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Once Upon a Time ONCE UPON A TIME THE SOURCES OF INSPIRATION FOR THE DISNEY STUDIOS ONCE UPON A TIME THE SOURCES OF INSPIRATION FOR THE DISNEY STUDIOS Galeries Nationales du Grand Palais, Paris September 16, 2006 – January 15, 2007 Pavillon Jean-Noël Desmarais The Montreal Museum of Fine Arts March 8 – June 24, 2007 PRESTEL Munich · Berlin · London · New York This exhibition was organized by the Réunion des Musées Nationaux, Paris, and the Montreal Museum of Fine Arts Design: Atelier Mendini, Milan Project management in Paris: Yves Kneusé, architect, DPLG Project management in Montreal: Sandra Gagné General co-ordination and organization in Paris: Organization in Montreal: Réunion des Musées Nationaux Montreal Museum of Fine Arts Olivier Toche Bernard Lamarre Director of Cultural Development Chairman of the Board Magali Sicsic Nathalie Blondil Administrator of Galeries Nationales du Grand Palais Principal Curator Juliette Armand Paul Lavallée Head of Exhibitions Department Administrative Director Vincent David Pascal Normandin Project Manager, Exhibitions Co-ordinator, Exhibitions Jean Naudin Registrar Communications Christine Jéquel Registrar assistant Danielle Champagne Director of Communications Communications Françoise Pams Director of Communications Cécile Vignot Head of Promotion Services and Media Partnerships Florence Le Moing Press Officer Advisory committee Paris Francine Mariani-Ducray Director, Musées de France Marcel Pochard Chairman of the Board Réunion des Musées Nationaux Thomas Grenon Director General Réunion des Musées Nationaux Montreal Bernard Lamarre Chairman of the Board Montreal Museum of Fine Arts Guy Cogeval Director, Montreal Museum of Fine Arts General organizer Bruno Girveau Principal Curator, i/c collections of the École Nationale Supérieure des Beaux-Arts, Paris Steering committee Guy Cogeval Director, Montreal Museum of Fine Arts Pierre Lambert Historian, animated films Dominique Païni Director, Fondation Maeght, Saint-Paul-de-Vence This exhibition would not have been possible without the encour- We also owe a debt of gratitude to the directors of museums and agement of The Walt Disney Company. We are most grateful to collections whose numerous loans helped to make the exhibition The Walt Disney Company France, Walt Disney Animation Stu- possible. dios and the Walt Disney Animation Research Library, Walt Dis- ney Archives, Walt Disney Imagineering and the Walt Disney Germany Photo Library for their practical advice and munificent loan of more than two hundred important works from their collections. Berlin Nationalgalerie, Staatliche Museen zu Berlin We should also like to express our sincere thanks to the private Cologne collectors who generously consented to loan works for the Fondation Corboud, Wallraf Richartz Museum exhibition: Düsseldorf Gemäldegalerie, Stiftung museum kunst palast Robin Allan Lucile Audouy Hamburg Gary Baseman Kupferstichkabinett, Kunsthalle Chris Beetles Gallery, St James’s, London Munich Trammell S. Crow Museum Villa Stuck Mrs Jos Decock-Restany Schack-Galerie, Neue Pinakothek, Walt Disney Family Foundation Bayerische Staatsgemäldesammlungen Galerie Elstir, Paris Städtische Galerie im Lenbachhaus Ronald Feldman Musée des Beaux-Arts de Montreal, New York Wittelsbacher Ausgleichsfonds French & Company LLC, New York Jean Frumkin Rothenburg Galerie Hopkins-Custot Reichsstadtmuseum Mr and Mrs Michal Hornstein Stephen Ison Canada Alain Jacquet Montreal Rachel Laurent Montreal Museum of Fine Arts Jean-Jacques Lebel Rare Books and Special Collections Division, McGill University Mr and Mrs Paul Levy Rare Books and Special Collections, University of Montreal Roy Lichtenstein Foundation Ottawa Hervé Lourdel National Gallery of Canada Mrs Frédérique Loutz Modernism Inc., San Francisco USA Peter Nahum at the Leicester Galleries, London Claes Oldenburg and Mrs Coosje van Bruggen Brooklyn The Oudart-Reynaud family Brooklyn Museum of Art Mélik Ouzani Los Angeles Galerie Claudine Papillon Hammer Museum Jean-Michel Pradel-Fraysse Charles Solomon New York Valérie Sonnier Rare Book & Manuscript Library, Columbia University Marc Tugault, Affiche Vivante, Montreal Philadelphia Rare Book Department, Free Library of Philadelphia and all those who prefer to remain anonymous. San Francisco Museum of Fine Arts France Norway Besançon Oslo Fonds Régional d’Art Contemporain de Franche-Comté National Museum of Art, Architecture and Design Carquefou Fonds Régional d’Art Contemporain des Pays de la Loire Poland Cherbourg-Octeville Poznan Musée d’Art Thomas-Henry Muzeum Narodowe w Poznaniu Dunkirk Fonds Régional d’Art Contemporain du Nord-Pas-de-Calais Sweden Limoges Stockholm Musée National de la Porcelaine Adrien Dubouché Nationalmuseum Lyons United Kingdom Musée des Beaux-Arts Leeds Nancy City Art Gallery, Leeds Museums and Galleries Bibliothèque Municipale Musée de l’École de Nancy Liverpool Art Gallery & Collections, University of Liverpool Nantes Walker Art Gallery, National Museums Musée des Beaux-Arts London Paris Tate Britain Bibliothèque, Institut de France Victoria and Albert Museum Bibliothèque du Film Bibliothèque Nationale de France Literature and Arts Department Performing Arts Department Philosophy, History and Human Sciences Department Prints and Photographs Department Rare Books Collection Centre de Création Industrielle, Musée National d’Art Moderne Centre Pompidou Equipment Collection, Cinémathèque Française Maison de Victor Hugo Médiathèque de l’Architecture et du Patrimoine Ministère de la Culture, Fonds National d’Art Contemporain Musée des Arts Décoratifs Musée Gustave-Moreau Musée d’Orsay Musée du Louvre Edmond de Rothschild Collection, Graphic Arts Department Paintings Department Quimper Musée des Beaux-Arts Rouen Musée des Beaux-Arts Strasbourg Musée d’Art Moderne et Contemporain Acknowledgements Since putting on such a singular venture as the Once upon a Time Walt Disney exhibition in a museum must inevitably give rise to questions and caveats, it is all the more imperative in my view to thank all those who have allowed it to take place. First I must pay tribute to Sophie Aurand, director general of the Réunion des Musées Nationaux from 2002 to 2004, who permitted the project to be launched. Thanks are also due to her successor Thomas Grenon, who unhesitat- ingly accepted and supported the exhibition, and Guy Cogeval, who provided valu- able and far-sighted support for the project both as an adviser to the Galeries Nationales du Grand Palais’s program of exhibitions and as the director of the Mon- treal Museum of Fine Arts. I should also like to express my thanks to the teams at the Réunion des Musées Nationaux for their commitment and professionalism, especially the exhibitions department (first and foremost Juliette Armand and Vin- cent David, with the assistance of Christine Jéquel and Lora Houssaye), but also the communications department (notably Françoise Pams, Stéphanie Hussonnois, Cécile Vignot and Florence Le Moing), the management of the publishing side (first and foremost Catherine Marquet, Marie-Dominique de Teneuille and Con- suelo Crulci), Mateo Baronnet (design of the catalogue), Nathalie Barthès (editing) and the staff of the Galeries Nationales du Grand Palais. No exhibition of this kind could have been put on without the assistance of The Walt Disney Company. Having encountered among the French company’s officers and their teams a commitment and enthusiasm that never wavered, I would spe- cially like to pay tribute to Philippe Laco and Jean Poulallion. Another special debt of thanks for the huge generosity of their loans and the immense work they put in is owed to the team at the Animation Research Library, notably Lella Smith, Mary Walsh, Fox Carney, Ann Hansen, Doug Engalla, Kristen McCormick, Daryl Maxwell, Jackie Vasquez, Patrick White, Heather McLaughlin, Tamara Khalaf and Robert Tieman, manager of Walt Disney Archives. The kindness of Diane Disney Miller (Walt Disney Family Foundation) and Ste- phen Ison in making valuable loans enabled us to complete our selection. I would like to thank Pierre Lambert and Dominique Païni, co-organizers of the exhibition, for their irreplaceable assistance and their patience. The exhibition also owes much to the extraordinarily stimulating contributions of Atelier Mendini for the design (Alessandro and Francesco Mendini), Alex Mocicka, along with Yves Kneusé and Sandra Gagné (project management). I am also most grateful for the assistance of many other people whom I can only thank by including their names in the following list, with my apologies: Robin and Janet Allan, Marc Audouin, Jacques Aumont, Ruth Berson, Ute Collinet, Holly Crawford, Johannes Erichsen, Anna Foglia, Serge Garcin, Christine Hourdé, Clau- dine Kaufmann, Antonin Macé de Lépinay, Laurent Mannoni, Helmut Möhring, Hélène Moulin-Stanislas, Martin Muller, Peter Nahum, Emmanuelle Nobécourt, Herbert W. Rott, Nina Schleif, and Charles Solomon. Bruno Girveau, General Organizer Foreword So great are the prejudices that continue to separate the worlds of high art and po- pular culture that the news that the Réunion des Musées Nationaux in Paris and the Montreal Museum of Fine Arts were mounting an exhibition devoted to the work of Walt Disney must have been initially met with shock. Yet by examining his remarkable body of work, this exhibition, which took so long to prepare, demon- strates the profound links that exist between the two spheres of culture. It is not the aim of the curators and specialists who prepared this exhibit to retell the story of Walt Disney, which
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