BGuthrie Photos: MD -- Westminster -- Icons of American Animation: Exhibit @ Venue 1 of 2 (Carroll County Arts Council's Tevis Gallery) (Visit 1)

MD -- Westminster -- Icons of American Animation: Exhibit @ Venue 1 of 2 (Carroll County Arts Council's Tevis Gallery) (Visit 1):

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Description of Pictures: Major exhibition curated by Communication professor highlights the artistic and cultural significance of American Animation
Robert Lemieux, associate professor of Communication and Cinema, is curator of "Icons of American Animation," which features over 150 pieces of original art representing more than 30 studios including Disney, Fleischer, Warner Bros., Hanna-Barbera, UPA, MGM, Pixar, and more. The exhibition runs Monday, Jan. 3-Saturday, March 12 at both McDaniel College’s Esther Prangley Rice Gallery and Carroll County Arts Council’s Tevis Gallery.

"Icons of American Animation," which runs Monday, Jan. 3-Saturday, March 12 at both McDaniel College’s Rice Gallery and Carroll County Arts Council’s Tevis Gallery, features over 150 pieces of original art representing more than 30 studios including Disney, Fleischer, Warner Bros., Hanna-Barbera, UPA, MGM, Pixar, and more.

McDaniel College and the Carroll County Arts Council are hosting “Icons of American Animation,” a major exhibition that emphasizes the artistic and cultural significance of American animation spanning the 20th century.

Free and open to the public, the exhibition runs Monday, Jan. 3-Saturday, March 12, and will be displayed concurrently at both McDaniel College’s Esther Prangley Rice Gallery and the Carroll County Arts Council's Tevis Gallery at the Carroll Arts Center. A public reception takes place Thursday, Jan. 27, from 5-7 p.m. at the Carroll County Arts Council and 5:30-7:30 p.m. at McDaniel College.

“Icons of American Animation” highlights animation’s cultural impact, artistic relevance, technological achievements, and historical moments in time through over 150 pieces of original art that represents more than 30 studios including Disney, Fleischer, Warner Bros., Hanna-Barbera, UPA, MGM, Pixar and more.

According to Robert Lemieux, associate professor of Communication and Cinema and curator of the exhibition, the exhibit is one of the largest of its kind with an emphasis on notable characters, films, animators, and production studios associated with both film and television.

The exhibition showcases a broad range of art including animation cels, storyboards, model sheets, layout drawings, and concept art, in addition to artwork from 15 Academy Award winning films and pieces from 20 films listed in the Library of Congress’ National Film Registry. Materials are on loan from Mike and Jeanne Glad and the Glad Family Trust.

“This is the fourth collaborative exhibition I have been a part of at McDaniel, and it is, by far, the most comprehensive,” Lemieux said. “The artwork speaks to the rich history of one of the most popular and influential art forms in America.”

Hours for the Esther Prangley Rice Gallery at McDaniel College are Monday through Friday, 10 a.m.-4 p.m., and Saturday, noon-5 p.m. For more information, call 410-857-2595.

The Carroll County Arts Council’s Tevis Gallery at the Carroll Arts Center is accessible Monday, Friday, and Saturday from 10 a.m.-4 p.m. and Tuesday and Thursday from noon-7 p.m. (closed on Wednesdays). The Carroll Arts Center is located at 91 West Main St., Westminster, Md. More information can be found at CarrollCountyArtsCouncil.org.

“Icons of American Animation” is made possible with support from the Maryland State Arts Council, Corcoran School of the Arts & Design at George Washington University, Carroll County Chamber of Commerce, NWSB Bank, Ting, Velnoskey Wealth Management Group, Lavin Family Fund, Ain’t That a Frame, Gauge Digital Media, Kohn Creative, and Carroll Hospital. Media partners are BmoreArt and WYPR-FM.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. ICONS1_220113_026.JPG: Familiar faces and new acquaintances await! Regardless of one's age or generation, everyone has shared a laugh (or shed a tear) with a favorite animated character. That connection speaks to the art form's enduring influence. With 150+ pieces of art, this exhibit highlights that influence, with a a focus on the industry's cultural and artistic relevance -- a relevance that has extended for more than a century. Displayed before you are drawings, storyboards, music sheets, cels, backgrounds, inspirational paintings, and color models that highlight the animation process and speak to the at form's beauty. Known as production art, these hand-drawn and hand-painted images were pivotal in creating the final product -- the film. The artwork represents more than thirty US animation studios and, although most of the studios no longer exist, they live on through their films and production art. Many of the represented films have won Academy Awards and/or are included in the Library of Congress' National Film Registry. After more than a century of entertaining, one thing has become clear: The art form continues to animate the imagination. The art for this exhibit is on loan from the Mike & Jeanne Glad and Glad Family Trust. This is a dual venue exhibit, with art on display at the McDaniel College's Esther Prangley Rice Gallery and the Carroll County Arts Council's Tevis Gallery.
2. ICONS1_220113_034.JPG: UPA Playing with flat surfaces, colors, and patterns, United Productions of American's (UPA) visual aesthetic reflected mid-century design and greatly influenced animation and advertising. Many UPA films included "hip" soundtracks featuring notable jazz musicians. Two cultural shifts left to UPA's demise -- the blacklisting of animators in the Red Scare era of the 1950s, and the end of animated short screenings in movie theaters in the 1960s. Regardless, their work remains revered.
3. ICONS1_220113_036.JPG: Hell-Bent for Election, 1944 United Productions of America Paint on Cel; Watercolor on Paperboard Cel Setup (8 x 11 in.) Note: 1st UPA cartoon Note: Political cartoon for 1944 Presidential Election Created for the 1944 Presidential Election between Franklin Roosevelt and Thomas Dewey, the film depicted both candidates as trains, with Roosevelt characterized as a modern, sleek train and Dewey as a chugging, aging train.
4. ICONS1_220113_044.JPG: Gerald McBoing-Boing, 1950 United Productions of America Paint on Cel; Watercolor on Paperboard Cel Setup (9Ľ x 12ľ in.) Note: Academy Award winner Note: Listed on National Film Registry Based on a story by Theodore Geisel, better known as Dr. Seuss, this us one of the most influential films of the 20th century. The stylistic use of color, lines, and space, impacted numerous films.
5. ICONS1_220113_051.JPG: Rooty Toot Toot, 1951 United Productions of America Paint on Cel; Watercolor on Paperboard Cel Setup (11 x 13 in.)
6. ICONS1_220113_060.JPG: Madeline, 1952 United Productions of America Paint on Cel; Watercolor on Paperboard Cel Setup (11 x 13 in.)
7. ICONS1_220113_071.JPG: The Unicorn in the Garden, 1953 United Productions of America Paint on Cel; Watercolor on Paperboard Cel Setup (11 x 13 in.)
8. ICONS1_220113_083.JPG: 1001 Arabian Nights, 1959 United Productions of America Paint on Cel; Watercolor on Paperboard Cel Setup (10˝ x 13 in.)
9. ICONS1_220113_091.JPG: Walt Disney Part 1 The most recognized name in animation, Walt Disney, began in 1922 during the silent film era. Like many animators of the period, he struggled to find distribution. One of Disney's early successes was Oswald the Lucky Rabbit; however, he lost the ownership rights in a contract dispute with the distributor. The setback would force him to create a new character, one based on a mouse. That new character would usher in an animation empire.
10. ICONS1_220113_099.JPG: Oswald the Lucky Rabbit, 1927 Walt Disney Ink and Watercolor on Paperboard Publicity Drawing (9 x 11 in.) Note: Artist Ub Iwerks Oswald was Disney's first big character, starring in 26 films. During negotiations with his distributor, Disney lost the rights to Oswald. A huge setback, this forced Disney to create a new character, one that would be based on a mouse.
11. ICONS1_220113_111.JPG: Plane Crazy, 1928 Walt Disney Graphite on Paper Animation Drawing (10 x 12 in.) Technically, this is Mickey Mouse's first film. However, the silent version failed to impress a distributor and a sound version followed in 1929. By then, Steamboat Willie had already captivated audiences. The film pays homage to Charles Lindbergh's transatlantic fight.
12. ICONS1_220113_120.JPG: Steamboat Willie, 1928 Walt Disney Graphite on Paper Animation Drawing (9˝ x 12 in.) Note: Artist Ub Iwerks Note: Listed on National Film Registry Steamboat Willie is often cited as the debut of Mickey Mouse, although he had appeared a few months earlier in Plane Crazy. The film is also cited as the first animated film to include synchronized sound.
13. ICONS1_220113_131.JPG: Three Little Pigs, 1933 Walt Disney Paint on Cel; Watercolor on Paperboard Cel Setup (9˝ x 11˝ in.) Note: Academy Award winner Note: Listed on National Film Registry
14. ICONS1_220113_140.JPG: Three Little Pigs, 1933 Walt Disney Paint on Cel; Watercolor on Paperboard Cel Setup (16 x 20 in.) Note: Academy Award winner Note: Listed on National Film Registry Recognized as the first feature-length animated film, Snow White is arguably the art form's most iconic film. It took three years to develop, and Walt Disney made sure every detail was perfect -- story, image, design, sound and music.
15. ICONS1_220113_159.JPG: Snow White & The Seven Dwarfs, 1937 Walt Disney Graphite on paper Layout Drawing w/Camera Angles (12˝ x 22˝ in.) Note: Listed on National Film Registry Recognized as the first feature-length animated film, Snow White is arguably the art form's most iconic film. It took three years to develop, and Walt Disney made sure every detail was perfect -- story, image, design, sound and music.
16. ICONS1_220113_163.JPG: Snow White & the Seven Dwarfs, 1937 Walt Disney Ink and Pastels on Paper Storyboard (10˝ x 12˝ in.) Note: Artist Joe Grant Note: Listed on National Film Registry
17. ICONS1_220113_168.JPG: Mickey's Parrot, 1938 Walt Disney Graphite and Colored Pencil on Paper Layout Drawing w/Camera Angle (9˝ x 12 in.)
18. ICONS1_220113_179.JPG: Country Cousin, 1936 Walt Disney Paint on Cel; Watercolor on Paperboard Cel on Courvoisier Background (8˝ x 8˝ in.) Note: Academy Award winner In the 1930s, Disney recognized the value of animation art and began selling cels to collectors. Original backgrounds are few in number, so he paired the cels with courvoisier backgrounds, which are imitations of the original backgrounds.
19. ICONS1_220113_182.JPG: Country Cousin, 1936 Walt Disney Paint on Cel; Watercolor on Paperboard Cel on Courvoisier Background (8˝ x 8˝ in.) Note: Academy Award winner In the 1930s, Disney recognized the value of animation art and began selling cels to collectors. Original backgrounds are few in number, so he paired the cels with courvoisier backgrounds, which are imitations of the original backgrounds.
20. ICONS1_220113_186.JPG: Mother Goose Goes Hollywood, 1938 Walt Disney Paint on Cel Cel on Courvoisier Background (8ľ x 11 in.)
21. ICONS1_220113_196.JPG: Truant Officer Donald, 1941 Walt Disney Paint on Cel; Watercolor on Paperboard Cel Setup (9˝ x 12 in.)
22. ICONS1_220113_203.JPG: Pinocchio, 1940 Walt Disney Colored Pencil on Paper Storyboard (7˝ x 8˝ in.) Note: Listed on National Film Registry
23. ICONS1_220113_210.JPG: Fantasia, 1940 Walt Disney Colored Pencil on Paper Animation Drawing (12˝ x 15˝ in.) Note: Artist Bill Tytla Note: Listed on National Film Registry
24. ICONS1_220113_222.JPG: Fantasia, 1940 Walt Disney Watercolor on Paperboard Inspirational Painting (9˝ x 12˝ in.) Note: Artist Kay Nielsen Note: Listed on National Film Registry
25. ICONS1_220113_231.JPG: Dumbo, 1941 Walt Disney Graphite on Paper Storyboard (8ľ x 9Ľ in.) Note: Listed on National Film Registry
26. ICONS1_220113_234.JPG: The Adventures of Ichabod & Mr. Toad, 1949 Walt Disney Paint on Cel; Watercolor on Paperboard Cel Setup (9˝ x 12 in.)
27. ICONS1_220113_240.JPG: Pinocchio, 1940 Walt Disney Graphite on Paper Storyboard (5ľ x 8 in.) Note: Listed on National Film Registry
28. ICONS1_220113_247.JPG: All in a Nutshell, 1949 Walt Disney Paint on Cel; Watercolor on Paperboard Cel Setup (9˝ x 11ľ in.)
29. ICONS1_220113_261.JPG: Peter Pan, 1953 Walt Disney Ink and Watercolor on Paperboard Inspirational Painting (9 x 12 in.)
30. ICONS1_220113_266.JPG: The Jungle Book, 1967 Walt Disney Watercolor on Paperboard Inspirational Painting (12˝ x 16 in.) Note: Artist Al Dempster
31. ICONS1_220113_275.JPG: The Adventures of Ichabod & Mr. Toad, 1949 Walt Disney Watercolor on Paperboard Inspirational Painting (9ľ x 11ľ in.) Note: Artist Mary Blair
32. ICONS1_220113_280.JPG: Cinderella, 1950 Walt Disney Watercolor on Paper Inspirational Painting (9 x 12 in.) Note: Artist Mary Blair Note: Listed on National Film Registry
33. ICONS1_220113_292.JPG: Cinderella, 1950 Walt Disney Pastels on Paper Storyboards (5 x 6 in.) Note: Artist Mary Blair Note: Listed on National Film Registry Mary Blair (1911-1978) Throughout much of the 20th century, female animators were relegated to behind the scenes work. One of the new exceptions to this approach was Mary Blair. She is widely regarded as the most influential female animator, having been a key figure at Walt Disney Studios. Arranged here are five images that reflect her talent.
34. ICONS1_220113_293.JPG: Cinderella, 1950 Walt Disney Pastels on Paper Storyboards (5 x 6 in.) Note: Artist Mary Blair Note: Listed on National Film Registry
35. ICONS1_220113_296.JPG: Cinderella, 1950 Walt Disney Pastels on Paper Storyboards (5 x 6 in.) Note: Artist Mary Blair Note: Listed on National Film Registry
36. ICONS1_220113_299.JPG: Cinderella, 1950 Walt Disney Pastels on Paper Storyboards (5 x 6 in.) Note: Artist Mary Blair Note: Listed on National Film Registry
37. ICONS1_220113_300.JPG: Cinderella, 1950 Walt Disney Pastels on Paper Storyboards (5 x 6 in.) Note: Artist Mary Blair Note: Listed on National Film Registry
38. ICONS1_220113_304.JPG: The Little House, 1952 Walt Disney Watercolor on Paperboard Inspirational Painting (7˝ x 9˝ in.) Note: Artist Mary Blair
39. ICONS1_220113_309.JPG: Alice in Wonderland, 1951 Walt Disney Watercolor on Paper Inspirational Painting (11 x 14 in.) Note: Artist Mary Blair
40. ICONS1_220113_314.JPG: Lonesome Ghost, 1937 Walt Disney Paint on Cel; Watercolor on Paperboard Cel Setup (10 x 12 in.)
41. ICONS1_220113_324.JPG: Rugrats, 1991 Klasky Csupo Productions Paint on Cel; Watercolor on Paperboard Cel Setup (11 x 12ľ in.)
42. ICONS1_220113_335.JPG: Toy Story 2, 1995 Pixar Graphite and Colored Pencil on Paper Storyboards (8˝ x 11 in.) Note: Listed on National Film Registry
43. ICONS1_220113_356.JPG: Donald's Ostrich, 1937 Walt Disney Watercolor on Paperboard Background (10 x 12 in.) Using a train station as our example, the two images show the impact of the modern art movement on animation. The left image reflects classic design, while the right image reflects modern design.
44. ICONS1_220113_363.JPG: Pigs is Pigs, 1954 Walt Disney Watercolor on Paperboard Background (13 x 16 in.) Note: Artist Eyvind Earle Note: Academy Award Nominee
45. ICONS1_220113_368.JPG: The Aristocats, 1970 Walt Disney Paint on Cel; Watercolor on Paperboard Cel Setup (11 x 15˝ in.)
46. ICONS1_220113_380.JPG: Who Framed Roger Rabbit, 1988 Walt Disney Pen and Watercolor on Paper Layout Drawing (12˝ x 17 in.) Note: Listed on National Film Registry
47. ICONS1_220113_386.JPG: Who Framed Roger Rabbit, 1988 Walt Disney Paint on Cel; Watercolor on Paperboard Cel Setup (12 x 15ľ in.) Note: Listed on National Film Registry
48. ICONS1_220113_400.JPG: The Little Mermaid, 1989 Walt Disney Graphite on Paper Storyboards (5ľ x 8 in.) Artist: Glen Keane Walt Disney Studios was suffering in the 1970s and 80s. This film set the stage for the Studio's revival, ushering in the Disney Renaissance (1989-99) and a string of successful films.
49. ICONS1_220113_402.JPG: The Little Mermaid, 1989 Walt Disney Graphite on Paper Storyboards (5ľ x 8 in.) Artist: Glen Keane
50. ICONS1_220113_405.JPG: The Little Mermaid, 1989 Walt Disney Graphite on Paper Storyboards (5ľ x 8 in.) Artist: Glen Keane
51. ICONS1_220113_407.JPG: The Little Mermaid, 1989 Walt Disney Graphite on Paper Storyboards (5ľ x 8 in.) Artist: Glen Keane
52. ICONS1_220113_410.JPG: The Little Mermaid, 1989 Walt Disney Graphite on Paper Storyboards (5ľ x 8 in.) Artist: Glen Keane
53. ICONS1_220113_413.JPG: The Little Mermaid, 1989 Walt Disney Graphite on Paper Storyboards (5ľ x 8 in.) Artist: Glen Keane
54. ICONS1_220113_418.JPG: The Lion King, 1994 Walt Disney Watercolor on Paperboard Inspirational Painting (6 x 24 in.)
55. ICONS1_220113_427.JPG: Aladdin, 1992 Walt Disney Paint on Board Color Key (12˝ x 17 in.)
56. ICONS1_220113_429.JPG: Pocahontas, 1995 Walt Disney Graphite on Paper Storyboards (5˝ x 10 in.) Note: Artist Glen Keane
57. ICONS1_220113_434.JPG: Pocahontas, 1995 Walt Disney Graphite on Paper Storyboards (5˝ x 10 in.) Note: Artist Glen Keane
58. ICONS1_220113_436.JPG: Pocahontas, 1995 Walt Disney Graphite on Paper Storyboards (5˝ x 10 in.) Note: Artist Glen Keane
59. ICONS1_220113_438.JPG: Pocahontas, 1995 Walt Disney Graphite on Paper Storyboards (5˝ x 10 in.) Note: Artist Glen Keane
60. ICONS1_220113_441.JPG: Pocahontas, 1995 Walt Disney Graphite on Paper Storyboards (5˝ x 10 in.) Note: Artist Glen Keane
61. ICONS1_220113_449.JPG: Mulan, 1998 Walt Disney Graphite and Colored Pencil on Paper Layout Drawing (12 x 17 in.) Note: Artist Pres Romanillos
62. ICONS1_220113_461.JPG: Tarzan, 1999 Walt Disney Watercolor on Paperboard Inspirational Painting (10˝ x 12˝ in.)
63. ICONS1_220113_466.JPG: Fleischer Studios Started by brothers Max and Dave Fleischer in 1921, Fleischer Studios was extremely influential in the early 20th century. Rivaling Disney, their films enjoyed worldwide popularity and featured notable characters. In addition to their many short films. they created two feature films and were also technological pioneers, with a bevy of patents. Unfortunately, a combination of debt, WWII, misfortune, and sibling rivalry led to the brothers' ousting from studio control in 1942.
64. ICONS1_220113_472.JPG: Out of the Inkwell, 1920s Fleischer Studios Graphite on Paper Layout Drawing (8˝ x 11 in.)
65. ICONS1_220113_476.JPG: Out of the Inkwell, 1931 Fleischer Studios Graphite on Paper Model Sheet (8˝ x 11 in.) Category: Fleischer Studios
66. ICONS1_220113_495.JPG: Bouncing Ball, 1920s Fleischer Studios Watercolor on Paperboard Background (10 x 13˝ in.) Using a bouncing ball as the follow along to a popular song, this represents one of the early attempts to blend music and animation. The feature became a standard elements of sing alongs. The film also represents the beginnings of what would later become music videos.
67. ICONS1_220113_500.JPG: Popeye the Sailor Meets Sinbad the Sailor, 1936 Fleischer Studios Paint on Cel; Watercolor on Paperboard Cel Setup (9 x 12 in.) 1st color Popeye cartoon Listed on National Film Registry
68. ICONS1_220113_508.JPG: Gulliver's Travels, 1939 Fleischer Studios Ink; Paint on Paperboard Inspirational Painting (9˝ x 11 in.) Note; Artist Louis Jambor Note: 2nd U.S. feature-length animated film The second animated feature by an American studio, the film represents Fleischer's bid to complete with Disney. The film was well received and laid the groundwork for a second Fleischer feature.
69. ICONS1_220113_515.JPG: Gulliver's Travels, 1939 Fleischer Studios Paint on Cel; Watercolor on Paperboard Cel Setup (12ľ x 16ľ in.) Note: 2nd U.S. feature-length, animated film
70. ICONS1_220113_527.JPG: Superman, 1941 Fleischer Studios Colored Pencil on Paper Layout Drawing (13 x 16 in.) Note: 1st Superman cartoon The first in a series of 17 animated shorts, this film introduced viewers to the man of steel.
71. ICONS1_220113_533.JPG: Superman, 1941 Fleischer Studios Paint on Cel; Watercolor on Paperboard Cel Setup (12˝ x 16 in.) Note: 1st Superman cartoon
72. ICONS1_220113_544.JPG: Superman, 1941 Fleischer Studios Ink on Paper Model Sheet (12 x 15˝ in.)
73. ICONS1_220113_569.JPG: Mr. Bug Goes to Town, 1941 Fleischer Studios Paint on Cel; Watercolor on Paperboard Cel Setup (9˝ x 12 in.) Note: Released December 5, 1941 (two days before bombing of Pearl Harbor) Category: Fleischer Studios To compete with Disney, Fleischer released a second feature-length film. Well received by critics, it previewed December 5, 1941, just two days prior to the bombing of Pearl Harbor. The Christmas release was cancelled and Fleischer never recovered.
74. ICONS1_220113_577.JPG: Mr. Bug Goes to Town, 1941 Fleischer Studios Graphite on Paper Layout Drawing (8˝ x 11 in.)
75. ICONS1_220113_585.JPG: Additional Studios Part 1 In addition to the major animation studios of the 20th century, a variety of other studios contributed to the historical lineage. Although the vast majority no longer exist, a few, such as Pixar, became household names. The following section highlights some of the most influential works from these studios.
76. ICONS1_220113_588.JPG: The Swing School, 1938 Fleischer Studios Paint on Cel; Watercolor on Paperboard Cel Setup (9 x 12 in.) A carefree flapper, Betty Boop was one of the 20th century's most recognizable sex symbols. Her early films were partly responsible for implementation of The Production Code of 1934, which placed limits on sexuality. The Code impacted Boop's appearances and actions.
77. ICONS1_220113_599.JPG: Wedding Bells, 1933 Columbia Pictures Paint on Cel; Watercolor on Paperboard Cel Setup (9 x 12 in.)
78. ICONS1_220113_605.JPG: The Goose That Laid the Golden Egg, 1936 Van Beuren Studios Paint on Cel; Watercolor on Paperboard Cel Setup (10 x 13 in.) Felix the Cat was the biggest star of the 1920s silent film era. Very much an adult character, he was prone to drinking and infidelity. Felix was also heavily merchandized, with numerous products. The advent of sound led to his decline, as his voice was never perfected and audiences turned away.
79. ICONS1_220113_621.JPG: Flip the Frog, 1930s Celebrity Pictures Graphite on paper Model Sheet (8 x 10˝ in.) Note: Ub Iwerks Iwerks is recognized as the animator behind many Disney cartoons. After a falling out in 1930, he started his own studio, with Flip the Frog as his star appearing in 38 films. A decade later, Iwerks would return to Disney.
80. ICONS1_220113_629.JPG: Fox and the Crow, 1940s Columbia Screen Gems Paint on Cel; Watercolor on Paperboard Cel Setup (10 x 13˝ in.)
81. ICONS1_220113_644.JPG: It Was a Short Summer, Charlie Brown, 1969 Lee Mendelson Films Paint on Cel; Watercolor on Paperboard Cel Setup (16˝ x 18Ľ in.)
82. ICONS1_220113_652.JPG: The Pink Panther Show, 1969 DePatie-Freleng Enterprises Paint on Cel; Watercolor on Paperboard Cel Setup (8 x 12 in.)
83. ICONS1_220113_730.JPG: Fritz the Cat, 1972 Krantz Films Paint on Cel; Watercolor on Paperboard Cel Setup (10ľ x 12˝ in.) Note: 1st Animated Film to Receive X Rating Adapted from an R. Crumb comix, Fritz was the first animated feature to receive an X rating, mostly due to sexuality. The rating actually increased interest in the film, and it became wildly popular. The popular led to a sequel two years later.
84. ICONS1_220113_746.JPG: Wizards, 1977 Paint on Cel; Watercolor on Paperboard Cel Setup Bakshi Productions [ Couldn't find on https://iconsofanimation.com/icons-gallery/ ]
85. ICONS1_220113_751.JPG: Hanna-Barbera No studio is more associated with TV animation than Hanna-Barbera. They epitomized the industry's move away from theatrical shorts to the new venue of TV. In the 1960s and 1970s, they dominated children's television, both domestically and internationally. Even today, many of their series remain nostalgic favorites. However, it wasn't all about children. Their series The Flintstones, which debuted in 1960, targeted adults and was the first primetime cartoon.
86. ICONS1_220113_755.JPG: Magilla Gorilla, 1964 Hanna-Barbera Paint on Cel; Watercolor on Paperboard Cel Setup (10˝ x 13˝ in.)
87. ICONS1_220113_759.JPG: The Huckleberry Hound Show, 1958 Hanna-Barbera Paint on Cel; Watercolor on Paperboard Cel Setup (9 x 12˝ in.)
88. ICONS1_220113_767.JPG: Quick Draw McGraw (1960s) Hanna-Barbera Paint on Cel; Watercolor on Paperboard Cel Setup (10˝ x 12˝ in.)
89. ICONS1_220113_787.JPG: Space Ghost, 1966 Hanna-Barbera Ink on Paper Model Sheet (10˝ x 12˝ in.)
90. ICONS1_220113_792.JPG: The Smurfs (1980s) Hanna-Barbera Paint on Cel; Watercolor on Paperboard Cel Setup (9 x 19˝ in.)
91. ICONS1_220113_802.JPG: Super Friends, 1970s Hanna-Barbera Ink and Paint on Cel Cel (10˝ x 12˝ in.)
92. ICONS1_220113_808.JPG: Jonny Quest, 1960s Hanna-Barbera Graphite on Paper Model Sheet (10˝ x 12˝ in.)
93. ICONS1_220113_821.JPG: The Rocky & Bullwinkle Show, 1950s Jay Ward Productions Paint on Cel; Watercolor on Paperboard Publicity Cel (10˝ x 15ľ in.)
94. ICONS1_220113_826.JPG: Peabody's Improbable History, 1960 Jay Ward Productions Graphite and Colored Pencil on Paper Storyboard (8 ˝ x 11 in.)
95. ICONS1_220113_832.JPG: Peabody's Improbable History, 1960 Jay Ward Productions Graphite and Colored Pencil on Paper Storyboard (8 ˝ x 11 in.)
96. ICONS1_220113_835.JPG: Peabody's Improbable History, 1960 Jay Ward Productions Graphite and Colored Pencil on Paper Storyboard (8 ˝ x 11 in.)
97. ICONS1_220113_839.JPG: Peabody's Improbable History, 1960 Jay Ward Productions Graphite and Colored Pencil on Paper Storyboard (8 ˝ x 11 in.)
98. ICONS1_220113_841.JPG: Peabody's Improbable History, 1960 Jay Ward Productions Graphite and Colored Pencil on Paper Storyboard (8 ˝ x 11 in.)
99. ICONS1_220113_847.JPG: Peabody's Improbable History, 1960 Jay Ward Productions Graphite and Colored Pencil on Paper Storyboard (8 ˝ x 11 in.)
100. ICONS1_220113_848.JPG: Cap'n Crunch, 1960s Jay Ward Productions Paint on Cel, Watercolor on Paperboard Cel Setup (10 x 14 in.) The rise of Saturday morning cartoons in the 1960s led to the rise of animated commercials. The above image is from a cereal commercial. Recognizing their marketing potential, many New York City ad agencies also created animated commercials for adult products.
101. ICONS1_220113_858.JPG: Jay Ward The first made-for-television animated series, Crusader Rabbit was created by Jay Ward and debuted in 1949. By the 1960s, Ward had a number of popular series, most notably Fractured Fairytales and Rocky and His Friends. Although their animation was characterized by a limited style and movement, they offered witty dialogue loaded with subtext humor, much of it adult-oriented. Over the years, may of Ward's characters have retained their popularity within pop culture.
102. ICONS1_220113_860.JPG: Crusader Rabbit, 1950s Jay Ward Productions Graphite and Colored Pencil on Paper Animation Drawing/Color Model (10˝ x 12˝ in.) The first made-for-TV animated series, it originated in black and white before sequeing into color. Airing from 1950-59, Crusader opened the door for the future of TV animation. During its run, there were an astounding 455 episodes.
103. ICONS1_220113_881.JPG: The Dudley Do-Right Show, 1961 Jay Ward Productions Paint on Cel; Watercolor on Paperboard Cel Setup (10 x 13 in.)
104. ICONS1_220113_886.JPG: George of the Jungle, 1967 Jay Ward Productions Paint on Cel; Watercolor on Paperboard Cel Setup (10˝ x 13˝ in.)
105. ICONS1_220113_902.JPG: The Flintstones, 1960s Hanna-Barbera Paint on Cel; Watercolor on Paperboard Cel Setup (10Ľ x 13 in.) Airing from 1960-66, The Flintstones was the first prime time animated series, with 167 episodes (eventually surpassed by The Simpsons). Modeled after The Honeymooners, a TV series starring Jackie Gleason, the show even hired some of Gleason's writers.
106. ICONS1_220113_909.JPG: The Jetsons, 1962 Hanna-Barbera Productions Paint on Cel; Watercolor on Paperboard Cel Setup (10˝ x 12˝ in.)
107. ICONS1_220114_008.JPG: Dual-Venue Exhibition Icons of American Animation Jan 3 - Mar 12, 2022 Featuring over 150 pieces of original art IconsofAnimation.com
108. ICONS1_220114_011.JPG: Hell-Bent for Election, 1944 United Productions of America Paint on Cel; Watercolor on Paperboard Cel Setup (8 x 11 in.) Note: 1st UPA cartoon Note: Political cartoon for 1944 Presidential Election Created for the 1944 Presidential Election between Franklin Roosevelt and Thomas Dewey, the film depicted both candidates as trains, with Roosevelt characterized as a modern, sleek train and Dewey as a chugging, aging train.
109. ICONS1_220114_045.JPG: Gerald McBoing-Boing, 1950 United Productions of America Paint on Cel; Watercolor on Paperboard Cel Setup (9Ľ x 12ľ in.) Note: Academy Award winner Note: Listed on National Film Registry Based on a story by Theodore Geisel, better known as Dr. Seuss, this us one of the most influential films of the 20th century. The stylistic use of color, lines, and space, impacted numerous films.
110. ICONS1_220114_068.JPG: Rooty Toot Toot, 1951 United Productions of America Paint on Cel; Watercolor on Paperboard Cel Setup (11 x 13 in.)
111. ICONS1_220114_079.JPG: Horton Hears a Who!, 1970 The Cat in the Hat Productions Colored Pencil on Paper Storyboards (5ľ x 6˝ in.) Note: Chuck Jones & Dr. Seuss Note: Artist Maurice Noble
112. ICONS1_220114_149.JPG: Snow White & The Seven Dwarfs, 1937 Walt Disney Graphite on paper Layout Drawing w/Camera Angles (12˝ x 22˝ in.) Note: Listed on National Film Registry Recognized as the first feature-length animated film, Snow White is arguably the art form's most iconic film. It took three years to develop, and Walt Disney made sure every detail was perfect -- story, image, design, sound and music.
113. ICONS1_220114_174.JPG: Three Little Pigs, 1933 Walt Disney Paint on Cel; Watercolor on Paperboard Cel Setup (9˝ x 11˝ in.) Note: Academy Award winner Note: Listed on National Film Registry
114. ICONS1_220114_198.JPG: Snow White & the Seven Dwarfs, 1937 Walt Disney Ink and Pastels on Paper Storyboard (10˝ x 12˝ in.) Note: Artist Joe Grant Note: Listed on National Film Registry
115. ICONS1_220114_214.JPG: Mickey's Parrot, 1938 Walt Disney Graphite and Colored Pencil on Paper Layout Drawing w/Camera Angle (9˝ x 12 in.)
116. ICONS1_220114_229.JPG: Country Cousin, 1936 Walt Disney Paint on Cel; Watercolor on Paperboard Cel on Courvoisier Background (8˝ x 8˝ in.) Note: Academy Award winner In the 1930s, Disney recognized the value of animation art and began selling cels to collectors. Original backgrounds are few in number, so he paired the cels with courvoisier backgrounds, which are imitations of the original backgrounds.
117. ICONS1_220114_251.JPG: Mother Goose Goes Hollywood, 1938 Walt Disney Paint on Cel Cel on Courvoisier Background (8ľ x 11 in.)
118. ICONS1_220114_273.JPG: Truant Officer Donald, 1941 Walt Disney Paint on Cel; Watercolor on Paperboard Cel Setup (9˝ x 12 in.)
119. ICONS1_220114_288.JPG: Pinocchio, 1940 Walt Disney Colored Pencil on Paper Storyboard (7˝ x 8˝ in.) Note: Listed on National Film Registry
120. ICONS1_220114_299.JPG: Fantasia, 1940 Walt Disney Watercolor on Paperboard Inspirational Painting (9˝ x 12˝ in.) Note: Artist Kay Nielsen Note: Listed on National Film Registry
121. ICONS1_220114_304.JPG: Dumbo, 1941 Walt Disney Graphite on Paper Storyboard (8ľ x 9Ľ in.) Note: Listed on National Film Registry
122. ICONS1_220114_316.JPG: The Adventures of Ichabod & Mr. Toad, 1949 Walt Disney Paint on Cel; Watercolor on Paperboard Cel Setup (9˝ x 12 in.)
123. ICONS1_220114_324.JPG: Pinocchio, 1940 Walt Disney Graphite on Paper Storyboard (5ľ x 8 in.) Note: Listed on National Film Registry
124. ICONS1_220114_337.JPG: All in a Nutshell, 1949 Walt Disney Paint on Cel; Watercolor on Paperboard Cel Setup (9˝ x 11ľ in.)
125. ICONS1_220114_347.JPG: Peter Pan, 1953 Walt Disney Ink and Watercolor on Paperboard Inspirational Painting (9 x 12 in.)
126. ICONS1_220114_359.JPG: The Jungle Book, 1967 Walt Disney Watercolor on Paperboard Inspirational Painting (12˝ x 16 in.) Note: Artist Al Dempster
127. ICONS1_220114_375.JPG: The Adventures of Ichabod & Mr. Toad, 1949 Walt Disney Watercolor on Paperboard Inspirational Painting (9ľ x 11ľ in.) Note: Artist Mary Blair
128. ICONS1_220114_383.JPG: Cinderella, 1950 Walt Disney Watercolor on Paper Inspirational Painting (9 x 12 in.) Note: Artist Mary Blair Note: Listed on National Film Registry
129. ICONS1_220114_397.JPG: The Little House, 1952 Walt Disney Watercolor on Paperboard Inspirational Painting (7˝ x 9˝ in.) Note: Artist Mary Blair
130. ICONS1_220114_409.JPG: Alice in Wonderland, 1951 Walt Disney Watercolor on Paper Inspirational Painting (11 x 14 in.) Note: Artist Mary Blair
131. ICONS1_220114_433.JPG: Bambi, 1942 Walt Disney Watercolor on Paperboard Inspirational Painting (9 x 10˝ in.) Note: Artist Tyrus Wong Note: Listed on National Film Registry
132. ICONS1_220114_451.JPG: Donald's Ostrich, 1937 Walt Disney Watercolor on Paperboard Background (10 x 12 in.) Using a train station as our example, the two images show the impact of the modern art movement on animation. The left image reflects classic design, while the right image reflects modern design.
133. ICONS1_220114_463.JPG: Pigs is Pigs, 1954 Walt Disney Watercolor on Paperboard Background (13 x 16 in.) Note: Artist Eyvind Earle Note: Academy Award Nominee
134. ICONS1_220114_473.JPG: The Aristocats, 1970 Walt Disney Paint on Cel; Watercolor on Paperboard Cel Setup (11 x 15˝ in.)
135. ICONS1_220114_488.JPG: The Jetsons, 1962 Hanna-Barbera Productions Paint on Cel; Watercolor on Paperboard Cel Setup (10˝ x 12˝ in.)
136. ICONS1_220114_500.JPG: Scooby Doo, 1970s Hanna-Barbera Graphite and Ink on Paper Publicity Drawing (10˝ x 12˝ in.)
137. ICONS1_220114_511.JPG: Scooby Doo, 1970s Hanna-Barbera Graphite and Ink on Paper Publicity Drawing (10˝ x 12˝ in.)
138. ICONS1_220114_514.JPG: Scooby Doo, 1970s Hanna-Barbera Graphite and Ink on Paper Publicity Drawing (10˝ x 12˝ in.)
139. ICONS1_220114_520.JPG: Scooby Doo, 1970s Hanna-Barbera Graphite and Ink on Paper Publicity Drawing (10˝ x 12˝ in.)
140. ICONS1_220114_526.JPG: Scooby Doo, 1970s Hanna-Barbera Graphite and Ink on Paper Publicity Drawing (10˝ x 12˝ in.)
141. ICONS1_220114_530.JPG: Scooby Doo, 1970s Hanna-Barbera Graphite and Ink on Paper Publicity Drawing (10˝ x 12˝ in.)
142. ICONS1_220114_537.JPG: Scooby Doo, 1970s Hanna-Barbera Graphite and Ink on Paper Publicity Drawing (10˝ x 12˝ in.)
143. ICONS1_220114_541.JPG: Scooby Doo, 1970s Hanna-Barbera Graphite and Ink on Paper Publicity Drawing (10˝ x 12˝ in.)
144. ICONS1_220114_544.JPG: Scooby Doo, 1970s Hanna-Barbera Graphite and Ink on Paper Publicity Drawing (10˝ x 12˝ in.)
145. ICONS1_220114_550.JPG: Scooby Doo, 1970s Hanna-Barbera Graphite and Ink on Paper Publicity Drawing (10˝ x 12˝ in.)
146. ICONS1_220114_558.JPG: Scooby Doo, 1970s Hanna-Barbera Graphite and Ink on Paper Publicity Drawing (10˝ x 12˝ in.)
147. ICONS1_220114_571.JPG: The Little Mermaid, 1989 Walt Disney Graphite on Paper Storyboards (5ľ x 8 in.) Artist: Glen Keane Walt Disney Studios was suffering in the 1970s and 80s. This film set the stage for the Studio's revival, ushering in the Disney Renaissance (1989-99) and a string of successful films.
148. ICONS1_220114_578.JPG: The Little Mermaid, 1989 Walt Disney Graphite on Paper Storyboards (5ľ x 8 in.) Artist: Glen Keane
149. ICONS1_220114_583.JPG: The Little Mermaid, 1989 Walt Disney Graphite on Paper Storyboards (5ľ x 8 in.) Artist: Glen Keane
150. ICONS1_220114_594.JPG: The Little Mermaid, 1989 Walt Disney Graphite on Paper Storyboards (5ľ x 8 in.) Artist: Glen Keane
151. ICONS1_220114_610.JPG: The Little Mermaid, 1989 Walt Disney Graphite on Paper Storyboards (5ľ x 8 in.) Artist: Glen Keane
152. ICONS1_220114_612.JPG: The Little Mermaid, 1989 Walt Disney Graphite on Paper Storyboards (5ľ x 8 in.) Artist: Glen Keane
153. ICONS1_220114_616.JPG: The Lion King, 1994 Walt Disney Watercolor on Paperboard Inspirational Painting (6 x 24 in.)
154. ICONS1_220114_632.JPG: Aladdin, 1992 Walt Disney Paint on Board Color Key (12˝ x 17 in.)
155. ICONS1_220114_649.JPG: Out of the Inkwell, 1920s Fleischer Studios Graphite on Paper Layout Drawing (8˝ x 11 in.)
156. ICONS1_220114_657.JPG: Popeye the Sailor Meets Sinbad the Sailor, 1936 Fleischer Studios Paint on Cel; Watercolor on Paperboard Cel Setup (9 x 12 in.) 1st color Popeye cartoon Listed on National Film Registry
157. ICONS1_220114_674.JPG: Gulliver's Travels, 1939 Fleischer Studios Ink; Paint on Paperboard Inspirational Painting (9˝ x 11 in.) Note; Artist Louis Jambor Note: 2nd U.S. feature-length animated film The second animated feature by an American studio, the film represents Fleischer's bid to complete with Disney. The film was well received and laid the groundwork for a second Fleischer feature.
158. ICONS1_220114_692.JPG: Superman, 1941 Fleischer Studios Colored Pencil on Paper Layout Drawing (13 x 16 in.) Note: 1st Superman cartoon The first in a series of 17 animated shorts, this film introduced viewers to the man of steel.
159. ICONS1_220114_707.JPG: Superman, 1941 Fleischer Studios Paint on Cel; Watercolor on Paperboard Cel Setup (12˝ x 16 in.) Note: 1st Superman cartoon
160. ICONS1_220114_718.JPG: The Goose That Laid the Golden Egg, 1936 Van Beuren Studios Paint on Cel; Watercolor on Paperboard Cel Setup (10 x 13 in.) Felix the Cat was the biggest star of the 1920s silent film era. Very much an adult character, he was prone to drinking and infidelity. Felix was also heavily merchandized, with numerous products. The advent of sound led to his decline, as his voice was never perfected and audiences turned away.
161. ICONS1_220114_731.JPG: Wedding Bells, 1933 Columbia Pictures Paint on Cel; Watercolor on Paperboard Cel Setup (9 x 12 in.)
162. ICONS1_220114_741.JPG: Flip the Frog, 1930s Celebrity Pictures Graphite on paper Model Sheet (8 x 10˝ in.) Note: Ub Iwerks Iwerks is recognized as the animator behind many Disney cartoons. After a falling out in 1930, he started his own studio, with Flip the Frog as his star appearing in 38 films. A decade later, Iwerks would return to Disney.
163. ICONS1_220114_755.JPG: It Was a Short Summer, Charlie Brown, 1969 Lee Mendelson Films Paint on Cel; Watercolor on Paperboard Cel Setup (16˝ x 18Ľ in.)
164. ICONS1_220114_763.JPG: The Pink Panther Show, 1969 DePatie-Freleng Enterprises Paint on Cel; Watercolor on Paperboard Cel Setup (8 x 12 in.)
165. ICONS1_220114_773.JPG: The Yogi Bear Show, 1973 Hanna-Barbara Graphite on Paper Character Size Relationship (10˝ x 25 in.)
166. ICONS1_220114_781.JPG: The Yogi Bear Show, 1973 Hanna-Barbara Graphite on Paper Character Size Relationship (10˝ x 25 in.)
167. ICONS1_220114_785.JPG: The Yogi Bear Show, 1973 Hanna-Barbara Graphite on Paper Character Size Relationship (10˝ x 25 in.)
168. ICONS1_220114_789.JPG: The Yogi Bear Show, 1973 Hanna-Barbara Graphite on Paper Character Size Relationship (10˝ x 25 in.)
169. ICONS1_220114_792.JPG: The Yogi Bear Show, 1973 Hanna-Barbara Graphite on Paper Character Size Relationship (10˝ x 25 in.)
170. ICONS1_220114_794.JPG: The Yogi Bear Show, 1973 Hanna-Barbara Graphite on Paper Character Size Relationship (10˝ x 25 in.)
171. ICONS1_220114_801.JPG: The Yogi Bear Show, 1973 Hanna-Barbara Graphite on Paper Character Size Relationship (10˝ x 25 in.)
172. ICONS1_220114_806.JPG: The Yogi Bear Show, 1973 Hanna-Barbara Graphite on Paper Character Size Relationship (10˝ x 25 in.)
173. ICONS1_220114_809.JPG: The Smurfs (1980s) Hanna-Barbera Paint on Cel; Watercolor on Paperboard Cel Setup (9 x 19˝ in.)
174. ICONS1_220114_824.JPG: Space Ghost, 1966 Hanna-Barbera Ink on Paper Model Sheet (10˝ x 12˝ in.)
175. ICONS1_220114_852.JPG: Jonny Quest, 1960s Hanna-Barbera Graphite on Paper Model Sheet (10˝ x 12˝ in.)
176. ICONS1_220114_867.JPG: Super Friends, 1970s Hanna-Barbera Ink and Paint on Cel Cel (10˝ x 12˝ in.)
177. ICONS1_220114_882.JPG: The Rocky & Bullwinkle Show, 1950s Jay Ward Productions Paint on Cel; Watercolor on Paperboard Publicity Cel (10˝ x 15ľ in.)
178. ICONS1_220114_892.JPG: Cap'n Crunch, 1960s Jay Ward Productions Paint on Cel, Watercolor on Paperboard Cel Setup (10 x 14 in.) The rise of Saturday morning cartoons in the 1960s led to the rise of animated commercials. The above image is from a cereal commercial. Recognizing their marketing potential, many New York City ad agencies also created animated commercials for adult products.
179. ICONS1_220114_904.JPG: The Dudley Do-Right Show, 1961 Jay Ward Productions Paint on Cel; Watercolor on Paperboard Cel Setup (10 x 13 in.)
180. ICONS1_220114_920.JPG: George of the Jungle, 1967 Jay Ward Productions Paint on Cel; Watercolor on Paperboard Cel Setup (10˝ x 13˝ in.)
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Photo Contact: [Email Bruce Guthrie].