After another few weeks away we are back with a vengeance and with some
Maxfield Parrish. Born in Philadelphia in 1870
Parrish entered into the arts early, learning techniques from his artist father, Stephen Parrish. A bulk of
Maxfield’s career was spent illustrating fairy-tales, nursery rhymes, magazines and advertisements. By the 1920′s he abandoned commercial art and began painting for himself. In his own words: “I’m done with girls on rocks! I’ve painted them for thirteen years and I could paint them and sell them for thirteen more. That’s the peril of the commercial art game. It tempts a man to repeat himself. it’s an awful thing to get to be a rubber stamp. I’m quitting my rut now while I’m still able.”
Sometimes making art becomes a process of reduction down to essential elements. Whatever does not contribute to the whole must be discarded leaving only the essence of a place. This is what the Painted Desert in Arizona felt like just before a blood red sun set in the west as we drove home to our hotel.
Most of you are probably familiar with Eyvind Earle’s concept art for Sleeping Beauty (1959)–but that’s not all he did for Disney. This for example is a rare concept drawing for the 1954 Donald Duck cartoon, Grand Canyonscope.