EYVIND EARLE was born 1916 in new york city, but moved already after two years with his parents to hollywood. his father, ferdinand, was a professional painter who had studied with ADOLPHE WILLIAM BOUGUEREAU and ABBOTT McNEILL WHISTLER. he soon became a busy art director and scenic artist in hollywood. from early on eyvind was educated by his father in the arts. when he was ten the parents divorced and eyvind followed his father on longer trips to mexico and europe. already after a few years, age 14, he was good enough to have his own art show in southern france. later at the age of 21 he crossed the northern american continent on his bike, painting a watercolor on each of the 42 days it took him. already three years later the metropolitan museum of art bought one of his watercolors for its permanent collection. the same year eyvind started his own christmas card company, printing them as serigraphs. 1951 he joined disney as a background painter, working on FOR WHOM THE BULLS TOIL, MELODY and TOOT,WHISTLE, PLUNK AND BOOM. finally he was offered the position as production designer, color stylist and background painter for SLEEPING BEAUTY. paralell during that time he designed for the shorts PIGS IS PIGS, GRAND CANYONSCOPE, PAUL BUNYAN and LONDON BRIDGE. he colorstyled the night/park sequence in LADY AND THE TRAMP and designed 5 murals for disneyland. in 1958 he left disney and started his own company, producing commercials and title graphics, as well as the logo trademark trailer for universal pictures. later in his life he dedicated all his time to painting, becoming very successful with exhibitions in museums and galleries around the world. in 2000 he passed away, 84 years old.
I want to concentrate in this post and the next ones on EYVIND EARLE’S unparalelled stylistic design for SLEEPING BEAUTY. from what I have heard from artists they worked with him, he must have been a very difficult character to deal with, very demanding. well – look at all the designs and BG-paintings he created for SLEEPING BEAUTY! masterpieces! usually I am not a big fan of extremely detailed backgrounds, but in this case it is different. all the detail in his artwork works as a texture like in the medieval gobelins. he was very careful with the design of these textured elements, like the plants and trees in the forest, the interior of the cottage or the stone walls in the kings castle and the different more mossy walls in maleficent’s ruins, that the paintings never feel overworked. on the contrary, they are the perfect stage for the very designed and less detailed characters. the color-combinations throughout the whole film are some of the most beautiful and tasteful in animation.
© disney enterprises, inc