The 'Queens of Animation' fought discrimination and disdain to bring beloved characters to the screen.
“Princesses were mostly absent from my childhood,” writes Nathalia Holt in “The Queens of Animation,” a new book about Disney’s early female artists. “Until I began writing this book, I viewed the Disney princesses, with their fluffy dresses and vulnerable demeanors, warily, suspicious that they had been dropped into my life by unknown misogynistic forces that were bent on turning my daughters into boy-crazy women.
Readers meet Majolie, who had gone to high school with Walt Disney and joined the company in 1934, just as Disney was preparing to create “Snow White and the Seven Dwarfs.” She’d studied at the Chicago Academy of Fine Arts and sought work in fashion illustration before settling for sketching catalog copy for J.C. Penney.
Holland, who came to Disney as a young widowed mother of two, became known for her tender drawings of love and loss. Scott’s talent at capturing the natural world left audiences gasping at her terrifying dogs in “Bambi,” which debuted in 1942. When the women Holt profiles managed to break into higher-level jobs, they said they still faced closed doors and limited opportunities. The author says the Burbank studio where they worked during the late 30s and early 40s era had an all-male sanctuary on the top floor, known as the Penthouse Club, where the company’s male artists could enjoy a bar, barbershop and steam room — no women allowed.
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