The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1882-11-12

nor opportunity to correct his work.
When a picture is finished in an
artists studio the artist sees where a
change here and there will enhance
the value of his work, and correct it.
The scene-painter must call all his
work ga go" and start on the next
scene. eve press your hat while you
wait" is the sentiment. The man
ager comes to the artist, and says
we want a street-Paris, 1,600-to-
night. He must have it then, though
the heavens fall. "Time, tide and
managers wait for 40 man." Many
times in the experiences of all
scenic-painters are they obliged to
work thirty-six hours at 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
criticised 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 rec
ogniZed in the world of art. Poor
dead Minard Lewis was the very
prince of scenic-artists, and his
genius was the wonder and admira-
ton Of every artist Of every depart
ment of art in New York. Yet the
tbeatre-go public who for thirty
or forty years had admired and APP
plauded his beautiful work did not
know nor care to know his name.
The position of scenic-artist in
frst-class theatre is one Of great re-
sponsibility, which is properly rec
ognized "behind the curtain line"
but the general public has no in
terest in the personality of the
scenic-artist, supposing in a vague
sort Of way that the manager paints
the scenes. 1t is no unusual thing
for the scenery to be lavishly COM
menGed by the press and public, the
manager receiving great praise for
his s'enterprise, taste, and liberal
ity, 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 always been done
them (perhaps through thought
lessness) 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-painteIs themselves
that they do with the other indiVid-
ual members of the theatrical husi-
ness, and that they do with other
artists, and would find out under
what adverse circumstances they
generally labor, their sense Of JUS
tice would cause them to be more
discriminating in their reports. IfI
"a theatre during an extended period
is uniformally negligent in the mat
ter 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, 1t should not be done in the
loose and indiscriminate manner
which Injuries most the artist who
is frequently not to blame. If the
dramatic critics would visit and be-
come acquainted with the scenic
artists, they would be welcomed.
and would perhaps gain in the inter
ests of dramatic art and progress
some ideas from that unknown and
untbought of portion Of the theatre
(the paint gallery that would be al
revelation to them. The sooner the
press and public recognize the scene
painters and artists, and deal with
them individually as with other
artists-commending or condemn
ing them on Their own merits-the
better it will be for the elevation of
scenic art. HENRY G. TRYON.
Chicago Tribune.