july 1945

25 05 2009

about two months after the end of the second world war in europe this disney short was released – CANINE CASANOVA. I don’t care that much about the story and the animation of pluto and the other dog characters, but the backgrounds look very nice, unusually stylized for a disney short. layout by KARL KARPE, BG’s by AL DEMPSTER. following are some recreated backgrounds.

canine casanova1945.001




© disney enterprises, inc




6 responses

26 05 2009

-another inspiring piece! Thanks Hans!

26 05 2009

Thanks for educating me about this film, Hans. I’d never heard of it.
Such beautifully restrained BGs. Masterly!

26 05 2009
Charles Santoso

Thank you for all your great posts, sir 😀

Very useful and inspiring!


26 05 2009
jung etienne

great work! It’s perfect.

27 05 2009
Cat B.

I’m always amazed at the incredibly detailed work that went into the backgrounds of these quick cartoons. Just beautiful and only seen for a couple seconds.

1 06 2009
Ernesto Melo

Such a beauty!
One can feel how this pretty place is waiting for
a full o’ happiness Pluto trotting along. Yes, it’s amazing
to see how this people kept their “orchestra” role so clear.
They’re all pastel colors. The
sky is almost gray, surrounded by tiny
yellow trees and with this black tree in front,
one can feel the shadowy wood from the
foreground in contrast with the illuminated village.
So we have a sunny day…. but no colour “sounds” too
much. Their saturation always is broken, or controlled.
Every single one is waiting for our yellow-orange hero.
When he appears the brightness of the day is completed.
With the main layout’s elements it happens the same.
The flow of the park-road is awaited for the wide area of
the big and super expressive tree of the center. Place
saved specially for Pluto’s love explosion.
One thing that I always enjoyed looking at these backgrounds
from the 40’s, is to have the certainty that there wasn’t a difference
whatsoever with the Art of their time.
At the end of this short a truck appears. A “blind” truck, no driver
can’t be seen. This truck could live perfectly in one picture of
Thomas Hart Benton or any californian watercolorist.
I always saw in all these artists one common way to render
the space, the buildings, the vehicles, the trees… In some more are obvious,
in others not that much…. they are toy-like objects.
More obvious, for example in Grant Wood, the church picture and the rider
(The Midnight Ride of Paul Revere, 1931 ),
is almost a photo of one maquette.
Again we can see the same concept in the toy-like maps
from Saludos Amigos.
I was looking back in your older posts and found the composition
you made with those incredible pictures from Jennifer & Josephine,
by Bill Peet.

Well, what I’m trying to say is that the work of artists such as Mary Blair, Bill Peet
(and many more), at that time they were remaining in some lost
drawers of the Studio and not on one important wall gallery, it
was anecdotal. As you may guess, I’m with Mary and Peet not just because they produced
TOP art like their fine artists colleagues,
they had a lot of “bonus” added e.g., incredible draftsmanship,
incredible designers, top storytellers (telling stories full of life and optimism),
all the animated knowledge…
They were artists breathing the same creative air.

from hans –
you are right ernesto. for us today it is so easy to connect to each other through the internet, to exchange our vision of art. but even in the ‘old’ days artists were connected, for sure mary and her husband lee blair with grant wood. and walt disney invited starting in the thirties some of the most famous painters and even architects to the studio. joe grant had very close connections to some of the artists of the ‘simplizissimus’ in germany already in the twenties. he introduced disney to heinrich kley’s art.
when I went to artschool my professors were negative about disney animation and made bad jokes. I am glad that it has changed, that today animation and comic strips are considered to be art, at least a lot of it.

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