Gina Johnson
Mary Blair was an American artist, animator, and designer who worked with The Walt Disney Company as a concept artist, colour designer, and illustrator. She joined Disney in 1940 and is known for her work on films like Cinderella, Alice in Wonderland, and Peter Pan. Blair also contributed to the design of attractions at Disneyland, including the It's a Small World ride and the Sleeping Beauty castle at Disneyland Paris. While she is often associated with Sleeping Beauty, the primary artist responsible for the film's distinctive style was Eyvind Earle, who joined Disney in 1951 and was chosen by Walt Disney himself to style and paint all the key backgrounds for the film.
| Characteristics | Values |
|---|---|
| Name | Mary Blair |
| Born | Mary Browne Robinson |
| Birth Date | 21 October 1911 |
| Death Date | 26 July 1978 |
| Known For | Animation, colour design, illustration, graphic design, advertising campaigns, children's books |
| Worked For | The Walt Disney Company, Metro-Goldwyn-Mayer, Ub Iwerks Studio, Nabisco, Pepsodent, Maxwell House, Beatrice Foods, Simon & Schuster, Radio City Music Hall, Bonwit Teller |
| Notable Works | Sleeping Beauty, Cinderella, Alice in Wonderland, Peter Pan, Song of the South, So Dear to My Heart, Dumbo, Susie the Little Blue Coupe, The Little House |
| Awards and Honours | Inducted into the group of Disney Legends in 1991, Winsor McCay Award from ASIFA-Hollywood in 1996 |
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What You'll Learn
Mary Blair's artistic influence on 'Sleeping Beauty'
Mary Blair was an American artist, animator, and designer who worked for The Walt Disney Company. She joined Disney in 1940 and is known for her work on animated films such as Alice in Wonderland, Peter Pan, and Cinderella. Blair's unique use of colours and her ability to combine fine art, illustration, and storytelling set her apart. She was also the first female concept artist at the studio.
Blair's influence on Sleeping Beauty is evident in the film's dark gothic landscapes, which she drew during a particularly troubled period in her marriage. She is also credited with giving Maleficent her bold horned headdress, inspired by a touring production of Tchaikovsky's ballet. Additionally, Blair designed the hourglass dresses of Cinderella, drawing upon Dior's New Look.
Blair's work on Sleeping Beauty is characterised by her unusual colour combinations and distinctive flat, graphic style. She was influenced by modern art and mid-century design, and her concept art determined the overall look and feel of the film. Blair's talent for colour styling was unparalleled, and she was sought after by Disney himself to work on various films and projects.
Blair's artistic influence on Sleeping Beauty is also seen in the film's emotionally tinted landscapes, which have inspired contemporary designers and animators. Her work on the film has been described as "a pure art form" that "became a statement in itself". Blair's bold and groundbreaking colour design has left a lasting impact on the animation industry, with many artists and animators continuing to draw inspiration from her work.
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Blair's work on the Sleeping Beauty castle
Mary Blair was an American artist, animator, and designer, who worked for The Walt Disney Company. She joined the company in 1940 and is known for her work on several classic films, including "Cinderella" (1950), "Alice in Wonderland" (1951), and "Peter Pan" (1953).
While Blair did work on "Sleeping Beauty", the sources are unclear about the extent of her involvement in the film. One source mentions that she designed the Sleeping Beauty castle, which was brought to life at Disneyland Paris. However, another source attributes the styling of the film to Eyvind Earle, who joined Disney as an assistant background painter and made concept art for several films, including "Sleeping Beauty".
In addition to her work on "Sleeping Beauty", Blair also contributed to other Disney attractions, such as the "It's a Small World" ride and the fiesta scene in "El Rio del Tiempo" in the Mexico pavilion in Epcot's World Showcase. She has been honoured as a Disney Legend for her contributions to the company and is recognised as one of the greatest colourists of all time.
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Blair's work on other Disney films
Mary Blair was an American artist, animator, and designer who worked on several Disney films and attractions. She joined Disney in 1940 and began working on animation and colour design for major films in 1943. She is best remembered for her work with The Walt Disney Company, including her contributions to some of the studio's most classic films.
Blair's work on Disney films includes concept art for "Alice in Wonderland", "The Three Caballeros", "Peter Pan", "Song of the South", and "Cinderella". She also briefly worked on art for "Dumbo", an early version of "Lady and the Tramp", and a second version of "Fantasia" titled "Baby Ballet", which was not released until the late 1990s. Her unique use of colours and 2D paintings brought a whimsical look to these films, and her artistic influence is strongly felt in them.
Blair also worked on several package films, including "Fun and Fancy Free", and two partially animated features, "Song of the South" and "So Dear to My Heart". The latter was inspired by quilts, which Blair wanted to incorporate into the film, as evidenced by a letter she wrote to Walt Disney.
In addition to her work on animated films, Blair also contributed to Disney attractions and theme parks. She created character designs for "It's a Small World", the fiesta scene in "El Rio del Tiempo" in the Mexico pavilion in Epcot's World Showcase, and an enormous mural inside Disney's Contemporary Resort. She also designed sets for the "Mickey Mouse" episodes "Yodelberg" and "O Sole Minnie", which were patterned after her distinctive art style.
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Blair's work outside of Disney
Mary Blair's work outside of Disney is varied and extensive. After graduating from San José State University in 1931, she won a scholarship to the Chouinard Art Institute in Los Angeles, graduating in 1933. She joined the prestigious California Watercolor Society and soon began exhibiting her work at renowned venues, including the Los Angeles Museum, San Francisco World Fair, and Chicago Art Institute.
Blair's first professional job in the animation industry was as an animator with Metro-Goldwyn-Mayer, but she soon left to join her husband, Lee Blair, at the Ub Iwerks studio before moving to Disney. During a break from Disney, she found success as a freelance graphic designer and illustrator, creating advertising campaigns for companies such as Nabisco, Pepsodent, Maxwell House, and Beatrice Foods. She also illustrated several Little Golden Books for publisher Simon & Schuster, some of which remain in print today, including 'I Can Fly'. Additionally, she designed Christmas and Easter sets for Radio City Music Hall and created theatrical sets for Bonwit Teller.
Blair also worked as a designer, creating sets of Walt Disney note cards for Hallmark. In 1968, she was credited as a color designer on the film 'How to Succeed in Business Without Really Trying'. She contributed to various Disney attractions and exhibits, including the design of many murals for theme parks in California and Florida, such as the fanciful murals in the Grand Canyon Concourse at Walt Disney World's Contemporary Resort Hotel.
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Other artists who worked on 'Sleeping Beauty'
Mary Blair was a prominent artist, animator, and designer for The Walt Disney Company. She joined Disney in 1940 and was the first female concept artist at the studio. She is known for her work on Disney films such as Cinderella, Alice in Wonderland, and Peter Pan. Blair also contributed to the design of Disneyland's It's a Small World ride and the Sleeping Beauty castle in Disneyland Paris.
Other artists who worked on Sleeping Beauty include:
Eyvind Earle joined Disney in the 1950s as an assistant background painter and is known for his work on Peter Pan and Lady and the Tramp. He was responsible for the colours, backgrounds, and styling of Sleeping Beauty, which was his most well-known work with the company. Earle's unique style fused old and new, traditional and cutting-edge, and was a departure from the typical animation style of the time. He drew inspiration from a variety of artistic influences, including pre-Renaissance Gothic works, Persian miniature paintings, and Asian art. Earle's attention to detail and artistic devotion contributed to the film's lengthy production time of over six years.
Floyd Norman was a directing animator who, along with other animators, was not pleased with Eyvind Earle's background style. Norman and other animators felt that Earle's designs took away from the animation, as the layout was more like a single canvas rather than focusing on the characters as the central focal point. Despite this, Sleeping Beauty was dedicated to a different vision, and Earle's style remains unforgettable and distinct even 55 years after the film's release.
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Frequently asked questions
Yes, Mary Blair worked on Sleeping Beauty. She was a prominent artist, animator, and designer for Walt Disney Studios during the 40s and 50s. She was particularly renowned for her unusual colour combinations and her bold and colourful mid-20th-century illustrations.
Mary Blair designed the concept art for Sleeping Beauty, defining the look and feel of the film. She was responsible for the dark gothic landscapes of the film, which were drawn during a particularly troubled period in her marriage. She also gave Maleficent her bold horned headdress, inspired by a touring production of Tchaikovsky's ballet.
Mary Blair was the first female concept artist at Disney, joining in 1940. She worked on classic films such as Alice in Wonderland, Peter Pan, Song of the South, Cinderella, and Dumbo. She also created character designs for Disneyland's It's a Small World ride and an enormous mosaic inside Disney's Contemporary Resort.
