Minnie Holsinger, The Farmer's Wife 56, Manor Bakers, Henry Hintermeister

This is blog #56 of my on-going series sharing pages from the scrap book of Minnie Holsinger, which she compiled in the 30s and 40s while she and Grandpa Charlie were saving to buy a farm.

This illustration is from a series of images I assume that were culled by Grandma Minnie from a calendar produced by Manor Bakers in the late 30’s or early 40’s. The work is credited to Henry Hintermeister, who’s work has been featured in the Farmers Wife blog series posts 2, 5, 31, 32, 33, 53, 54 & 55.

God, how embarrassing. Did we, as Americans, used to be proud of this shit? Some Americans still are, apparently. It’s what they mean by “Make America Great Again!”, as in “Find some suckers you can rip off and exploit”, not realizing it’s themselves who are being ripped off and exploited.

Here's a sketch of Grandpa Charlie I drew in the late 70's or early 80's.

Minnie Holsinger, The Farmer's Wife 55, Manor Bakers, Henry Hintermeister, Manifest Destiny

This is blog #55 of my on-going series sharing pages from the scrap book of Minnie Holsinger, which she compiled in the 30s and 40s while she and Grandpa Charlie were saving to buy a farm.

This illustration is from a series of images I assume that were culled by Grandma Minnie from a calendar produced by Manor Bakers in the late 30’s or early 40’s. The work is credited to Henry Hintermeister, who’s work has been featured in the Farmers Wife blog series posts 2, 5, 31, 32, 33, 53 & 54.

Manifest Destiny.

 I’m curious and to the symbolic significance of the building shapes in the right background, behind the preacher dude. Is this suppose to represent the old world order, mandating the peg-legger (Peter Stuyvesant, I presume) to head out to the new world and remake it for caucasian protestants? This is odd because they’re on the right, facing left and usually that sort of thing (traveling towards a goal) is left facing right. On the other hand, on maps, Europe is to the right of the Americas, the East Coast is to the right of the West (Left) coast, etc, so it makes sense. Never mind. 

Minnie Holsinger, The Farmer's Wife 54, Manor Bakers, Henry Hintermeister

This is blog #54 of my on-going series sharing pages from the scrap book of Minnie Holsinger, which she compiled in the 30s and 40s while she and Grandpa Charlie were saving to buy a farm.

This illustration is from a series of images I assume that were culled by Grandma Minnie from a calendar produced by Manor Bakers in the late 30’s or early 40’s. The work is credited to Henry Hintermeister, who’s work has been featured in the Farmers Wife blog series posts 2, 5, 31, 32, 33 & 53. Mr. H was a popular and prolific illustrator back in the day, but is now all but unknown; at least, I’d never heard or seen of him until I started working on this series.

To recap from previous post-bios: Henry Hintermeister (b. 1897 / d. 1970)  His father John Henry Hintermeister was an illustrator as well.  Father and son often worked as a duo, from the 1890's to the 1940's, under the pseudonym Hy Hintermeister.  They became well known producing over 1,000 of illustrations; John Henry and Henry were often compared to Norman Rockwell with their illustration storytelling.  The duo produced a series of calendars depicting American history from 1775-1787.  They used identical signatures making their illustrations nearly impossible to distinguish.

So is this illustration by Hy Hintermeister Sr. or Jr

? Does it matter?

Minnie Holsinger, The Farmer's Wife 53, Manor Bakers, Henry Hintermeister

This is blog #53 of my on-going series sharing pages from the scrap book of Minnie Holsinger, which she compiled in the 30s and 40s while she and Grandpa Charlie were saving to buy a farm.

This illustration is from a series of images I assume that were culled by Grandma Minnie from a calendar produced by Manor Bakers in the late 30’s or early 40’s. The work is credited to Henry Hintermeister, who’s work has been featured in the Farmers Wife blog series posts 2, 5, 31, 32, & 33. Mr. H was a popular and prolific illustrator back in the day, but is now all but unknown; at least, I’d never heard or seen of him until I started working on this series.

Minnie Holsinger, The Farmer's Wife 52, Manor Bakers, William Steeple Davis

This is blog #52 of my on-going series sharing pages from the scrap book of Minnie Holsinger, which she compiled in the 30s and 40s while she and Grandpa Charlie were saving to buy a farm.

http://www.tfaoi.com/aa/1aa/1aa645.htm

Above is a link to a biography of William Steeple Davis. (1884-1961) painter of the image reproduced here. He was a self-taught painter, etcher, print maker and photographer. he was a homebody rarely leaving the village of Orient, on the northern shore of Long Island.

This seems to be clipped from the Manor Bakers calendar (?) from which Grandma Minnie culled yesterday's blog entry. This is the second in a series of 9 paintings depicting, in a highly idealized way, the discovery and settling of America by Europeans. This painting is titled "Columbus Approaching the Shores of America". 

Minnie Holsinger, The Farmer's Wife 51, Manor Bakers, Edward Moran

This is blog #51 of my on-going series sharing pages from the scrap book of Minnie Holsinger, which she compiled in the 30s and 40s while she and Grandpa Charlie were saving to buy a farm.

For the next several blogs I will be posting images from what I assume to be a Manor Bakers’ Complimentary Wall Calendar. I could easily be wrong; after this “title” image there are only 9 others; the paper is too thing to withstand a year’s worth of hanging display and there’s nothing printed on the reverse side. Yet I can’t imagine what else it could be. The subject of this series of paintings seems to be the “discovery” and settlement of America by the British, told in highly Christian-mythologized terms. Most of them are by Henry (HY) Hintermeister, who we’ve encounter many times before in this blog series.

This lead image is by Edward Moran (1829-1901), once-famed-but-now-forgotten maritime painter. Here’s a link to his wikipedia page https://en.wikipedia.org/wiki/Edward_Moran

Moran died in 1901, so the painting shown here couldn't have been commissioned by Manor Bakers or whoever packaged whatever sort of cultural artifact this series of paintings spring from. Perhaps the ensuing works were cobbled together from other sources as well.

Minnie Holsinger, The Farmer's Wife 50, Marguerite de Angeli

This is blog #50 of my on-going series sharing pages from the scrap book of Minnie Holsinger, which she compiled in the 30s and 40s while she and Grandpa Charlie were saving to buy a farm.

Here’s a link to Marguerite de Angeli’s Wikipedia page:https://en.wikipedia.org/wiki/Marguerite_de_Angeli

Here are some highlights: “Her 1946 story “Bright April” was the first children’s book to address the divisive issue of racial prejudice. She was twice named a Caldecott Honor Book illustator, first in 1945 for “Yonie Wondernose” and 1955 for “Book of Nursery and Mother Goose Rhymes”. She received a 1950 Newberry Medal for “Door in the Wall” (evocative title, I’m looking forward to reading that one).” 

From my perspective, researching and blogging about Grandma Minnie’s scrap file has been revelatory. Each day, I learn about illustrators who previously were completely unknown to me. Marguerite de Angeli is an prime example of this. She was exemplary of the secular humanist values of compassion and tolerance that I aspire to. Quoting the Wikipedia article further: “Her work explored and depicted the traditions and rich cultural diversity of common people more frequently overlooked- a semi-autobiographical Great Depression family, African American children experiencing the sting of racial prejudice, Polish mine workers aspiring to life beyond the Pennsylvania coal mines, the physically handicapped, colonial Mennonites, the Amish, nineteenth-century Quakers supporting the underground railroad, immigrants, and other traditional or ethic peoples. De Angeli’s books carry an underlying message that we are really all the same, and that all of us deserve tolerance, care consideration and respect”

I’ve fallen in love with this woman who I’ve only just met!

Minnie Holsinger, The Farmer's Wife 49, James C. McKell

This is blog #49 of my on-going series sharing pages from the scrap book of Minnie Holsinger, which she compiled in the 30s and 40s while she and Grandpa Charlie were saving to buy a farm.

James C, McKell (1884-1956). Here’s a link to his page on pulpartists.com

https://www.pulpartists.com/McKell.html

I don’t have much to say about this. It’s pleasant enough. McKell was in the big time, have Saturday Evening Post, Ladies Home Journal and Country Gentleman Magazine as regular clients. Perhaps this illustration was clipped from the latter, to which Grandpa Charlie had a multi-year subscription. The illustration is mounted to a piece of yellowed scrap book paper, so I can’t look for clues.

Just for fun, I'm including one of McKell's Saturday Evening Post covers from what I assume  is the same period.

      

My Portfolio, Todd McFarlane's Spawn, "The Prophecy", Granny's Heart Attack

This storyboard sample is from the final episode of Todd McFarlane’s Spawn that I directed for HBO in 1998. The episode title was “The Prophecy”.

The series producer, Frank Paur, nominated the entire 3rd season as a single unit in the “Prime Time Animation of Over One Hour” category. The result was that I and the other 4 episode directors (Chuck Patton, Mike Vosburg, Jennifer Yuh Nelson and Tom Nelson) took home Emmy’s in that category or the 1999 season. 

In this section from Act One, Wanda, Spawn’s mother-in-law, has a near-fatal heart attack after her daughter, Spawn’s widow, drops Granny off at the elderly woman’s house.

HBO SPAWN 0-212 Sc 68 pnl 2

Action: INT. GRANNY’S FRONT ROOM- DAY- WANDA opens door for GRANNY- Light from open door hits EASY CHAIR-

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Action: C.U. on EASY CHAIR, lit area from o.s. open door on chair-

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Action:

 Granny’s shadow slides in, up lit area-

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Action: Granny steps in from left side of cam, away from cam-

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Action:-grabs arm of easy chair-

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Action:-plops down heavily-

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Action: As Granny composes herself, Wanda’s shadow slides in over her, up lit area-

Dialogue: GRANNY: (SIGH)

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Action:-followed by Wanda-

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Action:-who bends over, kisses Granny on cheek- Granny pats Wanda on the cheek twice-

Dialogue: WANDA: (LIGHT KISS)

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Action: Wanda turns, walks o.s.-

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Action:-followed by Wanda’s shadow

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Action: Patch of light from o.s. door disappears along its left vertical edge as o.s. Wanda shuts o.s. front door. (SFX: DOOR SOFTLY SHUTTING)

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Action: -leaving Granny in shadow.

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Action: C.U. on Granny- (Dial up:SFX: TICKING CLOCK)

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Action: C.U. on ticking wall clock- POSE A

(SFX/CONT:: TICKING CLOCK)

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Action: C.U. on ticking wall clock- POSE B. CYCLE A & B POSES AS NEEDED

As scene continues (SFX: TICKING CLOCK) becomes louder and louder-

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Action: C.U. on Granny-

Dialogue: GRANNY: (HEAVY BREATHING)

(SFX/CONT:: TICKING CLOCK) continuously grows louder and louder-

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Action: Hold on Granny as bead of sweat appears on her temple-

Dialogue: GRANNY: (CONT) (HEAVY BREATHING)

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Action:-trickles down her temple-

Dialogue: GRANNY: (CONT) (HEAVY BREATHING)

By scene’s end, clock is now thunderously loud-

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Action: C.U. on ticking wall clock- POSE A

(SFX/CONT:: LOUDLY TICKING CLOCK)

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Action: C.U. on ticking wall clock- POSE B. CYCLE A & B POSES AS NEEDED

(SFX/CONT:: LOUDLY TICKING CLOCK)

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Action: C.U. upshot on Granny; bead of sweat continuing to roll down temple

Dialogue: GRANNY: (GASPING)

(SFX: LOUD HEARTBEAT, BECOMING ARHYTHMIC)

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Action: Granny leans into cam, grimacing in pain-

Dialogue: GRANNY: (CONT) (GASPING)

(SFX/CONT: LOUD HEARTBEAT, BECOMING ARHYTHMIC)

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Action: C.U. on Granny’s arm-

(SFX/CONT: LOUD HEARTBEAT, BECOMING ARHYTHMIC)

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Action: Granny reaches in, clutches arm near armpit-

(SFX/CONT: LOUD HEARTBEAT, BECOMING ARHYTHMIC)

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Action: Upshot on Granny, clutching left arm near armpit (a symptom of heart attack)

Dialogue: GRANNY: (CONT) (GASPING)

(SFX/CONT: LOUD, ARHYTHMIC HEARTBEAT)

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Action: Granny grabs her cane-

Dialogue: GRANNY: (CONT) (GASPING)

(SFX/CONT: LOUD, ARHYTHMIC HEARTBEAT)

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Action: -Granny lifts cane into vertical position-

Dialogue: GRANNY: (CONT) (GASPING)

(SFX/CONT: LOUD, ARHYTHMIC HEARTBEAT)

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Action: -Granny hoists herself into a standing position, right hand trembling, left hand hanging limp-

Dialogue: GRANNY: (CONT) (GASPING)

(SFX/CONT: LOUD, ARHYTHMIC HEARTBEAT)

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Action: Granny staggers o.s….

Dialogue: GRANNY: (CONT) (GASPING)

(SFX/CONT: LOUD, ARHYTHMIC HEARTBEAT)

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Action: …step by painful step-

Dialogue: GRANNY: (CONT) (GASPING)

(SFX/CONT: LOUD, ARHYTHMIC HEARTBEAT)

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Action: Cut on empty frame-

Dialogue: GRANNY: (CONT/OS) (GASPING)

(SFX/CONT: LOUD, ARHYTHMIC HEARTBEAT)

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Action: C’U. on Granny- BG Slide- Pose A

Dialogue: GRANNY: (CONT) (GASPING)

(SFX/CONT: LOUD, ARHYTHMIC HEARTBEAT)

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Action: Pose B; Cycle A & B poses as Granny hobbles painfully towards o.s. front door- 

(Note: continuously brighten scene as Granny approaches o.s. windows on either side of o.s. front door-)

Dialogue: GRANNY: (CONT) (GASPING)

(SFX/CONT: LOUD, ARHYTHMIC HEARTBEAT)

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Action: Low angle on FRONT DOOR

Dialogue: GRANNY: (CONT/OS) (GASPING)

(SFX/CONT: LOUD, ARHYTHMIC HEARTBEAT)

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Action: Granny’s cane in fast (blur paint); tip lands hard on floor-

Dialogue: GRANNY: (CONT/OS) (GASPING)

(SFX/CONT: LOUD, ARHYTHMIC HEARTBEAT/ LOUD BOOM OF CANE TIP LANDING ON FLOOR)

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Action: -cane-tip lifts, is carried away from cam-

Dialogue: GRANNY: (CONT) (GASPING)

(SFX/CONT: LOUD, ARHYTHMIC HEARTBEAT)

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Action:-lands again, closer to door-  Granny drags foot in-

Dialogue: GRANNY: (CONT) (GASPING)

(SFX/CONT: LOUD, ARHYTHMIC HEARTBEAT/ LOUD BOOM OF CANE TIP LANDING ON FLOOR)

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Action: Granny uses cane to drag herself towards front door-

Dialogue: GRANNY: (CONT) (GASPING)

(SFX/CONT: LOUD, ARHYTHMIC HEARTBEAT)

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Action: -Granny lifts cane tip o.s.

Dialogue: GRANNY: (CONT) (GASPING)

(SFX/CONT: LOUD, ARHYTHMIC HEARTBEAT)

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Action:-plants it on floor in front of her-

Dialogue: GRANNY: (CONT/OS) (GASPING)

(SFX/CONT: LOUD, ARHYTHMIC HEARTBEAT/ LOUD BOOM OF CANE TIP LANDING ON FLOOR)

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Action: EXT GRANNY’S HOUSE-DAY- Wanda’s car drives o.s- start pose-

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Action: Wanda’s car drives o.s.; in b.g., front door starts to swing inward-

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Action: -Front door continues to swing inward, revealing Granny-

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Action: Low angle on FRONT DOOR, continuing inward swing-

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Action: Front door completes inward swing as Granny slides in from bottom edge of frame-

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Action: Granny hefts cane into F.G.-

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Action: Vert Pan with Granny as she drags herself toward cam-

Dialogue: GRANNY: “Help…”

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Action: Granny collapses, her sunglasses falling off her face- 

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Action: Granny falls o.s.; glasses continuing toward cam-

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Action: Sunglasses fall into close up, then o.s.

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Action: Cut on empty frame-

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Action: Low angle FLOOR OF PORCH- Shadow of sunglasses fall in-

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Action: Sunglasses fall in, hit floor-

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Action: Sunglasses bounce-

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Action:-Sunglasses land-

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Action: Sunglasses settle- DX on reflection in sunglasses’ lens of Granny’s limp hand-