission charged and it is one of the attractive features at the Greater American Exposition at Omaha. The men conducting it are all affable and courteous gentlemen” (page 4).
On Oct. 3, 1899, “The Evening Kansas Republican” published a testimonial about Tschudi’s popular warograph attraction: “Don Kinney received a letter yesterday from E. D. Kipp, a friend of his in Marshal, Mo., who wrote from Fort Scott as follows: ‘I am here looking for attractions and find that your town and Fort Scott have the most of them. The Warograph, handled by J. H. Tschudi, is first class and I can highly recommend it” (page 1).
By 1900, the Tschudi family was living at 2631 Holmes. The household included John Ulrich Tschudi, Marguerite Tschudi, son John Tschudi, and daughter Lucy Tschudi. Their second daughter, Minnie Lillian was no longer part of the household, having married James Edward Brady in 1893. The Brady’s also lived in Kansas City.
Tschudi was still traveling with his warograph. On September 11 and 13, 1900, the “Sedalia Sentinel” of Sedalia, Kansas, published the following article:
“The Pictures are Here.
Splendid Scenes from the Boer War a feature.
Mr. J. U. Tschudi, who was here last year with the warograph pictures in the Ilgenfritz building on Ohio street, returns for the street fair again this year, with a much finer apparatus and a lot of new and interesting pictures, among which are fine views of the Boer war. His location is the leader building, opposite the court house on Ohio street. This is the best and cleanest show going for old and young, and the reputation Mr. Tschudi left last year insures him a splendid patronage. Open day and night” (page 1).
Tschudi traveled all over the country with his entertainment, yet still completed a variety of painting project. On Dec. 27, 1900, the “El Paso Herald” reported, “J. W. Tschudi, the scenic artist, arrived in the city with his wife this morning and will remain here until the carnival week. He has had a great deal of experience in decorating floats and his services can be secured by those who wish to put out floats and have not made arrangements” (page 5). He was in town for the live stock exhibit and parade the morning of the 18th].
By 1910, Tschudi had relocated to St. Louis, Missouri; his family remained in Kansas City. Tschudi now lived by himself, listed as an artist and residing at 726 S 2nd Street, St. Louis. The 1910 census report listed him as a widower. The same census report listed his wife as married.
Tschudi’s son and wife continue to live together on Holmes Street in Kansas City for the next two decades, although they moved from 2631 Holmes to 2751 Holmes. Tschudi’s son returned to using his adoptive name – John Fohrman. The 1910 Census listed Fohrman’s occupation as an artist in the Scenic Co. industry. He continued to work as a scenic artist until his passing, frequently working for the Kansas City Scenic Co. Nothing really changed for Fohrman or his mother until 1928. On October 13, 1928, Fohrman married Florence Lee Smith; Smith lived just down the street at 2709 Holmes. Marguerite continued to live with her son until 1931, when she passed. Her obituary made no mention of any former husband:
“TSCHUDI – Mrs. Marguerite Tschudi, 81 years old, died last night at the home of her son, John Fohrman, 2751 Holmes Street. Mrs. Tschudi was born in Luxemburg and came to Kansas City from Europe in 1885. Also surviving are a daughter, Mrs. Lucy Armbruster, wife of Benjamin G. Armbruster of the advertising department, Harris-Goar Company, who lives at 2711 Holmes street; a brother, John Merkes, Dubuque, Iowa and a sister, Mrs. Anna Miller, St. Louis.” It appears that Marguerite altered a little of her own history too– or it was an honest misprint.
After his mother’s passing in 1931, John and Florence Fohrman relocated west to California, settling in Los Angeles. In 1946, they moved to Culver City. Fohrman passed away on Jan 29, 1952. His obituary announced:
“John Joseph Fohrman Rites Set Tomorrow.
Services will be held tomorrow at 11 a.m. at the chapel of Smith & Salsbury for John Joseph Fohrman, 83, of 4208 Lafayette, who died Wednesday morning. He leaves his widow, Florence, and a daughter Lucia Fohrman. Born in Chicago, he had lived in Culver City for six years. He was a scenic artist. Rev. Eldred Charles, of the Cardiff Avenue Christian Church, will officiate. The remains will be cremated.”
In regard to the passing of his father, John Ulrich Tschudi, Jr.; Tschudi never left St. Louis. His career began to fade away, and his name no longer made headlines. Until his passing in 1921, Tschudi continued to work as an artist and live at South Second Street. His death certificate listed that he was 70 yrs. old, an artist, and a widower. Tschudi passed away at 614 N. 2nd in St. Louis, His death certificate listed his parents as John Tschudi and Margaretha Egli – both born in Switzerland. The informant listed on Tschudi’s death certificate was Wm Deven. A small note at the bottom indicates that he was buried in Kansas City. I have yet to locate his grave.
Seven years prior to Tschudi’s passing, he painted “Early Days on the Mississippi.” This may be his only extant painting, as I am unable to locate any other easel artworks by Tschudi;. “Early Days on the Mississippi” may be Tschudi’s sole artistic legacy; the only artwork that marks the life and career of John Ulrich Tschud, Jr.
However, it is the 1914 date and the Mississippi subject matter that is also significant.
In 1914, St. Louis commemorated the 150th anniversary of its founding; as part of the celebration, the City commissioned a two-part civic spectacle. The Pageant and Masque of Saint Louis was presented on the slop of Art Hill in Forest Park from May 28 to June 1, 1914. The pageant used an enormous stage built on pilings in the Grand Basin, measuring over 500 ft. wide and 200 ft. deep. The pageant featured a cast of 7500 volunteers. Some records suggest that there were 75,000 people in attendance on opening night. Three hundred years of local history were presented over the course of five hours, including many scenes from early years on the Mississippi River. Many historic photographs of this spectacle remain, depicting the incredible grandeur of the event. Some are digitally accessible through the St. Louis Public Library as part of the Pageant and Masque of St. Louis Collection.
I firmly believe that Tschudi’s painting was one of many, commissioned advertise the event; advertisements that depicted various scenes from the pageant. This is why the edges of Tschudi’s painting are hemmed, include a painted frame, and title. This artwork was intended to be tacked to a wall, as any advertisement. This painted composition was most likely part of a series depicting significant historical events reenacted at the Pageant and Masque of St. Louis in 1914.
I congratulate the Kimmswick Historical Society’s decision to invest in the preservation of Tschudi’s artwork for many future generations to come.
Show curtain for THE SORCERER, painted by Wendy Waszut-Barrett, 2023.Painted detail from THE SORCERER by Wendy Waszut-Barrett, 2023.Painted detail from THE SORCERER by Wendy Waszut-Barrett, 2023.Painted detail from THE SORCERER by Wendy Waszut-Barrett, 2023.Painted detail from THE SORCERER by Wendy Waszut-Barrett, 2023.Painted detail from THE SORCERER by Wendy Waszut-Barrett, 2023. Painted detail from THE SORCERER by Wendy Waszut-Barrett, 2023.Painted detail from THE SORCERER by Wendy Waszut-Barrett, 2023.Painted detail from THE SORCERER. Portrait of Mr. Gilbert by Wendy Waszut-Barrett, 2023. Painted detail from THE SORCERER. Portrait of Mr. Sullivan by Wendy Waszut-Barrett, 2023.
I decided to use distemper paint for three shows this year: L’amant anonyme (Haymarket Opera Co., June 2022), L’incoronazione di Poppea (Haymarket Opera Co., Sept. 2022), and Pirates of Penzance (Gilbert and Sullivan Very Light Opera Co., Nov. 2022).
In my experience, no other paint medium feels quite so pure, nor reflects light quite so beautifully. Whether distemper compositions are lit by incandescent light or LED, the colors literally glow on stage; there are no “dead” spots. The colors are vibrant with a perfectly flat finish, a necessary characteristic for scenic illusion under stage light. Below are three painted details from my aforementioned productions, all painted with pigment paste and diluted hide glue.
Painted detail from L’incoronazione di Poppea. Painted detail from L’amant anonyme. Painted detail from Pirates of Penzance.
DISTEMPER PAINTING
The distemper paint system was the preferred method of scenic artists for centuries in both Europe and North America. It remains an extremely efficient process today, with little waste at the end of a production. Dry pigment left on a painter’s palette can simply be scraped off and reused for future projects.
Unlike contemporary premixed paint, there is no added filler nor extender that dilutes the colors. Contemporary paints also have a relatively short shelf life. Such is not the case with distemper paint for the stage. In dry form, both pigment and hide glue granules can last for decades, if not a century or more. The longevity of these materials is remarkable. Distemper paint consists of only two ingredients: pigment (color) and binder (glue).
In Dry Form: pigment and hide glue.Pigment in paste form. The paste is placed directly on a scenic artist’s palette and mixed with hide glue.
Dry pigment is pure color. It can be transformed into a variety of artistic mediums, including pastels, watercolors, gouache, acrylics, and oil paints. Dry pigment is created from a variety of sources, including plant, mineral, insect, or chemical processes. Dry pigment remains readily available in many fine art stores, often sold by the ounce. Here is a link to an ARTnews article about contemporary dry pigment manufacturers: https://www.artnews.com/art-news/product-recommendations/best-pigment-powders-1202688380/
You will have to cut and paste the link, as I cannot share it here.
In historic scenic art studios, pounds of colors arrived in both block and wet pulp form. Keep in mind that some colors cannot transform into paste with water alone and require a solvent. It is best to keep these colors wet, hence their arrival at a studio in pulp form. For most colors, however, large blocks of compressed pigment were ground into a very fine powder and then transformed into a wet paste just prior to use.
Dry pigment in block, powder, and paste form.
This pigment paste was placed directly on the scenic artist’s palette and mixed with diluted hide glue, also termed size water.
Jesse Cox’s scenic art table. His palette and scenic art tools are part of the permanent exhibit at the Theatre Museum of Repertoire Americana in Mount Pleasant, Iowa.
If binder (size water) was not added to the pigment paste, the color would not adhere to the fabric. Without the necessary binder, the pigment simply dusts off of the scenery, leaving behind faded areas of stained fabric.
A variety of binders can be mixed with the pigment paste, however, scenic artists prefer animal hide glue due to its flat finish. Any reflective sheen on painted scenery reflects stage lights and diminishes the overall scenic illusion on the stage.
Dry hide glue granules.
Hide glue is the gelatinous substance obtained from rendering animal hides, and sometimes bones and/or hooves. Think of the old threat about sending a horse to the glue factory. Whether horse, bovine, or rabbit, animal hides are boiled to create a gelatinous product that is dried and used by a variety of artisans as a binder, including furniture restorers.
Once the hide glue is dried, it is sold as a block, coarse granules, or fine powder. There are many different types of hide glues, with clarity and strength varying from animal to animal and batch to batch. This factor, as well as its proper preparation prior to mixing with pigment paste, directly contributes to the overall longevity of any distemper painting.
In dry form hide glue has an extended shelf life and is easily stored for long periods of time. Both dry pigment and dry hide glue could be easily stored and shipped to various locations and stored without the threat of spoiling. This made it an extremely successful paint system for generations of American scenic artists as they journeyed from one venue to the next.
Dry hide glue must be returned to a liquid state prior to mixing with pigment paste during the scene painting process. There are various ways to prepare hide glue and much depends on personal preference. Over the years, electric glue pots replaced double boilers on wood stoves or modern hot plates. The key to making glue is using indirect heat and never bringing it to a boil.
Hide glue as it cooks.
Reconstituted hide glue is further diluted with water throughout the painting process. The concentrated glue (in syrup form) is combined with an equal amount of water to make “strong size.” Strong size was often used to prepare the fabric of painting, sealing the surface to minimize paint spread. Again the ratio of glue to water depends on the quality of the product.
Strong size is best stored in a glass container.
In many cases, historic scenery was not primed with any color prior to laying out the composition. This is how I approach much of my distemper work; I seldom prime a backdrop with whiting or any color when using distemper paint. When one only uses strong size it allows each drop the possibility to function as a translucency. It also means that the scenery will roll, fold, and travel better.
Front view of painted detail for L’amant anonyme.Back view of same painted detail for L’amant anonyme.
In the distemper painting process, strong size is diluted with water to make working size, or “size water.” Size water is used throughout the scene painting process and continually mixed with pigment paste.
Strong size is diluted to make the size water pictured above.
Unlike contemporary scenic paint, there is no successive paint layer build-up with each paint application. Distemper paint allows each wash or glaze to completely penetrate the previous paint layer, reducing the overall thickness of the painted composition while keeping the color vibrant.
A view of distemper paint as it permeates the underlying layers; it will dry light. This painted detail of ivory draperies is from my Pirates of Penzance drop curtain.Same cream draperies once dry.
Furthermore, less distemper paint is needed to saturate the fabric as the colors are so vibrant, further contributing to the end result of very thin and very flexible painted fabric. The end result is similar to a dye drop.
HISTORIC AMBIANCE AND TRANSLUCENCIES
This was the approach that I used when painting the scenery for all three shows. Haymarket Lighting Designer, Brian Schneider, partially backlit the painted scenes for both L’amant anonyme and L’incoronazione di Poppea. Harkening back to an era of candlelit stages when lanterns were hidden behind the wings, sections of painted wings were inadvertently backlit. Our goal for Poppea was to recreate this historic ambiance with current theatrical lighting systems.
The mixing of distemper paint on a large scenic art palette adds variety throughout the painting process, extending reflective quality of each hue. I always add a complementary color throughout my scenic art process. For example, orange is always added to blue and red is always added to green. The addition of complementary colors adds a depth to the color palette otherwise unachievable under stage lights. Colors that a not identifiable under front light, blossom when backlit. Schneider’s lighting design reinforced this effect. Pictured below is the partially backlit with for L’amant anonyme.
Partially backlit wing (left) and backdrop with front light (right). Notice the color shift between the two. Backlighting reveals base colors that otherwise remain unseen when solely lit from the front.
My scenic design for Haymarket Opera Company’s L’incoronazione di Poppea utilized a classical garden setting to suggest numerous interior and exterior locales for the first and second acts. Painted fabric panels were added to the third act for palatial scenes and Poppea’s coronation. These panels were painted so that they could also be backlight and indirectly illuminate portions of the scene.
The addition of painted fabric panels for Act III for L’incoronazione di Poppea. Backlit painted draperies.Backlit painted drapery attached to painted wing.
The minimal color palette for L’incoronazione di Poppea was inspired by historical writings, artistic treatises, and extant scenery at Česky Krumlov Castle Theatre, Czech Republic, and Drottningholms Slottsteater, Sweden.
Painted detail from extant scenery at Painted detail from extant scenery atPainted detail from extant scenery at Česky Krumlov Castle Theatre in the Czech Republic.
The design utilized a limited number of colors that included yellow ochre, brown ochre, red ochre, vermillion, ultramarine blue, malachite, and van dyke brown.
Dry pigment and hide glue used for L’incoronazione di Poppea.
I purposefully omitted any black paint from my color palette as it diminishes the overall reflective quality of color under stage lights. Therefore, the darkest color incorporated into the distemper palette was a deep, dark brown (pictured above).
Over the centuries, the color palettes of scenic artists shifted to included new or popular colors. Regardless of an artist’s individual palette, the painting process remained the same. Generations of artists were united as the carefully prepared and applied distemper paint to stage settings.
Scenic artists on a paint bridge using distemper paint. Published in Harper’s Weekly Magazine, Nov. 30, 1878.
Johnson wrote, “Opera has always been a spectacle, enveloping the audience in sight and sound. On the American early-opera scene, the audible aspects—the voices, the instruments, even effects like a thunder clap—are commonly governed by some sort of historically informed approach. Choreography and costumes, too, are often developed based on historical research. But one essential element is often left out of the equation: set design. That is beginning to change, thanks to the groundbreaking work of Wendy Waszut-Barrett.” I don’t necessarily consider my work groundbreaking, but I am trying to use the most effective paint for the scenic illusion.
FLOOR PAINTING AND FRAME PAINTING IN SCENIC ART
The backdrop and wings for L’incoronazione di Poppea were painted in the Continental Method, where the canvas is tacked to the floor. Paint brushes were attached to bamboo poles, allowing the artist to stand throughout the entire painting process; the idea is to NOT crawl around on the floor. This was a departure, as I used a vertical frame to paint scenery for both L’amant anonyme and Pirates of Penzance.
The scenic artist’s view when painting a backdrop on the floor.A view from my ladder when painting the second set of wings for L’incoronazione di Poppea at my studio.
Both frame painting and floor painting were adopted by early American scenic artists. The Continental method of scene painting was not popularized in the United States until the late-1920s. Prior to this time, the majority of American scenic artists utilized vertical paint frames. This is not meant to say that American scenic artists never painted backdrops on the floor. However, using vertical fames was more economically viable in many situations for both scenic artists and scenic studios, especially in a studio setting. Keep in mind that floor space was often at a premium, reserved for many tasks that needed to occur after the painting process was completed, such as netting cut openings or rolling scenery for shipping.
In early American Theatre, the demand for painted scenery was often greater than the supply of artists to paint stage settings. It was not until the mid-nineteenth century that a series of scenic studios appeared across the United States, mass-producing painted settings for touring productions and venues throughout North America. The mass-production of painted illusion at scenic studios in North America peaked between 1900 and 1910.
A photograph of frame painting at the Sosman & Landis Studio in Chicago, Illinois, ca. 1910.The scenic artist’s view when painting a backdrop on a vertical frame.
As the demand for scenic illusion waned after WWI, scenic studios shifted from painted illusion to three-dimensional settings, increasing their use of fabric draperies with painted ornament. In many ways the scenic art trade shifted from an art to a craft. There was less of a demand for scenic artists to paint pictorial realism for the stage. At the same time there was an increased demand for decorative paintings and stencil work on draperies, as well as three-dimensional scenery.
Scenery by ACME Scenic Studios, Chicago, Illinois, ca. 1928.
Throughout the duration of the twentieth century, frame painting became less popular for many live theatre productions. The exception was film backings where the demand for scenic illusion thrived. Much had to do with the extreme detail; painted details that were only achieved when holding a brush at arm’s length.
The Continental method is now the preferred method for most contemporary scenic artists producing scenery for the stage. In fact, many have never experienced the ease of painting on a vertical frame. It is truly unfortunate, as frame painting accommodates a scenic artist’s aging body, as your artwork remains at a comfortable height.
Drops and wings tacked to a motorized paint at for Pirates of Penzance.Moving a motorized paint frame is easily done with the push of a button! This photograph was taken when running painted draperies on the frame at Hamline University, St. Paul, Minnesota.
Frame painting can also speed up the entire process.
Below is a link to my time-lapse YouTube video that I posted Nov. 4, 2022. It shows me painting scenery for Gilbert & Sullivan Very Light Opera Company’s “Pirates of Penzance” on a motorized frame. Over the course of three days, I painted one roll drop, one backdrop, one border, two shutters, and four wings.
Three-day time-lapse video, painting distemper scenery for “Pirates of Penzance”, Aug. 23-25, 2022.
From 1882 to 1884, Henry C. Tryon (1847-1892) worked and wrote in the Salt Lake City area. As a scenic artist and author, Tryon’s name constantly appeared in the papers. In addition to painting new scenery during the Salt Lake Theatre stage renovation, Tryon also exhibited much of his easel art. He was in the perfect town to market himself. The “Salt Lake Daily Herald” published articles on a variety of artistic activities, including art exhibitions, theatrical productions and other creative ponderings in detail. In some ways this newspaper carried more information about theatrical productions and stage artists than many larger metropolitan publications across the country.
Henry C. Tryon, pictured in 1886
In 1883, an article on art exhibitions noted, “Henry C. Tryon stated when he came here, that he had never seen a range of mountains that afforded better opportunities” (9 Aug 1883, page 8). On May 18, 1883, “The Salt Lake Herald,” reported “Mr. Henry C. Tryon is at work on an oil painting which he has already presented to Mr. H. B. Clawson. It is a landscape in oil and is a gem much to be desired” (page 8). That spring, newspapers also reported, “Speaking of matters of art reminds us that Mr. Henry C. Tryon is still hard at work on scenery for the Salt Lake Theatre…There will not be a foot of old canvas in the building when Tryon leaves for pastures new…We congratulate Mr. Tryon, and are pleased to see the interest he takes in all that he does; and if the work referred to above is not art in its truest sense, then we would be happy to know just what art is” (Salt Lake Daily Herald, 22 April 883, page 12). Tryon was completely a large stock scenery collection, painting fine art pieces for local citizens and taking time to write on a variety of artistic subjects during the first half of 1883.
He submitted several articles to the “Salt Lake Daily Herald” throughout 1883. In his article, “Artistic Flashes,” he ended with the statement, “Don’t falsify nature by attempting, with your petty vanity, to improve upon her work. You will fail, because nature as an artist is pre-eminently superior to you” (9 Feb 1883, page 3).
On Sunday, August 12, 1883, he elaborated on this sentiment in Tryon’s “Art vs Skill.” Here is the article in its entirety:
ART vs. SKILL
By HENRY C. TRYON
There is a story familiar to most people of two rival artists, whose relative merits were disputed by their several admirers. To settle the dispute, they engaged in a friendly contest. On painted some fruit and put it in the window. It was so skillfully executed that the birds tried to get at this fruit. The other then had his picture ready and draped. His rival, attempting to raise the curtain that covered the supposed picture, learned that it was a clever deception being a skillfully painted representation of a cloth. The first artist exclaimed enthusiastically, “You are the greater artist: for, while I deceived only the birds, you have deceived an artist.”
This story, like most of those written about artists, is the verist nonsense. Two artists are not likely to enter into a “go-as-you-please” contest, nor to put on gloves to try which is the better man for a prize medal and the applause of the public. That always has been left to public performers and to mountebanks. By assuming the story to be true, it is no proof that either of them was an artist in a real sense. It proves nothing whatever. The popular idea of art is that skill, imitation, projection and perspective are the ends of all efforts in art; and that a work of art practically is to be judges by the skill shown in these directions, with a kind of vague idea that sentiment of color, tone, harmony, force, tenderness and feeling are but a means intended for the connoisseur to “ring them in,” – as one would pretty talk, which may be thrown in indiscriminately.
An artist, for instance, paints a street scene. It matters not how inartistic and mechanical the scene may be, nor how harsh and crude may be the color, if the perspective and light and shadow be correct, the average observer will look upon the scene as a marvelous work, for ‘It appears to reach back for a mile,’ and his surprise and wonder at this success overcomes any other feeling. This misunderstanding of the aim and object of true art prevents him from being even critical or even interested in anything beyond. Yet all this is a mechanical success, pure and simple. That linear perspective has no art quality of itself, and is not even difficult of attainment, all artists know who know anything about it. It is the same with projection. Draw an object and cast shadow from it, and it will apparently project from the paper. Anybody can do it. So, with imitation.
Every portrait painter knows the necessity of not painting laces or jewels or other flippant accessories with too much realism, else the general observer (who imagines imitation to be the greatest achievement) will never see the face at all. A certain eminent artist in painting a subject introduced in the picture a mat. After the attention of a few people had been fastened on that mat and they had analyzed its material, texture, and probably cost per yard, in disgust he painted it over, so that nobody afterward would think of it except that it was a mat, and pass on to the real picture – the material which made up the sentiment and the story he desired to express. Suppose a person in describing in writing the wonderful grandeur and beauty of the Wasatch range, should pause lovingly in the description of some pig pen, making this description so vivid and realistic that the total impression remained with the reader that it was a picture of a pig pen with an accessory of Wasatch mountains. What would the reader think? (assuming the purpose of this piece of literature was to convey a sentiment of the grandeur of the mountains) It is exactly so with art; mere imitation requires nothing but a little knowledge, more practice, and more or less patience; but these qualities alone do not make an artist; they simply enable an artist to express art feeling. The mere mechanical ability to touch the right keys on a piano in the translation of a musical composition, does not make a musician. It merely enables one to express musical thought and feeling, if he has it; and if he has it not, he is recognized by musicians as a musical artist, but is considered a musical mechanic. We all understand what is meant by “machine poetry.” The rhyme and the metre maybe faultless, but if it contains no grand beautiful or ennobling thought, it is recognized by all as mere verse; and there is all the difference in the world between verse and poetry. Literature and the arts are precisely similar in their objects. The poet paints with language, the musician with harmonies, the sculptor and draughtsman forms. The arts are so intimately blended that the mechanical phrases even are the same throughout. Who does not feel what is meant by color as applied to musical composition, and tenderness, strength, feeling and harmony as applied to painting? Follow the terms used in all the aria and they can be applied indiscriminately to each. Art is poetry, or it is nothing. If a picture, painted never so skillfully has nothing in it except the skill and knowledge of the artist, and does not contain poetic feeling, or is in any purpose or poetic cause why should it be painted, it ranks as a work of art, no higher than a piece of literature produced for the sole object of showing the author’s knowledge of words and of the grammatical arrangement of them.
A picture should be painted to express some of the sentiment (and assuming that that has been successfully accomplished) the nobility, purity and beauty of that sentiment will determine the position of the picture as a work of art. What is generally considered to be the end of art is properly the means to an end; the real end depends upon the genius of the artist. It is always conceded that an artist thoroughly understands the mechanical means to art (before mentioned), just as it is presupposed that an author understands grammatical rules and the skillful construction of sentences. When each is thus equipped, then he has within his grasp all that is required to give expression to high thoughts and sublime images; but unless the genius – the spirit of poetry – is inherent, he can only give to the world that which time, patience and perseverance will do for any intelligent person.”
For the past few days I have been sharing some articles pens by Henry C. Tryon in the 1880s. Simultaneously, I am writing about the life and career of Tryon’s one-time partner, Henry E. Burcky as part of “Travels of a Scenic Artist and Scholar” after identifying Burcky’s scenic art for the Tabor Opera House in Leadville, Colorado.
In 1884 Tryon returned to Chicago, accepting a position at Sosman & Landis scene painting studios. Previously, he had worked as the scenic artist for both the Tabor Grand Opera House in Denver and the Salt Lake City Theatre in Utah.
Clipping of Henry C. Tryon pasted in thescrapbook of Thomas G. Moses.
On Dec. 28, 1884, “Chicago Tribune” published an article submitted by Tryon about the scenic art industry (Chicago, Illinois, 28 Dec 1884, page 14). The headline reads, “SCENE-PAINTING. An Art Which Has Been Neglected and Allowed to Retrograde in Chicago.” The next two subheadings of the article state, “An Important Accessory of the Theatre Which Managers and Public Alike Disregard. Turning Out So-Called Art Work by Wholesale – Culture in Europe and America.” This is possibly the most insightful article that I have located to date, written by someone who was a Sosman & Landis employee. Tryon not only tales aim at scenic studios, but also examines the root of many problems in the industry.
Although it is quite long, this 1884 article is well worth reading. Here’s Tryon’s article in its entirety:
“Are audiences when viewing a stage picture, distant 100 feet or so from their seats, aware of the immense difficulties under which the artist labored when painting it? Are they aware that he was compelled to stand within three or at most four feet from his canvas and unable to see more than a few square yards at a time? Do they realize the accurate knowledge of drawing, composition, perspective, and color required to enable hi under such circumstances to produce and effect which will be realism to them? The artist must carry in his mind’s eye the completed scene as it will appear from the auditorium, and make no error in the relative proportions and harmonies of the different piece which compose the set and which are placed on his frame one or two at a time to be painted. The theatrical and artistic character of theatres is especially governed by the stage appointments, Beauty of scenery is the most interesting and attractive kind of theatrical decoration.
No richness of auditorium will compensate for its absence.
The qualities required of a first-class scenic artist are of a much higher order than is generally supposed, and many technical difficulties are to be overcome before he can produce any brilliant effect whatsoever. One of the chief difficulties arises from the fact that his colors “dry out” several shades lighter than when they are applied. (Moisten a piece of wall paper in a room and the difference in color will illustrate this difficulty.) The artist is compelled to paint with one color while thinking of another.
Then the effect of a night light is a serious drawback. Everybody must have noticed that some colors are heightened, and others dimmed be being brought under the yellow gaslight. The scene-painter working in the broad glare of day must consider with every mark he makes the effect of this gaslight on his color. A brilliant effect by daylight may under an artificial light be entirely destroyed, and also the reverse is true; but the scene-painter must not depend upon accident in the matter.
DEAD COLORS.
Stage scenery and drop curtains are never painted in oil colors. As the effect of realism is to be attained, all glare must be avoided. The artist is limited to the use of dead color and must get his brilliant effects by skillful harmonies and combination.
Scenery then, being painted with water colors, the danger from fire is much less than s popularly supposed. The canvas is much less combustible than it was before being painted. Scene painted on both sides are almost fireproof.
The scene-painter seldom has leisure to do work at his best, and has neither time nor opportunity to correct his errors. When a picture is painted in an artist’s studio, before being finally finished and exhibited the artist will see where a change here and there will enhance the value of his painting, and he can perfect it. The scene=painter is (of necessity) denied this advantage, and his first chance to even see his completed work properly set and lighted is when he is one of the audience.
The result of seeing his work as he proceeds with the eyes of the audience is that, as he acquires knowledge, experience, and consequent skill, he gradually gets to using larger brushes, so that he is enabled, with the roughest and apparently most reckless “swashes” of the calcimining brush, to produce effects as soft, tender, and full of appropriate meaning as is done on smaller surfaces by many landscape painters.
The popular impression is that because scenes are thus painted with broad, bold, rough marks it is scarcely more than a grade or so advanced beyond mechanical work; but really it is this which makes it indisputably art and not mechanical skill.
In scene painting as in any other art, it is only the novice who takes the life out of his work by petty, contemptible smoothing down with small brushes. “Picture are made to be seen, not smelled,” said Reynolds. In decorative painting mechanical finish is the important requisite, but in scene painting this is no more an excellence than is mechanical finish in any other art.
METHODS.
The “modus operandi” of designing, painting, and arranging a set of scenery for the stage is about as follows: A descriptive “scene plot” is sent to the artist, locating the position of such portions of the scene as will be necessary to or in harmony with the “business” of the play and of the dramatic people. This plot also states the piece and period for which the scene is to be painted. The artist is not aided in his composition by the plot, but he is limited by it, the scenery, of course, being an accessory to the play and the acting. The “scene-plots” being in the artist’s hands he proceeds to study out the entire picture as it will appear when set before the audience, making a rough charcoal drawing as he thinks and composes. When his ideas have been condensed into form, he makes a cardboard model to a scale of such pieces as are required, ending his work with the “set pieces,” which were made while his work was progressing on the large canvases. His assistants having “primed” the canvas with a coating of “size” water and glue, and this being dry, he sketches in his work roughly with charcoal in a large porte crayon fastened to a large bamboo fish-pole. Having satisfactorily located the leading lines of his drawing, he corrects and gives it character with ink-marks, using a small brush. (These ink-marks will show though his color just enough so that he will not lose his drawing.” He is now ready to paint. His colors are in water pails and in paint-pots, besides which he has a palet board – a table on wheels – about eight or nine feet long and three feet wide, painted with white oil-color, and the surface polished like glass. Along one side of this palet are boxes about five inches wide for different crude colors as they come from the store. With the colors already mixed and varied by such as he wishes to get from the palet he lays in the general tone and color of his scene. This dries almost as fast as he applies it – if the weather be not too cold or damp – so that he can soon, by the assertion of culminating lights and shadows, give character to his work (before somewhat chaotic), and also make his effects of color more brilliant and his pictures more spirited.
The different portions which make up the scene having been made and painted, they are the night of the performance set on the stage and the gaslights arranged under the direction of the artist, and this arrangement is carried out thereafter by the stage carpenter under the direction of the stage manager. This is the way it is done in such theatres as the Union Square, Wallack’s, and Daly’s in New York, and the Boston Museum and Boston Theatre.
In Chicago, of the painter’s work be well done, the management is praised and artist’s individually overlooked, just as if the keeper of a picture gallery were given credit for the canvases displayed.
PICTURES.
The means employed by the masters in landscape-painting are similar to those of the best scene-painters, and it is only great artists – picture-painters are here spoken of – whose technique bears a resemblance to scene-painting. The nearer a theatrical scene is like a correct and beautiful picture the more artistic and meritorious is the scene. Much of the knowledge that scene-painters lack could be supplied them by studio artists, and studio artists could obtain from scene-painters knowledge of means to improve their own “technique” that of the best scene-painting being the best possible for their own pictures.
With their ideality in composition and boldness and facility in execution and expression, the scenic artist needs only closer study of the outdoor nature to enable him to fully demonstrate his ability to successfully compete in all respects on his immense surface, with the productions of our best landscape artists on their smaller canvases.
The method used in Continental Europe of this making up a scene with arches,” “drops” and “set pieces” is one important cause of the nobility and beauty of the spectacular scenes which have been imported here from time to time. These effects of grandeur-produced by means the most simple and natural 0 have also been shown at the operatic and dramatic festivals in Cincinnati by American artists.
In an artistic sense “flats” which run in grooved across the stage are an abomination. They require an immense width of stage to run in, and narrow the scenery to small dimensions. For instance, in one of the theatre here the “flats” are twenty feet high and twenty-eight feet wide, while the “drops” are thirty feet high and fifty feet wide, so that the full width of the stage and the height of proscenium opening are only shown when the continental method is used. Even in interior sets the apparent height of rooms would not be too great when painted on a large drop if as much stage space as necessary were taken up with the ceiling in perspective, as is done in Europe. We already use their method of elaborate exteriors. The society drama is responsible for the continuance in theatres of “flats,” and the increased height to “rigging loft” or ceiling in modern theatres makes the further use of “flats” unnecessary. It will certainly be eventually abandoned if the influence of scenic artists prevails.
FOREIGN NOTES.
In Europe each scene-painter studies and practices exclusively certain branches in his art and is not required or expected to do any scenic work outside of the field which he has made his special study. One artist there paints landscapes, foliage and exteriors; another architecture, figures and drapery, and so on. In Paris, certain artists are exclusively engaged in designing “models” of scenes which other artists paint. The perfection which these artists reach is wonderful, and this, with the care and deliberate thought which they are allowed to give to a scenic production. Is, of course, followed by grand results. In America each scene-painter is expected to excel in all these specialties.
In New York here, four, or six artists are engaged on the scenery for one play, and each painter has his own scene, for which he has to receive praise or blame.
In Chicago one scene painter is required to paint all the scenery for a play in less than a week, and when he has longer time the amount of work called for is so much greater proportionately that he must force himself to do it with too great speed and with too little thought to do him justice and his ability anything like justice.
The discerning public of Chicago perceive the scenery is not prepared for them with the same care and elaboration that they were accustomed to see exhibited in theatres a few years ago. They feel that something is amiss, but wat it is they can only surmise.
LOCAL DRAWBACKS.
The obstacles to adequate scenic mounting of plays here are numerous, but none of them are insurmountable. The “run” of pieces is brief, managers of combinations are negligent about sending their scene plots in time for proper preparation, and sharing terms will not always justify the local manager in incurring expense, experience having taught him that there is not sufficient additional patronage to repay him. The attention of the public is entirely engrossed by the dramatic features, so that very little attention is directed to the scenery. The management is not criticized by the press for lack of care in this direction, except spasmodically, and consequently the public, who are influenced by the press, take less notice of scenery here than they do in some other cities, notably the East, and in San Francisco, where the scenic artist upon producing genuine art work finds it recognized by the public and his individuality as fully stablished as is that if a favorite actor, The careful and excellent system of stage management of leading Eastern theatres is not exercised here, all attention being given to the auditorium end to the business policy of the house. Theatres here do not have stage managers, and although the artist – theoretically – has absolute control of every feature that has an influence on his scene, practically the stage-carpenters, property-men and managers of combination set things according to their own ideas. The artist is rarely consulted in the matter. His opinions of the fitness and harmony of things from an artistic standpoint are too esthetic for the practical (?) ideas of those who have the handling of productions.
These scenery for the regular theatres is constantly being changed, and much of the work done is only retained during the run of the play for which it was painted, but in the provincial towns, where no artist is regularly employed, the house being once “stocked,” the same scenery is seen over and over again by the audience for six or eight years, until they grow weary of even artistic work long before it is worn out, and scenery which is cheap becomes absolutely disgusting even to those unlearned in art.
Cheap art is valueless, but is in altogether too great demand in the provincial cities in this country. One man is not as good as another in science, literature or art. A picture by Meisonnier will sell for $50,000. Because John Smith or Peter Jones paints a similar subject and use as much or more paints, it is not considered a logical reason why the works of Smith or Jones are equal to those of Meissonnier. This is self-evident, and a little thought would make it self-evident that the same idea applies as well to scene painters.
SCENE FACTORIES.
It is known to those interested in such matters that an opera-house or a public hall is being erected, and at the proper time applications are made for the contract for furnishing the scenery. Competent scenic artists are too modest and reticent in speaking of their abilities, while competing for “outside” work. The greater their abilities and reputations as artists the less are their chances of success, outside of the regular theatres. They erroneously suppose that an engagement in a first-class theatre is sufficient evidence of their capabilities, but this goes for little with nontheatrical people who construct theatres. With them the cheapest man or the shrewdest businessman has the best chance.
Artists rarely possess business talent, but it would seem that a business man engaging one would understand that it is art ability he should employ to do art work.
The agent of a scene-factory makes his bid and his figures are so much lower than those of the capable artist that he usually secures the contract, The competing artists have based their bids in their intentions of producing genuine art work, while the successful bidder has no such idea.
The proprietors of the “factory” known nothing about art and care less. They know nothing about the requirements of a theatre, as they have never had any experience in one. They, however, succeed in obtaining the contract, and the agent having taken the various measurements, goes back to the factory, where the work is all done, to have the stuff rushed out as fast as possible.
Yet these establishments employ some really capable artists, who hate their work and despise themselves for being compelled to do it. The methods are such as effectually to crush out all their art feelings, and they themselves have nicknamed the place in which they work, “the slaughterhouse.” All these methods are ruinous to a noble art.
Scenery should always be painted in the theatre in which it is used. The conditions vary so much in different houses than an intelligent knowledge of them should be ever present in the mind of the artist who is engaged upon the scenery for each. The proprietor should select an artist who is known to be competent by theatre men, one whom they themselves would employ. He should be paid enough money to warrant him cheerfully giving all the time and thought necessary to produce the best work in his power, and after having made his contract he will forget all other interests except his purely artistic ones. This will advance him as an artist. He has a reputation to gain or lose; his pride is stimulated to the advantage of his employer, and the results are sure to be bountiful in satisfaction to both parties, and consequently to the advantage of the community.
These factories are not recognized in any way by Chicago managers, but so successful have they been in driving legitimate scenic artists from the provincial field that their owners openly boast that in a few years they will be supplying all the scenic requirements to our city theatres. How do the play-going public like the prospect?
The solution of the question, “How can scenery be produced as elegantly here as possible with the means available?” sums itself up simply in the employ of more artists, absolute authority of those artists in their own domain, with the burden of responsibility attached, greater expenditure of money by the managers for material to paint on, and careful, critical, and discriminating notice in detail by the public press.
PROGRESS OF CULTURE.
The advance of ideas among scene-painters in this country has kept pace with the general advance in art. What would have been regarded as “high art” a generation ago would hardly be tolerated now. Scene-painting is now studied, thought of, and handled as an art. All good artists have their distinct characteristics, each painting according to his individual nature and feeling.
The advance of steel-engraving in America far beyond that reached in Europe was the result of the demand for it, caused by the multiplicity of the “wildcat” banks and stock enterprises. The absorbing interest of the whole people in pictorial reproductions of incidents of the War was probably the main cause of the advance in wood-engraving, which has also reached its highest production here. Theatrical posters and lithographs are now works of art, as are also the labels upon the wares of merchants. Demands upon art ability have always been fully supplied by the talent of Americans. Business houses, banks, and public buildings are now expensively and tastefully decorated. The general art education has advanced and is still advancing with strides. Auditoriums of theatres are elegantly and artistically decorated. One step remains – the only one. The public will demand, recognize, and appreciate the highest art excellence behind the prosceniums of the theatres. Managers and artists must then do their best, and the result will be increased attraction of the theatres and an influence from them which will elevate the general tone.
Yesterday
I resumed “Tales from a Scenic Artist and Scholar” after a short break. Although
I returned to the year 1921, an 1884 article prompted me to revisit a friend
and colleague of Thomas G. Moses – Henry C. Tryon. This is just one example of the
many rabbit holes I get sucked into while doing research. But I have no
deadline and can enjoy these sidetracks.
Moses
first worked with Tryon at Sosman & Landis in 1884, writing “Henry C. Tryon
came to the studio to work. He enthused
Young and I more than anyone ever had.
He was a pupil of Thos. Moran and James and William Hart and was very
clever, but awfully eccentric.” In 1884, Tryon left two scenic art positions;
one as scenic artist at the Tabor Grand Opera House in Denver, Colorado, and
the other as scenic artist for the Salt Lake Theatre in Utah. He returned to
Chicago, joining the Sosman & Landis staff for a year.
Now
I am in the midst of writing historical analyses, conditions reports,
replacement appraisals and collections care programs for the historic scenery
collections at the Tabor Opera House in Leadville, Colorado. Some of the
scenery is signed and dated, including jungle wings painted by Henry E. Burckey
in 1890. Burckey and Tryon partnered in the early 1880s and then both worked at
the Tabor Grand in Denver. Burckey was
still working at both the Tabor Opera House in Leadville and the Tabor Grand
Opera House in Denver in 1890. You can find more information about Burckey at www.drypigment.net (keyword search “Tabor
Opera House” or “Burckey”).
So,
I am killing two birds with one stone this week, but there are lots of moving parts.
While researching Burckey and Tryon for the Tabor project, I came across a series
of article written by Tryon in the 1880s. He describes the scene painting
profession, and I am compelled to share them as part of the “Tales of a Scenic
Artist and Scholar” storyline.
Visual reference for article: dry forms of pigment and hide glue used by nineteenth-century scenic artists.
Here
is the first one published in the “Chicago Tribune” on December 19, 1880:
SCENE PAINTING.
Some hints to the Public Regarding a Special Department
of the Painters’ Art Not Well Understood.
Chicago, Dec.8.-
Theatrical scenery is painted in “distemper,” dry color
being mixed with a vehicle consisting of glue and water, much the same as is
used with whiting for calcimining rooms. Stage scenery and drop-curtains are
never painted in oil colors. While the color is less brilliant than when mixed
with oils (the artist being compelled to get his brilliancy by skillful
arrangement of dull color), the glare of varnish and oil is avoided which would
destroy the realism of the scene. Scenery, then, being painted in watercolors,
the danger from fire is much less than popularly supposed; in fact, when it
does take fire it burns very slowly for a long time. The canvas is much less
combustible than before being painted. Scenes painted on both sides are almost
fireproof.
The qualities required of a first-class scenic-artist are of
a much higher order than is generally supposed, and the technical difficulties
to be overcome to produce any brilliant effect whatever for the stage
are so numerous that, with a thorough knowledge of drawing, color, and
composition, and the clearest possible idea on the part of the artist of what
he desires to do, he will fail utterly, without great practice, to convey to
the audience the effect that he may have already, in his brain, arranged in the
clearest and most tangible shape. The artist in oil colors can produce any
effect which his mind conceives. The scenic-artist must first overcome many
very difficult obstacles. One of the chief difficulties arises from the fact
that the colors dry out several shades lighter that they are when applied.
(Throw a little water on the floor and the difference in color will illustrate
this difficulty). The artist is compelled to paint with one color while
thinking of another. He must think with every brush mark how the colors will
“dry put.” The difficulty in doing this can be imagined when it is considered
that all exterior scenes are painted from a pallet making a constant change of
thousands of different tints. Then the effect of a night light is a serious
drawback. Whoever has observed the changes in the colors of fabrics from the
light of day to the artificial light of gas must have noticed how some colors
are heightened and others dimmed by being brought under the yellow gaslight.
The scene-painter working in the broad glare of day must
consider with every brush mark the effect of this gaslight on his color. A
brilliant effect by daylight may, under an artificial light, be entirely
destroyed, and also the reverse holds true; but must not be accident with the
scenic-artist.
Do the audience in the theatre ever realize the immense
difficulty of painting a scene while within three or at most four feet from the
canvas, to produce the proper effect at a distance of from fifty to 150 feet, the
artist being compelled to see his work in his mind’s eye this distance, when
his first opportunity to dee his entire work is after it has been
finished and on stage? The result of constant practice in this direction is,
that, as he acquires knowledge, and consequently power and decision, he
gradually choses larger brushes, until the skillful artist is enabled with the
roughest and apparently most hideous “swashes” of the calcimining brush to
produce effect as soft, tender, and full of appropriate meaning as is done by the most labored,
painstaking care on smaller surfaces by many landscape painters. In
scene-painting, as in all other art, it is only the novice who takes the life
out of his work by petty, contemptible smoothing down with small brushes. “Pictures
are made to be seen, not smelled,” said Reynolds. In decorative painting
mechanical finish is the important requisite, but in scene-painting it is no
more an excellence than is mechanical finish in any other art.
The popular impression is that because scenes are thus
painted with broad, bold, rough marks it is scarcely more than a grade or so
advanced beyond mere decorative painting; but think for a moment of the
knowledge of drawing, perspective, composition, and color required to enable
the artist to produce on these large surfaces a scene which to the audience
must be realism, when he can only see at any time a limited portion (say ten
feet square) of his work – on a “drop” say thirty feet by fifty – while working
within three feet of his canvas, and to be seen across a large theatre, The
fact is, that a scenic artist is able to paint a small picture with much
greater ease and readiness that he can with his theatrical work, because he has
the knowledge to paint the small subject without very great obstacles attending
his work on the large canvas.
Another thing to be considered in this connection: The
scenic-artist does not always – in fact, seldom- have the leisure to do work at
his best. He has neither the time nor opportunity to correct his work. When a
picture is finished in an artist’s studio the artist sees where a change here
and there will enhance the value of his work, and can perfect it. The
scene-painter must call his work “a go” and start on the next scene. “We press
your hat while you wait,” is the sentiment. The manager comes to the artist,
and says we want a street – Paris, 1600 – to-night. He must have it then,
though the heavens fall. “Time, tide, and managers wait for no man.” Many times
in the experiences of all scenic-painters are they obliged to work thirty-six
hours at a stretch,, their meals brought to them, and stopping for nothing
else, each of those hours working against time, with no sentiment other than to
get through, get out of the theatre and to the rest that exhausted nature
loudly demands. Still he must be criticized on this very work. The audience
doesn’t know anything about his having worked all day, and all night, and all
day.
The great scenic-artists of the world are great artists, and
so recognized in the world of art. Poor dead Minard Lewis was the very Prince of
scenic artists, and his genius was the wonder and admiration of every artist of
every department of art in New York. Yet the theatre-going public who for
thirty or forty years had admired and applauded his beautiful work did not know
or care to know his name.
The position of scenic-artist in a first-class theatre is
one of great responsibility, which is properly recognized “behind the curtain
line,” but the general public has no interest in the personality of the scenic
artist, supposing in a vague sort of way that the manager paints the
scenes. It is no unusual thing for scenery to be lavishly commended by the
press and public, the manager receiving the press and praise for his
“enterprise, taste and liberality,” while the artist whose brain and hand has
created it all is never mentioned or even thought of. Scene-painters, like all
other artists, have their ambitions, and are grateful for proper and honest
appreciation. Much injustice has been done to them (perhaps through
thoughtlessness) by the public press and this is strongly felt by every
scenic-artist. If the newspaper dramatic critics would take the same interest
in the scene-painters themselves that they do with other individual members of
the theatrical business and that they do with other artists, and would find out
under what adverse circumstances they generally labor, their sense of justice
would cause them to be more discrimination in their reports. If a theatre
during an extended period is uniformly negligent in the matter of scenic
accessories, it would be but simple justice for the public critics to inquire
whether it is due to the incompetency of the scenic-artist or to the economy of
the manager. The truth in this matter can always be easily discovered, and when
blame is laid, as it frequently is, it should not be done in loose and
indiscriminate manner which injures most the artist who is frequently not to
blame. If the dramatic critics would visit and become acquainted with the
scenic-artists they would be welcomed, and would perhaps gain in the interest
of dramatic art and progress some ideas from that unknown and unthought of
portion of the theatre 9the paint gallery) that would be a revelation to them.
The sooner the press and public recognize the scene-painters as artists and
deal with them individually as with other artists – commending or condemn them
on their own merits, – the better it will be for the elevation of scenic art.
In the midst of both
global and personal strife, P. Dodd Ackerman explored a new stage aesthetic at
home and abroad. Newspapers would later
report, “Mr. Ackerman, as early
as 1912, saw the coming of the modern decorative art into the theater of this
country, an art that had been in vogue for some time in Germany, Austria,
Russia, and to a degree in France and Italy. Feeling that the time would come
when scenic painting and theater decorations would respond to the modernist
movement and, in order to be fully prepared when this movement came, he went
abroad to study” (New York Tribune, 27 March 1921, page 48).
By 1920 Ackerman remarried and was on a different trajectory with new wife
and young son in tow; he was becoming part of a theatre movement.
1921 Bauhaus Color Wheel
On May 1, 1921, the “New York Tribune” included an article about color
theory for the stage, interviewing P. Dodd Ackerman (page 4).
“Colors Vibrate Same as Music, Designer Says” was the heading for the
article.
Here is the article in its entirety:
“P. Dodd Ackerman Explains How Scenic Art is an Accessory to the Drama.
“There have been more radical changes in scenic painting for the stage in
the last three years than in fifty years previous,” says P. Dodd Ackerman, who
painted and designed scenery for “The Broken Wing,” now running at the
Forty-eighth Street Theater.
“Where in the past color was thrown indiscriminantly on canvas and shadow
lights were employed to give the outline of figure, all of which seemed to
produced the illusion of naturalness, this situation no longer holds.
Psychology, that science of mind which but a few years ago was understood by
only the elect but to-day is understood by millions, has exerted an influence
on the painting of scenery for theatrical use. It has brought about a realization
that color affects human beings and synchronizes with human emotions if
properly applied, and by this same token can create a disturbing element that
makes for discord.
“Colors vibrate the same as music tones. The effect of color on the
emotions of an audience is a subject that has long been a problem for serious
study by the producer of plays, the costumer and the scenic artist. Why red
should be the color to indicate danger or green safety no one knows, but still
the fact remains that such is the case. Whether red, with its suggestion of
fire, or green, of verdant fields, has anything to do with this still remains a
matter of speculation. The emotional vibration sent out by red of the prismic
ray is known to scientists to be the most powerful and excitiative, while the
blue and violet are the most sedative. Lumière, the greatest of all authorities
on color influence, after a series of tests covering many years, described the
effects of color as the engine that propelled the various phases of human emotion
to a perfect consummation of desired results.
“With the stage production reaching its present state of artistic
perfection, the scenic artist can no longer paint his scenery merely to
represent the outward appearance of the requirements in the manuscript. He must
read the manuscript as carefully as the producer, who determines on his reading
whether he is willing to make a presentation of it. The artist must make a
serious and analytical study of the script and determine the predominating
emotion of each act and choose his color scheme for the scenery in order to
attain a perfect synchronization of color and emotion. By this means alone can
a happy blending of scenery and dialogue, together with the acting of the
company, produce the effect hoped for by the author and the manager to obtain
complete success for their efforts.
“Speaking in an elementary way, for the purpose of providing simple
experiments of color influence, the reader can easily determine the effect of
amber in creating depression. By the use of pink exhilaration is promoted. A
room done entirely in green simulates morbidity, while on the other hand blue
is soothing. It has been discovered that the deeper and darker the tones of
blue used as a decorative color scheme the more soothing and peaceful and cam
is the influence on human emotion. Brown is a non-emotional color. It creates a
sense of firmness and solidity. These suggestions can be utilized to as good
advantage in home decoration as they have been in stage scenery. A sombre
setting, with a flash of color, upsets synchronization of emotion, with the
color scheme of a setting, just as awkward words clash in a musical score with
notes intended to be complementary thereto.
“Lighting is so closely allied with stage settings that if there is not a
unity of purpose between the two the audience gets the discord, which in this
instance is unpleasing to the eye. In consequence thereof the play fails to
satisfy and good acting is curtailed of effect.”
The scenic art world was small in 1920. Then, just as now, personalities circled around one another as if dancers at a ball, occasionally changing partners along the way. Today’s post is about P. Dodd Ackerman, a friend and colleague of Thomas G. Moses who made the papers in 1920. The next few posts will explore the life and career of P. D. Ackerman and his brother E. A. Ackerman.
Advertisement for scenic artist P. Dodd Ackerman in “Julius Cahn’s Official Theatrical Guide” for the 1903-1904 season.
On Feb. 29, 1920, Ackerman was featured in a “New York Tribune” the newspaper article. The headline for the article announced, “Work of the Scenic Artist Has Advanced Materially Says P. Dodd Ackerman” (New York Tribune, 29 Feb 1920, page 34). The most interesting section of the article for me was the section: “Theatrical managers are now accepting designs from men who do not make the scenery. Ackerman does not believe in this and has come to be one of the pioneers in coming out against the practice. He believes that the man who is the artist, who is practical, who understands stagecraft and has education can do the type of work now required in the theater, although he has been a member of the old school of stage design.” Times were changing and the scenic world was turning upside down with the appearance of designers without a full understanding of stagecraft.”Here is the article in its entirety, as it provides an interesting perspective of the scenic art world in 1920, viewed from a member of the “old school”:
“J. E. Dodson, the English character actor in the late Charles Frohman’s companies, liked stage interiors to match the socks he wore. When P. Dodd Ackerman and Ed Unitt, the scenic artists with the producer, were at work on scenery for a new play he would come up, show them his socks and say:‘Boys, be sure to get the right shade for these.’“Now Ackerman has a very different problem. He is trying to design a room which will be the setting for the three acts of Max Marcin’s new play, ‘Three Live Ghosts.” It must not be ornate, it must not be highly furnished and yet it must hold the interest of the audience throughout the play.‘Sounds very simple, doesn’t it?’ he asked in the office of his studio opposite of the Metropolitan Opera House. ‘Yet I have been going about for ten days trying to dream of just the right room.’In these two instances there is summed up the advance in scenic art, an advance which has come in the last six or eight years, starting in Europe. When Dodson was acting and even years after his retirement, stage decorations were supposed to be reproductions of nature or of a locality or room. They were copied line for line, and the element of imagination, although present, did not enter into the designing of the scenery. Simplicity and suggestion are the keynotes of modern stage designing. Imagination is called upon, both the imagination of the artist and the imagination of the audience, and much is only hinted at, sometimes very faintly. Big, blank wall spaces are being used and are believed to be more decorative than the highly ornate hangings of a few years ago.Scene painters until four or five years ago, designed, created and made the scenery themselves Theatrical managers are now accepting designs from men who do not make the scenery. Ackerman does not believe in this and has come to be one of the pioneers in coming out against the practice. He believes that the man who is the artist, who is practical, who understands stagecraft and has education can do the type of work now required in the theater, although he has been a member of the old school of stage design.‘Many studios have allowed managers to hand them so-called designs and have made them possible through their efforts,’ he said. ‘The man who did only the very primitive part of the work got all the credit and the studios were never heard of. But it meant an income to them and they were satisfied. I have consistently refused work with any except of my own designs, and I have had a hard battle to convince managers that a man with an established reputation in the old school can change the order of things and do the new. How many theatergoers who laugh at the situations and admire the acting give even a moment’s consideration to the thought, the time and the expense of the stage decorations which often help make or ruins a production? It is doubtful of the ratio is more than one in ten.Briefly Mr. Ackerman, who has designed and built scenery for many Winter Garden productions, for ‘The Magic Melody’ and ‘The Passions Flower,’ now current on Broadway; for ‘Le Coq d’Or,’ at the Metropolitan and many other plays, described the steps leading from the manuscript to the completion of the scenery and its erection of the stage.The manuscript is turned over to the scenic artist, and frequently the playwright confers with him and suggests what he desires to bring out in various scenes. After reading the manuscript and noting the locale or setting, the artist designs the scenes in colored studies. These are submitted to a manager and at a conference at which the author, the stage director and the artist are present, they are discussed and either accepted or rejected.‘Sometimes it is necessary to make a great many studies before one is accepted. It is just like writing a play or a story. You might hit it at the first attempt, or you might have to wrote and rewrite until you are successful,’Models, drawn to scale and planned as carefully as houses, are made from the sketches and are also submitted. When they are passed, working drawings for the builders are made, and they are charged with determining the mechanical details of the work. For example, every piece of scenery must be no more than five feet ten inches in width in order to make railway transportation of the sets possible. The scenes are usually all fitted up before the painters start on them, and when completed are set up in the theater by the mechanic who built them from the plans, usually not until the day of the dress rehearsal.‘Lighting is a very important element,’ Mr. Ackerman said, ‘and I stipulate in every contract that I make that it must be under my supervision. I know the play, and working with the stage director it is possible to bring out the desired effects. Stage lighting, I find, is largely a matter of patience and experiment. In costume plays, it is necessary to have the actors on the stage during the experiments to see the effect of the lights on their costumes.The average time necessary to design and build the scenery for a play is from six to eight weeks, but seldom is enough time given.‘It is necessary then to think quickly and have a great source of knowledge at the tips of one’s fingers,’ Mr. Ackerman continued.To prepare for his work, Mr. Ackerman studied at the Art Students League, at Cooper Union, and Beaux Arts in Paris. He has also traveled and read extensively. Ed Unitt and he were the artists for the late Charles Frohman, and this, he says, was the best job he ever had.Through the lofty-ceilinged studio he led the way. Huge canvases, many colored, were stretched out on frames, waiting for the artist’s brush. Yet no scaffolds or ladders were visible. Simply by pulling a rope, which adjusts a system of weights, it is possible for one man to place the gigantic easel in any position he desires.‘Scenery,’ he concluded, ‘must be a background. When it gets beyond a background, then it is stage scenery. It should never intrude so much that the audience overlooks the play, the costumes or the people on the stage.”
To place Ackerman within the context of the Thomas G. Moses story, both Moses and Ackerman partnered with the same artist – L. L. Graham. In 1882, Thomas G. Moses left the Sosman & Landis Studio for the first time. He partnered with Lemuel L. Graham for just over a year. Graham later partnered with P. Dodd Ackerman in Brooklyn, New York. Their studio building was at 1576 to 1580 Bushwick Ave, New York. They purchased the Brooklyn lot in August 1902. By this time, Moses was also working in New York and had partnered with William F. Hamilton, forming Hamilton & Moses.I will continue to explore the life and career of Ackerman in tomorrow’s post.
