Painting Process – Page 3

Tales from a Scenic Artist and Scholar. Part 711 – The Art and Mystery of Scene Painting, 1902

Part 711: The Art and Mystery of Scene Painting, 1902

Scenic artists and their color palette. From the article by William Wheeler, “The Art and Mystery of Scene Painting,” 1902.

Grinding the dry pigment. From the article by William Wheeler, “The Art and Mystery of Scene Painting,” 1902.

The following is the first in a series of posts pertaining to the article “The Art and Mystery of Scene Painting,” published in “Britain at Work. A Pictorial Description of Our National Industries” during 1902. Here is part one of three posts:

“SCENE -PAINTING is, of course, an art as well as an avocation. The scene – painter, it is true, can aim only at broad effects; delicacy and subtlety he must not attempt. And to the conventions of the ordinary painter he has to add others arising out of the circumstance that his work has to be viewed from a distance, not only in artificial light, but often in artificial light that is tinted. This, however, does not make his work less an art; it is one difficulty the more to over come; and the best scene-painter, other things being equal, is the one who most successfully adapts his art to all the manager’s exacting requirements.

In these pages, however, it is with scene- painting as an avocation rather than as an art that we are primarily concerned. That those who rise to distinction in the profession are not unhandsomely remunerated for their skill and pains may be taken for granted. In these days so much depends upon the ” mounting ” of a piece — audiences have, as a result of long indulgence, come to expect so much in the way of scenic beauty — that it would be strange indeed if the men whose function it is to supply the demand had to complain of inadequate recompense in current coin. Nor does the work fail to bring some measure of glory to those who are mainly responsible for it.

Such names as Hawes Craven, Joseph Harker, Bruce Smith. VV. Telbin, R. Caney, W. Harford, Henry Emden, W. T. Hemsley, T. E. Ryan, and Walter Johnston are almost household words among that largest of all “the classes” who frequent the theatres. A fleeting kind of fame, no doubt. But so also is that of the actor. The greatest of those who tread the boards and nightly move multitudes to ecstasy have no sooner quitted the scenes of their triumphs than they begin to fade into abstractions, and if they remain anything more than mere names it is at least as much because, like David Garrick, they were personalities as on account of their histrionic genius.

Although some of the big cities of the provinces, such as Liverpool, Manchester, and Birmingham, have their own scene painters, the great centre of the profession is London ; and it is the scene-painters of the metropolis who for the most part furnish forth the scenery for those touring companies that carry successful plays into the country. Yet even in London— and even though during the last few years theatres have been springing up all over the town — the number of scene-painters is not considerable. Painters and assistants together do not, probably, number more than about a hundred. To these must be added the articled pupils; and although many of these have acquired a consider able degree of proficiency, one still marvels how so small a body of men contrives to get through such an enormous mass of work.

In former days each leading theatre had its own staff of scene-painters; now the rule is for the scenes to be distributed among several artists, regard being had, of course, to the special aptitudes of many of these have acquired a consider able degree of proficiency, one still marvels how so small a body of men contrives to get through such an enormous mass of work.

To be continued…

Tales from a Scenic Artist and Scholar. Part 575 – M. Armbruster & Sons Scenic Studio

Part 575: M. Armbruster & Sons Scenic Studio

The 1901-1902 Columbus Directory lists that M. Armbruster & Sons studio was located at 247-253 South Front Street. Matthias, Otto H., Albert E. and Emil G. were all listed as part of the firm in the city directory. Interestingly, Otto H. was working in New York for Moses & Hamilton during this same time. The home address for each of the men was noted as 247 S. Front Street.

The main studio building included offices and a property storage room. Wooden sheds provided extensions that provided additional storage for larger scenic pieces. By 1904, a journalist for the “Columbus Sunday Dispatch” described the interior layout of Armbruster’s studio. The first floor housed the carpenter’s shop, sewing room and storage areas. There was also a paper maché workroom on this level. It was in this room that a variety of set pieces were manufactured, including mantels, statuary, ornaments, and stage food for dining scenes.

Lower level of Armbruster studio (section of the carpenter shop). Armbruster Scenic Studio Collection, The Jerome Lawrence and Robert E. Lee Theatre Research Institute, The Ohio State University.

The second floor of the building afforded the best light for the paint shop. This area was 64 feet long, 62 feet wide, and 58 feet high. The Sunday Dispatch article described, “The canvas is stretched on frames, the largest of which there are two in number, extends almost the entire length of the floor as to permit of their being lowered, to accommodate the artist… A feature of the movable frames is that they are sort of set out from the wall, a sufficient distance to permit working behind. This is necessary in painting stained glass windows, where colors must not be seen until thrown through the canvas form lights behind.” The article continued, “In the center of the room are two large stationary frames, close together, between which is a platform which may be elevated or lowered as desired.” Each large movable paint frame was approximately 40 feet by 50 feet. The standard paint frame used by Armbruster artists was only 30 feet by 50 feet. The gridiron in the studio accommodated two standard frames lashed together, allowing the final size to measured 60 feet in length.

Image of Armbruster paint frame and hand cut stencils. Armbruster Scenic Studio Collection, The Jerome Lawrence and Robert E. Lee Theatre Research Institute, The Ohio State University.

The painting process for the studio was also described in detail, “The palette, for use in mixing the paints, is a table about ten feet long that can be pushed wherever needed. It has a separate compartment for brushes and for a number of pails of paint…The colors are taken from the cans and mixed on the flat surface of the palette or table.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 521: Palette & Chisel, November – The Changing Times of Scenic Art

Part 521: Palette & Chisel, November – The Changing Times of Scenic Art

Thomas G. Moses was a member of the Palette and Chisel Club in Chicago and contributed a variety of articles to their monthly newsletter during the late 1920s. His series “Stage Scenery” was first published during September 1927. The article, however, was written by Moses during the spring of 1918.

Palette & Chisel newslsetter from November 1927 with Thomas G. Moses’ article “Stage Scenery”

Here is Moses’ final November installment during 1927:

“Advertising in theatrical papers and magazines is quite necessary for this line of scenic painting. Illustrated catalogues are gotten up with a good deal of care and half-tones of the actual painted scenes are used. As stages differ in many ways, especially in size, from nine to forty feet in depth, it is quite essential that accurate dimensions be obtained. A card is sent to the prospective buyers which they fill out, giving all the required measurements. The scenes needed are listed, estimates made, the order is received, and each scene is given to the artist who is the most competent to execute that especial scene.

Advertisement for P. Dodd Ackerman & Co. scenic artists and constructors, 1905

Sosman and Landis shipping Label attached to a wooden arbor

On completion the drop and borders are rolled up the short way and boxed, the frame-work is crated and shipped by express or freight. Instructions are sent for the hanging and setting of all scenes; on many stages it requires the supervision of an expert who is sent to do the work. Models and sketches are made and a miniature stage with all lines and lights, is used to set up the different scenes. The customer can see exactly what he is going to receive. As the average small theatre does not change the scenery within a period of ten years or more it has to be very neutral in design and color so it will not tire the audience in the ten years of wear.

Scenic artists working on a paint bridge, high above the stage

For many years the larger theatres in many parts of the country put in a paint frame and bridge. The scenery was then built and painted in the local theatre, which necessitated the artist and assistant, with a good mechanic, to travel about the country. The writer did this for twenty years, from Maine to California, back and forth, some theatres taking as long as ten months to stock while others were finished in two months. In those days the scenic artist and his work were looked upon in an entirely different light than they are today. Possibly it is the fault of the artists; an indifference as to the real worth of their work has caused the managers to look to others for suggestions, making a simple workman of the artist, one who only follows their instructions, allowing the stage manager to receive all of the credit for the stage settings, while the artist labors on the paint frame all through the hot and sultry night to produce something artistic.

The scenic art has been the starting point for a great many of the well-known picture painters. Among the English painters are Clarkson, Stanfield and David Roberts. All were prominent scenic artists and became as great in picture painting. Some of the leading American artists were scenic artists. J. Francis Murphy was an assistant to Mr. Strauss, who was the artist at Hooley’s Theatre in 1874. The well-known illustrator and water colorist, Charles Graham, was also an assistant to Mr. Strauss at this same time.”

The article continued, “W. C. Fitler was another scenic artist who made good pictures. Jules Guerin, the noted illustrator, started his art career as a scenic artist. I might name several dozen artists who owe their early training to scenic art.

There are a dozen Chicago scenic artists who have forsaken the paint frame pictures for the easel pictures. In a way I do not blame them, for scenic painting is made up of ling hours and hard manual labor. The bigness of the work appalls many who venture into the game, and, with its dirt, soon discourages them and they looker for a cleaner vocation. The close confinement of the old theatre days was another disagreeable feature of the work that never appealed to anyone; no daylight, always long hours and foul air.

The studio of today is an entirely different proposition; a large airy room, plenty of space in which to work, regular hours, all new work, and with very few exceptions, congenial companions; each artist specializing in one line of work, plenty to learn each day and good salaries paid to all, is a big inducement to forsake the stock painting in the theatre and accept the studio work.

The establishment of the scenic studios has created a great deal of competition and sometimes it is very keen, for there are quite a number of assistants who do not know the business thoroughly, yet can convince a certain type of theatre managers who, very often are managers of a very good theatres, that their painting is just as good as that of a man of more than thirty years’ experience and a national reputation.

The raw material has advanced at such a rate that it is impossible to keep pace with it. At this writing (spring of 1918) with the great world’s war going on, common cotton has advanced to thirty-four cents a yard when two years ago it was only eleven cents, and the quality has dropped one hundred percent.

It is impossible to get the rich color we had two years ago. The color question is one of great importance. To begin with, one of the first important features of scene painting is the ground coating or “priming,” whiting and glue size. It must be very carefully mixed and “just so.” T takes several buckets to prime and ordinary drop; the edge must be kept wet so the color will be even all over. If the color edge is dry it will become too thick and will crack when rolled up. In many cases a strong tint in the priming is used for a tonal feeding, especially in landscape. It gives a certain amount of looseness when plenty of tonal color is left in the painting.

The end.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 520 – Palette & Chisel, October 1927 – Creating Stock Scenery

Part 520: Palette & Chisel, October 1927 – Creating Stock Scenery

Thomas G. Moses was a member of the Palette and Chisel Club in Chicago and contributed a variety of articles to their monthly newsletter during the late 1920s. His series “Stage Scenery” began during September 1927, however, it was originally written during the spring of 1918.

Here is the third part of Moses’ “Stage Scenery” in the Palette & Chisel newsletter during October 1927:

“The material used to paint on is a fine grade Russian linen and a heavy grade of cotton cloth. Linen is used for all scenery on frames; the cotton is used for drops and borders, usually called “hangers.” The lumber is a fine grade of clear, white pine, without knots or sap. It has to be very clear and straight grained so it will stand upright without too much bracing.

After the canvas has been carefully prepared with a priming coat of whiting and glue is thoroughly dried, the artist draws his design with charcoal, which must be carefully done. In many cases the model must be laid off in squares and the same is carried up on the drop or set pieces. This enables the artist to produce the model exactly as part of the paint frame is below the bridge most of the time so the artist cannot see all of the drop. After the scene is drawn in it is traced with ink, which enables the artist to lay in the main local colors without destroying the drawing. The drawing out of an interior is very laborious. The work has to be done very accurately and pounces and stencils made, as there are many pieces to be covered.

In case of a landscape, they sky is laid in first, distance follows, then the middle distance, and there are many pieces to be covered.

In case of a landscape, the sky is laid in first, distance follows, then the middle distance, and the foreground last. The trees are run up when the sky is dry, which takes a short time. After all the broad “masses” of the “lay in” are dry and a clean palette has been arranged by the “paint boy” and the pots and pails holding the “lay in” are placed under the palette, “(a clear space is required for the many tints that are mixed on the palette, several small cups of dark purple and a strong rich color is used to emphasize the darks in the foreground) comes the careful work of finishing a landscape; strong shadows and half tones in foliage up to the strongest flickering of sunlight. We now take a little more time for our work. The “lay in” had to be done very quickly as it is very essential that the colors be kept will blend, which, in turn, makes the “cut up” easier. A drop representing a landscape 24×36 feet in size can be “laid in” with a lot of rough detail inside of two or three hours and retain wet edges.

As the distemper colors dry out several shades lighter t causes many anxious moments to a novice. There was no trouble with color fading or changing before fireproofing; it eats all the blue (especially Cobalt) out of purple, leaving a bad color, neither a blue nor red, which makes trouble for the artist.

Showing difference between wet and dry pigment colors during the painting process

In most cases, in painting a landscape, the artist endeavors to obtain his dark colors in the “lay in” so that when the “cut up” comes it will be all light colors. Most of the artists start to finish the drops from the foreground, getting the strength of the foreground first. Big, broad strokes are what count. It may look rather coarse close by, but when the completed scene is properly lighted you will find a surprise awaiting you. We know how to light a scene, but often some of our best effects are purely accidental. We follow these accidents up, develop them, and find soft, atmospheric color, all to be done with electricity.

Looking up at a collection of backdrops and seeing the bottom battens

Stock scenery for small halls and opera houses and for large vaudeville theatres has grown to be quite a business. Scenic studios have sprung up like mushrooms all over the country. To get the very best facilities for handling all sizes of scenery, the studio has to have a height of at least 54 feet, allowing a drop 30 feet high to be painted from a stationary floor, 24 feet from the basement floor. The width of the studio should be at least 50 feet and 150 feet in length. A building of these dimensions will accommodate fifteen paint frames, giving work for fifteen artists, five paint boys, four helpers to handle the scenery on and off the frames, two sewing women and six carpenters to build and prepare the frames for the scenes. This would constitute a first class studio and turn put a lot of work.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 410 – “Art on the Stage” 1881, Other Materials Used

Part 410: “Art on the Stage” 1881, Other Materials Used

“The Building News and Engineering Journal” published an article on the art of scene painting in 1881. Here is the third, and final, part.

Bag of Van Dyke Brown pigment. Photograph by Marc D. Hill. He has some amazing pictures. Here is the link: https://hiveminer.com/Tags/old,powder

Ultramarine blue dry pigment. Photograph by Marc D. Hill. He has some amazing pictures. Here is the link: https://hiveminer.com/Tags/old,powder

Bag of turquoise b pigment. Photograph by Marc D. Hill. He has some amazing pictures. Here is the link: https://hiveminer.com/Tags/old,powder

“Other Materials Used
The scene-painter, however, is not confined to colours in producing his effects. There is a number of other materials of great importance in scene-painting. The gorgeous dashes of blue, crimson, yellow, and purple that make the resplendent fairy grotto are not alone sufficient. The glitter that is seen on the many-coloured stalagmites and stalactites is produced by ordinary gold and silver leaf. Sometimes it becomes necessary to produce upon the scene a smooth, glittering surface which shall be coloured. This is produced by foil papers. They are made of paper with a polished metallic surface, and are very effective in fairy scenes. What are known as bronze powders are made of all shades. They are metallic powders of gold, silver, bronze, steel, blue, red, purple, and other shades. A brush full of glue is drawn across the required surface, and the bronze is spread over it. The consequent appearance is that of a rough metallic surface similar to that frosted silver.

In some scenes it is necessary to represent precious stones. The jewels in the walls of some Eastern despot’s palace cannot be imitated by paint with a sufficient degree of realism to stand the glare of gas and calcium light. Hence, theatrical art resorts to what are called “logies.” These are made of zinc, in the shape of a large jewel, and are set in the canvas. They are made in all colours; and thus, by a very cheap and easy process, the barbaric splendour of Persia or of Turkey may be reproduced in all its original opulence. Sometimes it becomes necessary to represent that changing sheen that is visible upon highly-polished metals when exposed to the rays of the sun. This is done by means of coloured lacquers. The surface of the metal is painted, and a wash of those lacquers, blending from one tint into another, is put over it. The light reflected from these different coloured washes produces the desired effect, and gives a highly realistic representation of a surface of metal.

An ice scene is never complete without some thing to produce glitter and sparkle. This effect is produced by “frostings” of crushed glass, which are made to adhere to the canvas in the same manner as the bronze powders. The elaborate ornamental work of interior scenes is always done by means of stencils cut in pasteboard. There are books published on fresco painting which give large numbers of beautiful designs for panels, ceilings, mouldings, and other ornamental work. Every scene-painter has a collection of these works. The ingenious artist, however, is constantly combining the different designs, and often invents new ones. He is thus enabled to present to the public an ever-changing variety.

The last thing that the scene-painter does before the production of a new play is to have his scenes set upon the stage at night in order that he can arrange the lighting of them. The “gas-man” of a theatre is the artist’s mainstay. It lies in his power to ruin the finest scene that was ever painted. Ground lights turned too high upon a moonlight scene, calciums with glass not properly tinted, or the shadow of a straight edged border-drop thrown across a delicate sky – all these things are ruin to the artist’s most careful work. The proper lighting of a scene is, therefore, a matter that requires the most careful study. The artist sits in the centre of the auditorium and minutely observes every nook and comer of his scene under the glare of gas. Here a light is turned up and there one is lowered until the proper effect is secured. The gas-man takes careful note of his directions, and the stage-manager oversees everything. Long after the audience has left the theatre on the night before the production of a new play, the stage-hands, the artist, and the stage manager are at work, and the public sees only the charming result of their labours when the curtain rises on the next night.

The end.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 409 – “Art on the Stage” 1881, Secrets of the Scene Painter

Part 409: “Art on the Stage” 1881, Secrets of the Scene Painter

“The Building News and Engineering Journal” published an article on the art of scene painting 1881. Here is the second of three parts.

“Secrets of the Scene-Painter

The next step is the laying in of the groundwork. The sky is, of course, the first point. This is done with whitewash brushes, the painter being absolutely free from all restraint in his method of putting on the colour. The principal point is to get it on quickly. And here the great advantages of painting in distemper become thoroughly plain. These advantages are two in number: the first is, that the colour dries very quickly, thus affording the artist a high rate of speed in working; secondly, all the colours retain, when dry, precisely the same tint as they had before being mixed. The addition of the sizing makes each colour several shades darker than it is when simply in the powdered state. The knowledge of this fact and thorough understanding of the effect the tints will produce after drying is one of the great secrets of the art. Oil-painters of high standing have been known to try the distemper method with utterly disastrous results. Colours mixed with oil always darken several shades and remain dark. Colours mixed with sizing always dry out to their original shade.

Image by Marc D. Hill. He has some amazing pictures. Here is the link: https://hiveminer.com/Tags/old,powder

Different painters have different methods, and there is as much variety in the school of scene-painting as in other branches of art. The German, French, and American artists use opaque washes, or, as it is usually expressed, work in “body colour.” The English school, in which the greatest advances have been made, use thin glazes. This in scene painting is the quickest and most effective. Morgan, Marston, Fox, and Voegtlin are among the leading representatives of this school in America, and their method is gradually spreading among the artists of that country. Its rapidity may be judged from the fact that one of these artist’s lately painted a scene measuring twenty by thirty feet in less than four hours.

One of the greatest differences in scene-painting from ordinary water-colour painting is that, while the colours of the latter are transparent, those of the former are opaque. For instance, the water-colour painter can lay in a wash of yellow ochre, and, by covering it when dry, with a light coat of madder lake, can transform it to a soft orange. In distemper, however, the coat of madder lake would not allow the yellow to show but would completely hide it, and the tint presented would be pure pink. From this fact results a total difference in the painting of foliage. The water-colour painter lays in his light tints first and puts in his shadows afterwards. The scene-painter may do this or not as he pleases. He may put his light tints over his dark ones and they will not lose any of their brilliancy. The advantage of this in regard to speed may be easily seen. If the water-colour painter wishes to put a high light in the middle of a shadow, he must first erase with a sharp knife a portion of his dark tint, or else put on a heavy spot of Chinese white. Over the spot thus erased or whitened he puts the required tint. The distemper painter is relieved of this roundabout process, for he simply dots in his light colour wherever he needs it over the darker shade, and it shows with perfect brilliancy. Again, in painting skies the scene-painter works by a method of his own, not unlike that adopted by oil-painters. The water-colour painter must leave all the broad light of his sky when putting in the main colour, and is obliged to work with his tints wet. The scene-painter may lay in the entire sky with blue, and paint his light yellowish clouds over it afterward. If the ordinary water-colour painter were to do this, his clouds would be green. Some scene-painters, however, work their entire skies wet. The effect of a sky painted thus is always very fine, but only an artist thoroughly conversant with the values of his several pigments can do this. For the colours, it will be remembered, present a very different appearance when wet from that which they have when dry.

Scene-painting has become so important an art that one large firm in New York makes a great specialty of imported materials. There is a long list of colours and other things used exclusively in scenic art, and improvements are being constantly made. Formerly scene-painters were obliged to grind their own colours, but these are now prepared in “pulp” – that is, ground in water. Among the colours used almost exclusively by scenic artists are English white, Paris white, zinc white, silver white, drop black, Frankfort black, Turkey umbers, Italian siennas, Cologne earth, Dutch pink, Schweinfurter green, Neuwieder green, ultramarine green, Bremen blue, azure blue, Persian scarlet, Turkey red, Tuscan red, Solferino, Magenta, Munich lake, Florentine lake, Vienna lake, and blue lake. Some of these colours are also used by fresco painters.

Those which are never used except by scenic artists are celestial blue, golden ochres, green lakes, Milori greens, French green and yellow lakes. The colours specially imported for scene-painters are carnation, royal purples, green lakes, and the English chromes. Indigo is used in very large quantities by scenic artists, but it is used very moderately by water-colour artists. It adds considerably to the expense of getting up scenery.

To be continued…

Tales from a Scenic Artist and Scholar. Part 408 – “Art on the Stage” 1881

Part 408: “Art on the Stage” 1881

Today’s installment begins the last of three articles about scenic art in the 19th century. For the past few weeks I presented information from two vintage articles about the history of scenic art in England, one from 1866 and another from 1871. Leap ahead one decade to 1881 when the theatrical trade of scene painting was presented in the article “Art of the Stage.” It was first published in New York, then later appeared in “The Building News and Engineering Journal” – a fascinating publication in its own right.

Some illustrations from “The Building News and Engineering Journal,” where “Art on the Stage” was published in 1881.

“The Building News and Engineering Journal” began as “The Building News” in 1854. It was renamed “The Building News and Architectural Review” by 1860, and then “The Building News and Engineering Journal” in 1863. It ran until 1926, when it merged with “The Architect” to form “The Architect and Building News.”

In 1881, Volume 41 of “The Building News and Engineering Journal” included an article titled, “Art on the Stage.” Other articles from this issue include “Water Supply and Sanitary Matters,” “Practical Notes on Plumbing,” “The Improvement of Artisans’ Dwellings,” “Bristol and Gloucestershire Archeological Society,” “Restoration of St. Alban’s Cathedral Since 1877,” “Calculator of Measurement of Packages and Timber,” “Building a House on a Sand Hill,” and “Ancient Wood and Ironwork in Cambridge.”

Here is the first of three parts.

“Scene Painting is an art by itself. There is no other branch of painting just like it, either in the variety of subjects embraced or in the methods employed. The thorough scenic artist must be equally at home in landscape or marine work, architectural or fresco. He is not permitted to cultivate any particular branch of his art, nor any favorite style. He must be able to produce, at any time, the wild mountainous passes of Switzerland or the flat meadows of Holland; the green lanes of homelike England, or the winding valleys of romantic Spain. In his architectural work he cannot devote himself to the Gothic or the Romanesque, but must be equally master of the Moorish, the Greek, and the Oriental. He may to-day be called upon to paint the Temple of Minerva, and to-morrow the Mosque of Omar; this week the Windsor Hotel, and next week the Palace of Versailles. His art knows no boundaries, and his scope is confined by no limits. The universe must be at his command, and things unseen must live in his imagination. The methods by which he works and many of the materials he employs are altogether different from those employed by the ordinary oil or water-colour painter. They approach more nearly to those of the latter, yet even here certain qualities of the colours used by the scene-painter constitute a sharp dividing line.

In the first place, the ordinary water-colour painter works upon paper. The scene-painter uses canvas. He first makes a pasteboard model of his scene and gives it to the stage carpenter, who builds the frame-work and pastes the canvas upon it. It is then ready for the ‘paint frame.’ This is a huge wooden affair, hung upon ropes, with counterweights attached. It is usually placed against the wall at the back or side of the stage, and has a windlass attached by which it may be hoisted and lowered. The artist works upon a bridge built in front of this frame and at its top when the bottom is touching the stage. By hoisting or lowering the paint frame he is enabled to reach any part of his scene. He is provided with plenty of brushes, ranging from a heavy 2lb. brush such as is used by house-painters, to a small sharp one for drawing fine lines. In addition to these he has several whitewash brushes for laying in flat washes and skies.

His colours are kept in buckets, tin cans, and earthenware vessels. His palette is a long table with partitioned compartments on the top to hold small quantities of colour. Give him now his palette-knife, his rule, plenty of twine and sticks of charcoal, and he is ready to go to work. His first duty is to “prime” his scene. This is done with a plain coat of white. This colour and all others used by him are mixed with “sizing,” which is simply a weak solution of glue. Working with colours mixed in this way is called painting in distemper, and has certain advantages which will be spoken of further on. The priming coat is laid on with a heavy white wash brush, care being taken to drive the colour well into the canvas. Sometimes heavy unbleached muslin is used; but the usual material is duck.

After the canvas is primed and dry, the artist is ready to draw. Most scenic painters do their first drawing in a very sketchy manner. After the charcoal outline is finished, it is gone over carefully with an ink prepared especially for the purpose, and not used in any other branch of art. In architectural drawing this part of the work is necessarily done with the greatest care, as regularity of outline and accuracy of detail are absolutely necessary. A scene-painter’s outline for a landscape, however, looks very much like the off-hand outline productions hastily done by an old hand at sketching from nature. The scene-painter must be a master of perspective; for street scenes and palace corridors are frequently produced by him.

The method of drawing in perspective on a large scale is curious, though substantially the same as that usually employed. The artist selects his “vanishing point,” usually outside of his scene, and attaches to it by a pin a long piece of twine. Beginning at the top of the scene he marks off, in the foreground, the distances between his lines. He then blackens the twine with charcoal, and, laying the loose end on his first mark, draws it tight and snaps it upon the scene, making a line in the same manner as a carpenter does upon a long board. These lines are afterward gone over with ink and ruler. In this way he is able to produce a perfect perspective. Exterior scenes, in which a castle or other large building appears, often have the perspective increased in effect by continuing a wall or rampart down the stage upon a separate piece set exactly in the line of perspective.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 382 – The English and Central European Influence on American Scenic Art

Part 382: The English and Central European Influence on American Scenic Art

When I first started working as a scenic artist, I noticed regional discrepancies, both in regard to paint consistency and painting techniques. At first, I attributed the difference to historic versus contemporary paint application. It seemed that I worked with more solid colors, while some of my co-workers used a series of glazes. Regardless of differing painting techniques, our approach during the preparation of the composition was similar; layout and drawing techniques remained consistent.

My initial perception of “historic” versus “contemporary” painting techniques has gradually shifted to the idea that there were two distinct influences on the evolution of American scenic art, thus establishing two geographically defined schools of scene painting. Each tradition shaped a scenic artist’s painting process, particularly the mixing of paint and painting technique. These next few posts are an attempt to identify the two nineteenth-century approaches to scenic art in America and the various hybrids that developed during the twentieth through twenty-first centuries.

Two distinct scenic art traditions rose to prominence during the nineteenth century, each taking hold of particular region in the United States with not only a fierce passion, but also undying loyalty. The era that am focusing on is from 1850 to 1890; during this forty year period there was the development of two dominant approaches in the application of paint to theatre scenery – solid colors and glazes. Please understand that I am not delineating between the use of dyes versus dry pigment, as that also became its own unique tradition when creating drops that could be packed into a trunk for touring shows. In this post, I am specifically presenting two scene-painting traditions that found fertile ground in America and established two schools of scenic art associated with geographical regions – the East Coast and the Midwest. I will get to the contributions of other countries and the development of scenic art along the West Coast in separate posts.

The English and Central European schools of scenic art settled in the United States in the East and Midwest, respectively. Each had a distinct aesthetic in terms of landscape compositions, coloration, and paint application. The New York (English school) style built up a composition with a series of translucent layers – going from light to dark colors. The composition’s foreground held the action and detail, with the middle ground and background fading into an airy distance.

This is what I consider the English tradition of glazing. Note that the composition is created with a series of slightly darker glazes going from light to dark.

This is what I consider the Central European tradition of solid colors applied in an opaque manner. Note that the foliage in the composition is created by going from dark to light.

Historical sources from the late-nineteenth century credit the distinctive approach of glazing to John Henderson Grieve, father to the brothers Grieve. During the first decade of the nineteenth century, he introduced a glazing technique that his rivals would contemptuously refer to as a “Scotch wash.”

In the English school of scene painting, the foliage is created with a series of slightly darker glazes going from light to dark.

There is the gradation of glazes that get progressively darker when you move from the background to the foreground.

The Central European tradition for scene painting is characterized the Chicago scenic art studio of Sosman & Landis. Notice that the foliage is worked up from a dark base to light definition.

Prior to that time, the dominant paint technique was the application of solid colors in scene painting. It would remain that way in Central Europe. Grieve was reported to demonstrate an “extreme gracefulness” in his wash application when painting landscape scenery. It was recorded that by the middle of the nineteenth century, this system of glazing was adopted by most English scenic artists in both London and abroad. New York scenic artists, and those who worked along the Eastern seaboard became closely connected to the English style of scene painting and the application of glazes.

Scenic artists in Chicago, St. Louis, and Kansas City were closely connected to a Central European school where scene painting used a more solid application of opaque colors.

An example of American scenic artists during the late-nineteenth century working in the Central European tradition of applying solid color and working up the foliage from dark to light.

My research also suggests that the Germanic influence, particularly the Dusseldorf school, also promoted this painting process. Furthermore, the compositional layout shifted from the primary action moving from the foreground to the middle ground. In a past installment (#127), I have examined the Sosman & Landis artist, David A. Strong, who was dubbed the last of the Dusseldorf-trained scenic artists.

Walter Burridge (1857-1913) would affectionately refer to Strong as “Old Trusty” and a member of the Dusseldorf School. Fellow artists heralded Strong’s skill, his “facile brush,” and “the quality of opaqueness peculiar to his school” (Chicago Tribune, Dec. 18, 1892). It is this “quality of opaqueness” that was in direct contrast to the English practice of glazing. The opaque application of solid color also meant that a subject could be worked up from dark to light. The use of glazes typically meant that the composition was worked up from light to dark. Each was successful, yet supported differing approaches when mixing paint and applying color to the composition. Furthermore, each final product was intended to be viewed from a distance. So in that sense there remained uniformity when viewed from the audience. Most nineteenth-century theatre patrons would not be able to identify the differing techniques and aesthetic nuances, but the scenic artists would.

This is the first of a series of posts where I will look at the established nineteenth-century American scene painting traditions that shaped the training and work of Thomas G. Moses and his contemporaries. In this world Moses trained exemplified an American hybrid painting tradition as he rose to prominence as a scenic artist.

To be continued…

Tales from a Scenic Artist and Scholar. Part 378 – 1899, Theatrical Scene Painting and Homer Emens, second half

Part 378: 1899, Theatrical Scene Painting and Homer Emens, second half

The article “Theatrical Scene Painting” was published in “The Philadelphia Inquirer” on August 20, 1899, by James Clarence Hyde (page 46). Here is the second half of the article posted yesterday:

Homer Emens pictured on the paint bridge, from the “Philadelphia Inquirer” 20 Aug 1899, page 46.

“Mr. Emens, whose ancestors, by the way, were among the earliest Dutch settlers of New York, devoted several weeks to looking up authorities in the libraries, both public and private, and making the preliminary sketches. The scenario called for a drop showing the exterior of Peter Stuyvesant’s house; an interior of Whitehall, the Governor’s mansion; the old fort at the Battery and an exterior view of Whitehall. The play is in three acts and four scenes. Mr. Emens’ next step was to make the models.

Homer Emens pictured next to the model for “Peter Stuyvesant,” from the “Philadelphia Inquirer” 20 Aug 1899, page 46.

Sketch for the play “Peter Stuyvesant,” from the “Philadelphia Inquirer” 20 Aug 1899, page 46.

A model looks very much like a toy theatre with the proscenium arch omitted. It is built on the scale of half an inch to the foot. In making these Mr. Emens is guided to a certain extent by the scene plot, a written and roughly drawn plan showing the entrances, exits, set pieces and the like that are required in the action of the play. This is outlined by the authors. In making the models as much care with regard to the details is taken as with the proposed scenery. Ever leaf and every stone is painted in watercolor.

The stage carpenters at work on scenery for “Peter Stuyvesant,” from the “Philadelphia Inquirer” 20 Aug 1899, page 46.

Upon the completion of these models duplicates are made to guide the scene builder. In the construction of this it is important to observe simplicity, so that the entire scene can be set up, or “struck,” in a few minutes. The models for the “Peter Stuyvesant” sets were turned over to Claude Hagan, an experienced scene builder. Some time elapsed before his work was completed and then the scenery, or rather, the unpainted canvas mounted upon skeleton frames, was sent to the Fourteenth Street Theatre, where Mr. Emens does his work.

Stage carpenters at work securing fabric for painting, from the “Philadelphia Inquirer” 20 Aug 1899, page 46.

The pictures taken at the Fourteenth Street Theatre expressly for the Inquirer, give an excellent idea of how things look in Mr. Emens’ workshop. The artist, you see, needs a good deal of room. He requires not only the paint bridge and paint frames, but the entire stage. The paint bridge is suspended forty or fifty feet above the rear of the stage. It is about ten feet wide and there are no protecting rails to prevent the artist or his assistants from stepping off into space. At one end of the bridge is the studio where the models are constructed; at the other end are the shelves where the supply of paint is kept. The paints are not mixed with oil, as many people imagine, but with “size,” or diluted glue. On either side of the paint bridge hangs a massive frame, big enough to hold any “drop” (the background of a scene) that may be desired. These frames are lowered to and hoisted from the stage by means of a windlass. This is where the scenic artist’s junior apprentice gets in his fine work and acquires a muscle that is useful later in life. Scenery is usually classified as drops (the backgrounds), wings (the side-pieces), borders (the cross pieces overhead), and set pieces (such as a fort or a bridge). This is the first step in preparing the scenery is, of course, to have it placed upon the frames by the boss stage carpenter and his assistants. The frame is lowered to the stage and the scenery nailed on, as shown in one of the pictures. Then it is hoisted to the level of the bridge and the painting begins. Another picture gives an excellent idea of this. You will observe Mr. Emens in the foreground at the drawing board. Back of him, at his left, is an assistant sketching in outline a border. In his right hand he holds a long stick to which a piece of charcoal is fastened, in his left the model of the border. Preliminary to this work the canvas had to be “primed,” that is, painted white, and then the body color was laid on. On Mr. Emen’s right another assistant is seen painting a drop, while near by a third is mixing the colors on a very substantial palette. In the background the junior assistant is busy with the pots of paint.

One would probably wonder how such great effects are accomplished with the artist so near to the canvas.

How does he get his idea – of perspective – of atmosphere? The only answer to this is long years of study and experience. When the scenery is painted it is lowered to the stage. But there is still more to be done. In the case of a leafy border, for instance, the ragged outlines of the leaves have been marked with a thin red line, and all the intervening canvas has to be carefully cut out. In a third picture taken upon the stage, showing the carpenters and one of the artists at work upon a set piece, you will notice at the left, flat upon the stage looking a good deal like a mosaic floor, a piece of scenery. It is one of the borders, and from the canvas-littered stage you may know that busy hands with sharp knives have been cutting it out. This picture shows the boss carpenter seated at the right of the model of the old fort at the Battery in his lap. His assistants are fitting the fort together. The underpinning of the painted fort is strong enough to support several people, but it is so carefully constructed that it can be taken apart and placed flat against the wall in less than three minutes.

Perhaps in these few words an idea has been conveyed of the great amount of skill and labor required in preparing scenery for the stage, much has been necessarily left unsaid; the difficulty of getting up elaborate interiors, the use of stencils, the construction of practical waterways and a thousand and one things that a scene painter must know. He must combine the knowledge of a landscape artist of the first order, and architect and a builder. He must posses more than the ordinary patience, and then if he is a good business man he will have the happy consolation of a substantial bank account, even if the public are slow to accord him the glory that is his due.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 377 – Theatrical Scene Painting and Homer Emens, first half

Part 377: Theatrical Scene Painting and Homer Emens, first half

About the same time that Thomas G. Moses started working for Henry W. Savage at the American Theatre in New York, an article was published on the scenic design and art of Homer Emens. Emens was a contemporary of Joseph Physioc, John H. Young, Gates & Morange, Hart & Becker, F. Platzer, Walter Burridge, Ernest Albert, Edward Unitt, T. B. McDonald, F. Richard Anderson, and Moses. This is from a time when scenic artists were classically trained; they also understood stage mechanics and the effects of lighting. They were a part of a tradition dating centuries old, when individual artists sought mentors with whom they could study and acquire exceptional skills. Their artistic endeavors went well beyond any hobby, craft or individual art work. Scenic artists were recognized as part of the fine art community; they were the creators “magic” and of visual spectacle. They attained a level of skill that I have strived to achieve since first entering the field of scenic art. It was not a profession for the weak of heart, or those seeking the easy path toward recognition. By 1908, Emens was reported as “one of the most distinguished American scene painters” (Brooklyn Life, 22 August 1908, page 7).

Homer Emens and his model for “Peter Stuyvesant, Governor of New Amsterdam,” from Philadelphia Inquirer 20 Aug 1899, page 46.

The article “Theatrical Scene Painting” was published in “The Philadelphia Inquirer” on August 20, 1899. The article about Emens was written by James Clarence Hyde (page 46).

Here is first half of the article as it provides great context for the New York theatrical art scene:

“It all looks very pretty and complete to your eye as you sit out in front on opening night. It seems almost real enough to be true – the village street, the tavern, the Governor’s mansion. The painted scene is marvelously correct and effectively lighted. The play is a great success. When you go across the street for supper you will probably talk about the play and the acting. But how many people give more that a passing thought to the art, the labor and the care necessary to produce the scenery that has been such an admirable setting for the play? The performance lasted scarcely two hours and a half. You can rest assured that the scenery and properties alone took weeks, possibly months, to prepare.

New York is the great producing center of the theatrical field in this country. It is there that the best scenic artists, the cleverest property men and the most skillful scene builders are to be found. It is there that the gigantic paint frames are located. A correct estimate of the number of people who directly derive their living from the theatre and yet who are never seen by the public would surprise some who think that they are pretty well informed upon theatrical matters. Certain mills make a specialty of turning out the canvas used for scenery. There is one big lumber dealer in New York who makes it his exclusive business to supply stage carpenters with material. In the construction of scenery, lightness and strength are the essentials, and the patents on clamps, braces and hangers used only in scene building number over two hundred.

One of the heaviest productions for the coming season will be “Peter Stuyvesant, Governor of New Amsterdam,” which has been written for William H. Crane by Brander Matthews and Bronson Howard. As an illustration of how scenery is painted we will take this production as an example. Last winter Mr. Crane decided that he wanted a new play, and in view of his success in “The Henrietta” he wanted Bronson Howard to write it. Mr. Howard did not feel like undertaking the task. Then Mr. Brander Matthews was seen, but he, too, gave an evasive answer. Finally the dramatist and novelist were brought together and induced to collaborate, and the result is “Peter Stuyvesant.”

The first thing to be considered in a strictly historical play is accuracy, and the Astor and Lenox libraries were ransacked for this purpose. From the mass of material secured a scenario, or outline of the play, was drafted and submitted to Mr. Crane. He approved of it, and then it was found that time was flying; the winter had passed and spring was slipping by. It was decided to go right ahead with the scenery from the scenario without waiting for the play – an unusual proceeding. Homer Emens, one of the leading scenic artists of the country whose work is known not alone to the theatre-going public, but to the visitors to the National Academy of Design and the exhibitions of the Society of American Artists, was engaged.”

To be continued…