Page 10 - Boca Club News - July '22

Page 10, Boca Club News

“Art of the Hollywood Backdrop” from page 8 with wild abandon, not courted,” said Thomas A. Walsh.
“Their unique industrial techniques permitted them to
Some of these artists came from a family tradition be Norman Rockwell at one moment, and then Turner,
of the craft, with lineages spanning three generations of Rembrandt or Vermeer at another. As artists, they made
painters. The craft stayed within the family. Most were motion picture artworks ‒ whether with brush, roller and
trained as professional artists, yet they remained uncredited, sponge, spray guns and Hudson tanks, brooms, or just sheer
sometimes because of union agreements, and mainly tactile-aggression ‒ on a massive Ford’s River Rouge type
because the studios wanted to keep a firm grip on the secret of industrial scale and output schedule.”
techniques that were handed down from master to apprentice The Museum will present a series of events and
on the backlots. educational presentations for the community throughout
The physicality of painting across these giant canvases the run of the exhibition. Learn more about this special The Sound of Music, 20th Century Fox (1965). View from
was often overwhelmingly difficult. Some artists even programming at bocamuseum.org/visit/events. von Trapps’ back terrace, with backdrop, 30’ x 15’. Photo:
suffered tragic consequences in the early years of this craft, Sandy Carson.
before the studios developed more sophisticated working
platforms: John Coakley’s father fell to his death from a
perilously high scaffold while painting a backdrop.
“This has become my passion project, to tell their stories.
I will be their champion in this lifetime,” said Karen L.
Maness. “Historically, as a woman I would have never been
allowed to work alongside them in that era. As a teacher,
they have now become my masters. When you choose your
mentors as ghosts, they can’t say no,” adds Maness.
These creations were painted for the camera lens itself,
not for the human eye. It is a very impressionistic style of
painting ― not really photo-realism, but it snaps together
as photo-realistic when viewed from a distance.
Up close they look totally different. When visitors to the
Museum take selfies with their phone cameras, the resulting Texas Performing Arts, University of Texas at Austin. Texas Performing Arts, University of Texas at Austin. Photo:
image will look very different from what they see in person Photographer: Sandy Carson Robert Silver.
in the gallery. This unique concept of “photo-realism for
the camera” was spearheaded by George Gibson; he took
scenic art to an entirely new level of artistry. In the hey-day
of MGM, they had three shifts of scenic artists working day
and night, non-stop. Museum visitors will be able to take
selfies in front of this original backdrop from Singin’ in the
Rain, including a recreation of the sofa and mannequin from
the famous scene.
“This show is about the joy of re-living something
you grew up with, that you always thought was real,”
says Thomas A. Walsh. “It’s about getting as close to
that magical moment in time as you can. Being in the
same space with that giant, familiar scene. It is difficult
for people to get their minds around the awesome size
of these magical spaces, until they see them in person.
People are often shocked and surprised by the scale and
visual impact of these massive creations. These are literally Ben-Hur, MGM (1959). Backdrop: ancient Rome, 48’ x 18’. Photo: Sandy Carson.
some of the largest paintings ever created in the world,
similar to cyclorama paintings. Aside from the technicians
working in the soundstages, no one else has set eyes upon
this collection. This is the first time the public can see this
collection in person,” adds Walsh.
“Credit went to everyone in these classic films except
the scenic artists who made these cinematic moments
possible by creating the backdrops,” said Irvin Lippman.
“The heroic efforts by these preservationists to recover the
singular artistic knowledge of these masters is the heartbeat
that underlies this exhibition at our Museum. Hollywood’s
most closely guarded creative secrets can finally be revealed
through this never-before-seen exhibition that we are proud
to debut here in South Florida.”
The show also features an Education Gallery created
especially for this exhibition, showcasing historic tools of
the trade used by these artists in Hollywood.
One of the most memorable experiences for visitors
to the Museum will be the opportunity to see up close the
actual brushstrokes and dynamic hand-painted techniques
that were used by these artists, to create the necessary effects
they developed for the camera lens.
“In this form of painting, the deadlines and physicality
required speed and confidence. The canvas was attacked

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