So today on the podcast, we'll continue our story of Disney legend Mary Blair.

Last month we followed Mary as she began work on her three big Disney features, specifically

on Cinderella and Alice in Wonderland, films in which her design work picked up elements

of her personal life, specifically her recent move to New York and her

desire to start a family. Today we'll explore Mary's life as she worked on the third film in

that set, Peter Pan, a story ideally suited for her as it presented an island of endless

childhood, with childhood being one of the key

themes in her post-California scene movement paintings. But before we jump back down into

the world of the early 1950s, I need to thank another round of Bandcamp subscribers. There are research and production costs tied

to each one of our episodes. For example, the material in today's story about Mary Blair

comes from interviews, special collection units, and archives spread across the country.

And our band camp subscribers are the people who make all of this possible.

I'm grateful to each and every person on Bandcamp who helps this podcast move forward.

But today, a special note of thanks is going out to Downtown Fred, Alexander, SL South

WI, Rascal, and Rocketier 8 plus 2.

Thanks to each of you and to all of our band camp subscribers for supporting all we do here.

And now, here's the show.

As Mary moved through pregnancy, she saw her book Baby's House published.

The text and concept had been created by writer Jololo McHugh, but the illustrations, which comprised

most of the book, had been produced by Mary.

The New York Times reviewed the title in its pages, calling parents and librarians' attention to a visual

story that will catch the young child's satisfaction in everyday objects as baby marches through

...