Disney Parks Postcard WonderGround Maleficent Enthroned Jasmine Becket-Griffith for Sale

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Disney Parks Postcard WonderGround Maleficent Enthroned Jasmine Becket-Griffith For Sale

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Disney Parks Postcard WonderGround Maleficent Enthroned Jasmine Becket-Griffith:
$149.99

Disney Parks WonderGround Gallery Postcard

Condition: New
Artwork: \"Maleficent Enthroned\"
Artist: Jasmine Becket-Griffith
Release Date: July 12, 2014
Size: 5 x 7 inches

This rare postcard features Maleficent and her raven familiar Diablo (from Disney\'s Sleeping Beauty) in Maleficent\'s lair. Maleficent is wearing her iconic horns and high collared robe. \"Maleficent Enthroned\" was created by artist Jasmine Becket-Griffith. Maleficent was created in Becket-Griffith\'s signature pop surrealist style with large haunting eyes and waifish appearance. The postcard has bold, jewel tone colors and is a beautiful reimagining of a classic Disney villain.
This postcard was released at Disney\'s WonderGround Gallery at Downtown Disney (Disneyland Resort) on July 12, 2014. It was exclusively available at Disney\'s WonderGround Gallery. The postcard is retired and is no longer available.
Disney\'s WonderGround Gallery showcases art created by contemporary and modern artists. Artists create original works of art with classic Disney characters, films and attractions in their style resulting in a range of unique collectibles in a variety of media. Popular featured artists include SHAG, Jasmine Becket-Griffith, Jerrod Maruyama, Jeff Granito, Joey Chou and many, many more! WonderGround Galley has two locations: Downtown Disney at the Disneyland Resort and Disney Springs at the Walt Disney World Resort.

Please send a message with any questions. Thank you!

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Sleeping Beauty is a 1959 American animated musical fantasy film produced by Walt Disney based on Sleeping Beauty by Charles Perrault. The 16th Disney animated feature film, it was released to theaters on January 29, 1959, by Buena Vista Distribution. It features the voices of Mary Costa, Eleanor Audley, Verna Felton, Barbara Luddy, Barbara Jo Allen, Bill Shirley, Taylor Holmes, and Bill Thompson.

The film was directed by Les Clark, Eric Larson, and Wolfgang Reitherman, under the supervision of Clyde Geronimi, with additional story work by Joe Rinaldi, Winston Hibler, Bill Peet, Ted Sears, Ralph Wright, and Milt Banta. The film\'s musical score and songs, featuring the work of the Graunke Symphony Orchestra under the direction of George Bruns, are arrangements or adaptations of numbers from the 1890 Sleeping Beauty ballet by Pyotr Ilyich Tchaikovsky.

Sleeping Beauty was the first animated film to be photographed in the Super Technirama 70 widescreen process, as well as the second full-length animated feature film to be filmed in anamorphic widescreen, following Disney\'s Lady and the Tramp four years earlier. The film was presented in Super Technirama 70 and 6-channel stereophonic sound in the first-run engagements. In 2019, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being \"culturally, historically, or aesthetically significant\".

Art direction

The film\'s animation style moved away from the Rococo of Cinderella; rather than drawing on fashion and female beauty standards of the time, it was inspired by distinctive visual combination of Medieval art imagery and Art Deco design.

Kay Nielsen – whose sketches were the basis for Night on Bald Mountain in Fantasia – was the first to produce styling sketches for the film in 1952. The artistic style originated when John Hench observed the famed unicorn tapestries at the Cloisters located at the Metropolitan Museum of Art in New York City. When Hench returned to the Disney studios, he brought reproductions of the tapestries and showed them to Walt Disney, who replied, \"Yeah, we could use that style for Sleeping Beauty.\"

Eyvind Earle joined Walt Disney Productions in 1951, first employed as an assistant background painter for Peter Pan before being promoted to a full-fledged background painter in the Goofy cartoon \"For Whom the Bulls Toil\" and the color stylist of the Academy Award-winning short Toot, Whistle, Plunk and Boom. For Sleeping Beauty, Earle said that he \"felt totally free to put my own style\" into the paintings he based on Hench\'s drawings, stating, \"Where his trees might have curved, I straightened them out ... I took a Hench and took the same subject, and the composition he had, and just turned in into my style.\" Furthermore, Earle found inspiration in the French Renaissance, utilizing works from Albrecht Dürer, Limbourg Brothers, Pieter Bruegel, Nicolaas van Eyck and Sandro Botticelli, as well as Persian art and Japanese prints. When Geronimi became the supervising director, Earle and Geronimi entered furious creative differences. Geronimi commented that he felt Earle\'s paintings \"lacked the mood in a lot of things. All that beautiful detail in the trees, the bark, and all that, that\'s all well and good, but who the hell\'s going to look at that? The backgrounds became more important than the animation. He\'d made them more like Christmas cards\". Earle left the Disney studios in March 1958, before Sleeping Beauty was completed, to take a job at John Sutherland Productions. As a result, Geronimi had Earle\'s background paintings softened and diluted from their distinctive medieval texture.

Character animation

Because of the artistic depth of Earle\'s backgrounds, it was decided for the characters to be stylized so that they could appropriately match the backgrounds. While the layout artists and animators were impressed with Earle\'s paintings, they eventually grew depressed at working with a style that many of them regarded as too cold, too flat, and too modernist for a fairy tale. Nevertheless, Walt insisted on the visual design, claiming that the inspirational art he had commissioned in the past had homogenized the animators. Frank Thomas would complain to Ken Peterson, head of the animation department, of Earle\'s \"very rigid design\" and its inhibiting effect on the animators, which was more problematic than working with Mary Blair\'s designs, to which Peterson would respond that the design style was Walt\'s decision and, like it or not, they had to use it. Because of this, Thomas developed a red blotch on his face and had to visit the doctor each week to have it attended to. Production designer Ken Anderson also complained: \"I had to fight myself to make myself draw that way.\" Another character animator on Aurora claimed that their unit was so cautious about the drawings that the clean-up animators produced one drawing a day, which translated into one second of screen time per month.

Casting

In 1952, Mary Costa was invited to a dinner party where she sang \"When I Fall in Love\" at the then-named Los Angeles Conservatory of Music. Following the performance, she was approached by Walter Schumann, who told her, \"I don\'t want to shock you, but I\'ve been looking [for Aurora] for three years and I want to set up an audition. Would you do it?\" Costa accepted the offer and, at her audition in the recording booth with George Bruns, she was asked to sing and do a bird call, which she did initially in her Southern accent until she was advised to do an English accent. The next day, she was informed by Walt Disney that she had landed the role. Eleanor Audley initially turned down the choice role of Maleficent as she was battling tuberculosis at the time, but reconsidered.

Music

In April 1952, Billboard reported that Jack Lawrence and Sammy Fain had signed to compose the score. In the following year, Disney decided the score should be based on Peter Tchaikovsky\'s Sleeping Beauty Ballet, which rendered the songs Lawrence and Fain had written unusable except for \"Once Upon a Dream\". Walter Schumann was originally slated to be the film composer, but he left the project because of creative differences with Disney. George Bruns was recommended to replace Schumann by animator Ward Kimball. Because of a musicians\' strike, the musical score was recorded in Berlin, Germany with the Graunke Symphony Orchestra from September 8 through November 25, 1958.

Although Bruns took much credit for the score, he derived most of his work from the themes and melodies in Tchaikovsky\'s ballet Sleeping Beauty. Yma Sumac covered \"I Wonder\" for Stay Awake in 1988. No Secrets performed a cover version of \"Once Upon a Dream\" on the album Disneymania 2, which appears as a music video on the 2003 DVD. More recently, Emily Osment sang a remake of \"Once Upon a Dream\", released on the Disney Channel on September 12, 2008, and included on the Platinum Edition DVD and Blu-ray Disc.

In the 2012 album Disney – Koe no Oujisama, which features various Japanese voice actors covering Disney songs, \"Once Upon a Dream\" was covered by Toshiyuki Morikawa.

In anticipation of the 2014 film Maleficent, a cover version sung by Lana Del Rey was released by Disney on January 26. The song is considerably darker and more dramatic than the 1959 version, given the new film\'s focus on the villain Maleficent. The song was debuted in a trailer for the film shown as a commercial break during the 2014 Grammy Awards, and was released for free on Google Play for a limited time.

Release

Original theatrical run

Disney\'s distribution arm, Buena Vista Distribution, originally released Sleeping Beauty to theaters in both standard 35 mm prints and large-format 70 mm prints. The Super Technirama 70 prints were equipped with six-track stereophonic sound; some CinemaScope-compatible 35 mm Technirama prints were released in four-track stereo, and others had monaural soundtracks. The film premiered in Los Angeles on January 29, 1959. On the initial run, Sleeping Beauty was paired with the short musical/documentary film Grand Canyon which won an Academy Award.

During its original release in January 1959, Sleeping Beauty grossed approximately $5.3 million in theater rentals (the distributor\'s share of the box office gross) from the United States and Canada. Sleeping Beauty\'s production costs, which totaled $6 million, made it the most expensive Disney film up to that point, and over twice as expensive as each of the preceding three Disney animated features: Alice in Wonderland, Peter Pan, and Lady and the Tramp. The high production costs of Sleeping Beauty, coupled with the underperformance of much of the rest of Disney\'s 1959–1960 release slate, resulted in the company posting its first annual loss in a decade for fiscal year 1960, and there were massive lay-offs throughout the animation department.

Reception & Critical response

Bosley Crowther, writing in his review for The New York Times, complimented that \"the colors are rich, the sounds are luscious and magic sparkles spurt charmingly from wands\", but criticized its similarity with Snow White and the Seven Dwarfs. He further wrote that \"the princess looks so much like Snow White they could be a couple of Miss Rheingolds separated by three or four years. And she has the same magical rapport with the little creatures of the woods. The witch is the same slant-eyed Circe who worked her evil on Snow White. And the three good fairies could be maiden sisters of the misogynistic seven dwarfs.\" Time harshly wrote that \"Even the drawing in Sleeping Beauty is crude: a compromise between sentimental, crayon-book childishness and the sort of cute, commercial cubism that tries to seem daring but is really just square. The hero and heroine are sugar sculpture, and the witch looks like a clumsy tracing from a Charles Addams cartoon. The plot often seems to owe less to the tradition of the fairy tale than to the formula of the monster movie. In the final reel it is not a mere old-fashioned witch the hero has to kill, but the very latest model of The Thing from 40,000 Fathoms.\" Harrison\'s Reports noted that \"It is doubtful, however, if adults will find as much satisfaction in Sleeping Beauty as they did in Snow White and the Seven Dwarfs, with which this latest effort will be assuredly compared because both stories are in many respects similar. While Beauty is unquestionably superior from the viewpoint of the art of animation, it lacks comedy characters that can be compared favorably with the unforgettable Seven Dwarfs.\"

Among more favorable reviews, Variety praised the singing voices of Mary Costa and Bill Shirley and noted that \"some of the best parts of the picture are those dealing with the three good fairies, spoken and sung by Verna Felton, Barbara Jo Allen and Barbara Luddy.\" Kate Cameron, reviewing for The New York Daily News, described the film as \"enchanting\" and as a \"picture that will charm the young and tickle adults, since the old fairy tale has been transferred to the screen by a Disney who kept his tongue in his cheek throughout the film\'s animation.\"

In a retrospective review, Carrie R. Wheadon of Common Sense Media gave the film five out of five stars, writing, \"Disney classic is delightful but sometimes scary\". The review aggregator website Rotten Tomatoes reported that the film received a 90% approval rating with an average rating of 8.2/10 based on 40 reviews. Its consensus states that \"This Disney dreamscape contains moments of grandeur, with its lush colors, magical air, one of the most menacing villains in the Disney canon.\"

(Wikipedia)