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animation backgrounds, Art, Art Lozzi, artist, Disney, Eyvind Earle, Flintstones, Scooby Doo, Sleeping Beauty, Walt Peregoy
Of all the art forms that face undeserved neglect, perhaps none is as underappreciated as the humble animation background.
Which actually seems pretty ludicrous. Whether it’s a classic Saturday morning cartoon or a mega-hit Disney movie, the backgrounds are what showcase the characters we tune in to see. These painstakingly hand-painted delights create mood and set the atmosphere of the scene. What would Scooby Doo be without the gloriously gruesome castle on the hill — its trees dark, ominous and foreboding? I’m sure you’d agree, Scooby and the gang running across a plain white page just wouldn’t cut it.
Things are quite different today (unfortunately so) thanks to modern technology, computers and CGI. There are few, if any, hand-animated films anymore, with even Disney joining the Dark Side and going digital. But that’s all the more reason for us to look back in awe and appreciation of the lost art of animation backgrounds.
Recently I read an article about these incredible cartoon backdrops, and it prompted me to reiterate something I’ve long believed: Background paintings are bonafide works of fine art, and it’s only appropriate that they be recognized and celebrated as such. Their artists deserve to be named among the great masters of art history, like Da Vinci, Michelangelo and Rubens. And their importance to the art world needs to be accepted for what it is: Invaluable.
If I asked you who painted the spooky airfield in Scooby Doo’s “The Spooky Space Kook”, you likely couldn’t tell me. Heck, *I* couldn’t tell you with 100% certainty either!
The identity of the creators of these background masterpieces is just not common knowledge — and it really should be. Some of the most talented artists in the world are responsible for the amazing settings that bring our most beloved cartoons to life.
Walt Peregoy was one such artist. He worked for both Walt Disney and Hanna-Barbera. He is responsible for many of the splendid backgrounds you’ll find in the original 1969 Scooby Doo, Where Are You? series, including the episodes “A Night of Fright is No Delight”, “Hassle in the Castle” and “Which Witch is Which?” Walt died January 16, 2015, at 89 years old.
Just a few of the other background artists who worked with Peregoy on Scooby Doo were Ron Dias (died aged 76 on July 30, 2013), Curt Perkins (died June 11, 1996 at age 80), and Daniela Bielecka (died July 28, 1980, age 54). With so few of these background artists left in the world today, this is becoming a “dying art” in the most literal sense of the term.
Eyvind Earle is another stellar background artist who should be more well known to the mainstream public. Earle started working at Walt Disney Productions as an assistant background painter in 1951. His work on “Sleeping Beauty”, arguably Disney’s most visually ambitious animated film, is meticulous and second to none. He received the Winsor McCay award for Lifetime Achievement in the Art of Animation in 1998, and was named a Disney Legend at the D23 Expo in 2015. Both awards were well deserved.
Art Lozzi, Bob Gentle and Ed Benedict are three artists who worked on another Hanna-Barbera classic, “The Flintstones”. I have such a soft spot for classic Hanna-Barbera cartoons, and let me tell you, it takes talent to create an interesting rock wall, and The Flintstones boasts some of the most creative, eye-catching backgrounds of the entire Saturday morning cartoon roster. Whether it’s Fred and Wilma’s kitchen, Betty and Barney’s backyard, or the boy’s beloved bowling alley, the background art just sings, and makes you wish you could step right into the scene.
Later seasons of “The Flintstones” saw the addition of artists like Rene Garcia, shown here hand-painting some of those fabulous Bedrock backdrops.
As you well know by now, I love anything Christmas related. So I’m particularly fond of the festive backgrounds in the season 5 episode, “A Christmas Flintstone”.
Garcia, Phil Lewis, and Don Watson are credited with the backgrounds this season, and their work is so warm, charming and homey-feeling — just a bit more refined than the background work from the slightly more primitively-drawn earlier seasons.
A great artist creates an environment that the viewer wants to be a part of, and there’s no question that Flintstones backgrounds from every season deliver on that.
So how does an entire branch of art go relatively unnoticed? One that is just bursting with breathtaking talent? Aside from a few art-obsessed, die-hard fans of particular shows and movies, who out there even consciously considers that a real live person was responsible for painting — by hand — these works of art? And receiving very little credit for it.
The problem with the World of Art is that success isn’t reliant on talent. It’s about making noise, and even more so, it’s about luck. It’s about what tickles the “right” person’s fancy at the right time. It’s not even about exposure — I mean, what gets more exposure than a blockbuster Disney film? Yet, the artists behind these rich and sumptuous backgrounds are often relegated to the background themselves.
Now, some of these works/artists are revered and can be found in museums or galleries, yes. But on the whole, the life of a background artist was largely anonymous. And as a lover of art and animation, I think that’s a real shame.
The Golden Age of animation background art, in my opinion, began in the 1950’s and lasted through to the 1970’s. Out of this nearly three decade period came some of the greatest animation art of all time. The artists at Hanna-Barbera, Disney and Warner Brothers were all operating at the height of perfection. But that’s not to say that it ended there, oh, no. As I’ve showcased in this post, Disney’s background artists were on point all the way through to one of their last traditional hand-drawn films, “The Princess and the Frog” in 2009.
With the continued degradation of quality in current TV cartoons today, and Disney’s insistence that they will not return to traditional 2D animation any time soon, it is more imperative than ever to remind the world that these forgotten treasures were an integral part of our history. Not just for their artistic value, but for the unprecedented way in which they fostered imagination and wonder in generations of children and adults alike.
Art is meant to enrich the lives of those who view it; to inspire and educate, to stimulate the mind and gladden the heart. One thing’s for sure, these animation backgrounds nurtured a creativity in me that led to my pursuing a career in art myself. It’s my passion in life. And how could it not be when I grew up so deeply immersed in such talent and beauty?
Animation backgrounds may be a lost art, but in them, you might just find a part of yourself.
If you somehow didn’t get enough in this post, I recommend you take a trip over to Animations Backgrounds where you’ll find more amazing digitized background restorations to browse through.
Paul McDaniel said:
I couldn’t agree more, particularly about the Scooby Doo backgrounds. They’ve always been favorites of mine.
On this topic, you really should do yourself a favor and watch a bunch of Studio Ghibli films. There’s nothing quite like them when it comes to wildly artistic backgrounds. I love all that I’ve seen, but several standouts are Spirited Away, Princess Mononoke, My Neighbor Totoro, Howl’s Moving Castle, Castle In The Sky, The Wind Rises, Whisper Of The Heart…perhaps I think there are too many standouts. Anyway, Ghibli has done the vast majority of their films by hand, both backgrounds and animation (the films that do use CGI are using it only for particular shots and effects). The most prolific Ghibli director is Hayao Miyazaki, and he’s a visual and storytelling genius. These are Japanese films, but aren’t anime. They range in subject from ghost stories to chronicling the conflict between industrialization and nature to compassionate character studies in both fantastic and mundane situations. Lovely stuff.
Do a Google image search for Studio Ghibli backgrounds and you’ll see a bit of what I mean. Pure breathtaking art.
Maybe you knew about all that already, but if not, I hope you’ll check them out. Thanks for the excellent post!
Wendy Brydge said:
Thank you very much, Paul, I’m glad you enjoyed the post!
I had honestly never heard of Studio Ghibli before, but wow, you are so right — the backgrounds are amazing! They have such a lush, illustrative quality to them — not at ALL what I was expecting. The images of trees and foliage are especially impressive. And the way that the artists handle light is truly remarkable. I can’t thank you enough for recommending I take a look. Some of these definitely would have made it into my post if I had been familiar with the studio’s work!
cushing1913 said:
This was a fun post, Wendy. I like it when a writer makes you see something you’ve seen a thousand times in a new way.
These backgrounds are proof that not all fine art hangs in a museum. I’m glad you included so many examples from so many different productions, both young and old. It makes me mourn the loss of traditional 2-D animation all the more.
Wendy Brydge said:
Yes, there’s almost a warmth to 2D animation that today’s 3D stuff can’t replicate. I’m sure part of that is simply knowing that someone sat at a table with a brush and some paint and created these classic masterpieces without the aid of a computer program and an “undo” button. But there’s something more. There’s a mechanicalness to the computer animated art that, for me anyway, isn’t endearing at all. It’s cold and clinical and while I can appreciate it to a point… eh, it’s just not AS impressive, as welcoming, or as “friendly”, if you know what I mean. Like comparing the illustrations in a medical textbook to the illustrations in a children’s book. The feeling is just NOT the same. Maybe there is such a thing as TOO perfect.
Dan Antion said:
I love this genre of art, Wendy. I totally agree with you. Years ago, I watched a documentary on science fiction background painting in the days before CGI. It was fascinating, and there’s no way that isn’t art. Now, it’s all about the money, and even the computer animation is farmed out to overseas shops. Just like MP3s have gotten us used to a lower quality music, auto-animation has gotten us used to a lower quality animation.
Thank you for such a fact, and qualified opinion filled post. I had to look at it once before going back and reading it. Such a wonderful collection. I really liked the Scooby stuff, because I haven’t seen many of those cartoons.
Wendy Brydge said:
Very, very true, Dan. It honestly IS lower quality animation today. I know some people argue that even the art done on computer is still “hand-drawn” (meaning, there’s an actual person inputting the information using his hands), and therefore the classic “paint and a brush” technique is no more impressive. While I won’t take anything away from today’s graphic artists (using a computer instead of traditional tools), I still maintain that it’s NOT the same thing, and that it’s mostly a different skill set. Yes, there are overlapping skills like a knowledge of colour and shape, etc. But you know what an artist using a computer has that a traditional artist doesn’t? An UNDO button. Good LORD, do I wish that my paintings came with an undo button. If I make a mistake on the computer — be it a technical error in my rendering or simply a poor choice of colour that doesn’t work in the composition — I can just undo it with one click of my mouse. But if I need to redo/redesign something on a canvas? You could be talking HOURS of extra painting and 10,000+ more brush strokes instead of a single click that takes less than a second. Traditional methods are more tedious and time-consuming, and the margin for error is much smaller.
Anyway, rant over. ;P I’m glad you enjoyed the post, Dan, but I’ve got to get you watching Scooby Doo! Surely we can all justify a second childhood at some point in our lives, can’t we??
Roxie said:
Totally agree! In this fast world, sparse wins, tv, books etc. Kids are missing a full picture, literally!
I really appreciate the nostalgic stroll along with your biographical artist info.
Wendy Brydge said:
Thanks, Roxie, I’m happy to hear you liked the post! And you’re right — kids today are so deprived of some truly wonderful stuff!
fpdorchak said:
Excellent post! This artwork always gets me wondering…in terms of the fictional lives and stories…who built those old, ghost houses? The tables, the bridges, the grand halls and staircases? Who were the workers and where are they [in the stories] now? They show a life BEFORE the action happening on the screen. And they just give great atmosphere! I’ve always loved looking at these in cartoons. Loved to see what I can see in them. They are just awe inspiring. Full of incredible imaginable depth! I could look at them all day, so, I do agree, they should be framed and hung!
Wendy Brydge said:
Thanks, Frank! Like you, I can easily get caught up in the “story” behind the story, so to speak. And that’s what I like best about these illustrations — that they can make you wonder about that kind of stuff. It’s a tribute to the realism, in a sense, that the artists were able to capture. They really stimulate the imagination. And that’s something really special, I think!
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Darruda said:
Hanna Barbera will always be a inspiration for my work. I love the shades of blue darknight.
Wendy Brydge said:
There’s no question, Hanna Barbera will always top my list for animation and style!
Angela Hancock said:
Wendy, do you know of a Rob Lyday that worked as a background artist (1953-1980)?
Wendy Brydge said:
No, sorry, Angela, I’m not familiar with that name. I’m surprised that I didn’t get any hits in an online search! Do you know of anything in particular he worked on?
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Uncle Mike said:
Hi Wendy, I have been Looking for your Dad. I hope he is Okay?
I miss him, he left before I got to finish watching all the videos, from last month?
Wendy Brydge said:
Hi, Mike, yes, he is okay. On Wednesday, YouTube up and deleted his entire channel. No warning. It was just suddenly GONE. They sent an email that said he was being terminated due to “hate speech”. What a bunch of garbage. He’s extremely upset as it disabled EVERYTHING, his Google account as well as YouTube. We’re currently trying to appeal this false claim, as well as looking into potential new avenues other than YouTube for him to go.
I’m going to share the email address that you used to post your message here (it’s visible to me privately because I’m the owner of this blog) and he’ll email you soon!
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Alex said:
As much as I agree that these were wonderful as someone currently working digitally and in the world of animation and concept art I can promise you that it is not just a matter of clicks and undos. Especially depending how you go about it, I personally don’t use the undo button if I can avoid it and choose to overpaint and erase and I know many professionals do this to keep the hand drawn aspect. Tv animation tends to be simplified and made for quick productions (which is not on the artists but on the companies) but background/environment art is very much not a lost art! Check out Over The Garden Wall, other Cartoon Network alumns, Into the Spiderverse / Across the Spiderverse, The Mitchells, I’ve Lost My Body and student films from The Gobelins or Calarts (and other schools). A lot of work and thought goes into these works and it is quite underappreciated! Most of us also start learning on paper and canvas and gradually move towards digital (my school made us animate on paper for our first year before we got to use a tablet on our second year). All that to say even if it is a vast world now you shouldn’t sleep on it there are many talented folks out there!