THIS IS A 1980s ERA PHOTO COPY PRINT from DISNY ANIMATION RESEARCH and NOT VINTAGE ORIGINAL DRAWINGS.
This is RESEARCH PHOTOCOPY from the 1980s of a page of ANIMATION DEVELOPMENT ART of FANTASIA from NIGHT ON BALD MOUNTAIN with CHERNABOG
Night on Bald Mountain/Ave Maria is the seventh and final segment of Fantasia, following the medley containing compositions of the same name by Modest Mussorgsky and Franz Schubert.
Deems Taylor introduces it as the conflict between the profane (represented by Night on Bald Mountain) and the sacred (represented by Ave Maria).
At Walpurgis Night (the Witches' Sabbath), Chernabog, God of evil, emerges from the peak of Bald Mountain (in reality Mount Triglaf, near Kyiv in Ukraine) to summon all of his minions, including ghosts, vultures, demons, hags, and harpies, who dance furiously as he throws them into the mountain's fiery pit.
He is driven away by the light of the dawn, and a procession of figures walks up a hill to witness the sunrise.
It is perhaps the most famous sequence in Fantasia, if not, second to The Sorcerer's Apprentice.
It showcases the animation of Vladimir Tytla and the style of Kay Nielsen, as well as the longest shot ever produced in the multi-plane camera (in the procession).
The idea for Chernabog was conceived by German artist Heinrich Kley (who, though he did not officially work at the Disney studio, inspired many of the Disney artists, and whose drawings were collected by Walt Disney), who once sketched a pen and ink drawing of a gigantic demon forcing workers out of a factory by blocking the chimney.
Albert Hurter, inspired by this drawing and others like it by Kley, drew various sketches of a huge, winged devil tossing handfuls of souls into a volcano.
Hurter's sketches also included studies of his hands as his flailing minions attempt to clamber onto his fingers for safety; this imagery is used in a scene in the final film. After Hurter's initial sketches, Kay Nielsen established the final appearance of him and his world in a series of detailed pastel illustrations, as well as a model sheet for him.
He was then created as a real model, to be used as the reference by Tytla during animation.
THE full page is 11 X 8 1/2
Item in GOOD CONDITION with a 3 hole punch from being in a research binder.
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This is a 1980s PHOTO COPY on Regular Paper from DISNEY ANIMATION RESEARCH Dept. and NOT ORIGINAL DRAWINGS