Evening star. [volume] (Washington, D.C.) 1854-1972, 1902-10-24
SCENE-PAINTING ART
PRELIMINARIES TO THE PRoDUC-
TON OF A PLAY ON THE STAGE,
Manner of Preparing the Models for
the Scenery, Costume and
Lighting Effects.


Throughout the long history of theatrical
scene painting-and 1t goes back to the
shadowy days of the Mosques, when priv
LEGGED spectators sat on the stage at the feet
of the actors-there has been a strong de-
sire among playgoers to penetrate the mys-
teries of stagecraft. In view of this fact,
the conspicuous absence from tones OF the
past of any book treating exclusively of
scenic painting, or the secrets of the mech
anism that property masters and stage car
penters delight in, Is surprising. And yet
their story. if they would tell 1t, would fill
a volume SO rich and varied in all sorts of
wisdom that the grave and the gay, the
lively and severe, would find untold meas
ures of instruction and entertainment In
its pages.
Where the Painter Works.
Fifty feet above the stage on which the
Walkure maidens chanted their wild noun
tain call to Metropolitan audience during
the last Wagner festival in New York
swings the narrow boardwalk on which one
of the best scene painters of America spends
each day and an occasional night creating
the settings that will be seen in the pro-
auctions of the new season. To this lofty
pedestal the layman must follow him who
new, art of scene painting, and unravel
the illusions that irradate a stage setting
with sunlight, starlight, moonbeams, snow
fakes or forked lightning.
For the scenic master is monarch of all
he surveys when he climbs to his throne
near the roof of the house, and looks down
on the three wizard worlds below, ruled,
respectively. by the stage carpenter, the
property master and the electrician. Back
of him is the massive stretch of canvas
which he uses his myriad brushes when he
turns to face his work. 1t Is lowered or
raised by heavy ropes, so that he can re-
main stationary while he paints the door
knob and the cupola of a palace. Beside
him is his "palette-a long table bordered
with sixty dishes full of sixty different col
ors IN paints, and decora ted in the middle
with brushes of every length and width,
from the wide implement for covering back
grounds to the tiny brush of filigree posi-
biliteS.
Oil Paints Barred.
No oils or grease are in evidence. They
are excluded by law. Their combust ble
nature makes them dangerous in theater,
and every piece of scenery that is used In
the most elaborate Broadway production
must be wrought in water color. Occa-
sionally a one-night-stand company touring
the remote south west tumbleS over u
few shabby, oil-painted canvases that have
eluded the law or been ignored by it. But
they never are seen in a New York play
house. Happy is the painter if mis- picture
calls for his favorte colors. There are
some hues that fatigue the worker quickly
and others that delight and constantly re-
fresh him. Red irritates some artists; and
strong blues and greens are avoided by all
through force of habit. They do not wear
well under artificial light Some Of the
scenic artists paint all of their canvases in
the glow of electric light, but others prefer
the daylight, when it is possible The work
that is done by day always looks well at
night. But the harmonies blended in cleo
trio light may appear discordant when noon
tide falls upon them.
Before he chooses his color scheme the
the star" or leading woman Will wear in the
play, and he guards against any possible
clashing. One man had the experience of
seeing ffrst-night performance of pro
duction that he had painted utterly marred
for him at least-because the heroine for
whom he had prepared a superb yellow at
mosphere. Unexpectedly came forth in a
vivid pea-green gown.
Mysteries Of Perspective.
Perspective may be quite as disastrous a
reef between player and painter as cos
tune. A lighthouse stood in the misty
distance IN another of this same man.
stage settings. One of the chorus boys
wandered away from his position in the
picture and aimlessly reached the light
house up-stage Assuming a languid pose
he rested his arm upon the top of the struc-
ture, and stood there. helplessly uncon-
scious of his crime. The artists only pro-
lection against such laundering nomads Is
the building of substantial obstacles around
distant" regions in the scene, so that no
player can approach them.
Another of the painters difficulties Is the
planning of mis- model so that 1t may appeal
to the eye of spectators in extremely op-
posite sections of the house His work must
be criticised by the gallery gods and the
box parties on both sides of the house at
the same time. If he pleases all he does
only what he is expected to do, and his
name may not be noticed on the program.
If he offend any his scene-is a failure, al
though from some vantage points 1t may