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Disney History Institute Podcast

The Life and Art of Mary Blair - Part Thirty

Disney History Institute Podcast

Todd James Pierce

Tv & Film, Arts, Performing Arts

4.7606 Ratings

🗓️ 13 April 2026

⏱️ 38 minutes

🧾️ Download transcript

Summary

The story of Mary Blair, the person who is often described as Walt Disney's favorite artist.  Part Thirty.

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Transcript

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0:00.0

So today on the podcast, we continue our story about Mary Blair, the person who many believe was Walt Disney's favorite artist.

0:09.1

If you've been along on our journey since the beginning, you already know how many projects were graced by Mary's talents.

0:18.2

In the 1930s and 40s, she worked for multiple early animation studios in Los

0:23.8

Angeles. After being hired by Walt, she quickly became one of the key concept artist at the

0:30.5

studio who designed the visual presentation for major features, such as Cinderella, Alice in Wonderland, and Peter Pan.

0:40.3

She worked with Walt on It's a Small World for the New York World's Fair,

0:44.3

and then an expanded version of that attraction for Disneyland.

0:49.3

And then, finally, she helped design many elements of Walt Disney World, Though she's mostly known for her massive mural in the contemporary hotel,

0:59.0

she also developed designs and concepts for the Magic Kingdom and the Polynesian.

1:05.0

And then after Disney World opened, her work with Disney ended. She and her husband, along with their two adult

1:14.2

sons, moved to California, where Mary attempted to restart her career as an illustrator.

1:21.6

And that is where we pick up our story today, as the San Francisco Symphony reaches out to Mary with a special project.

1:36.3

In 1974, Mary was offered an assignment to design roughly 100 illustrations to accompany Revelle's La Enfant

1:46.0

as performed by the San Francisco Symphony. It would be performed as part of the

1:50.0

symphony's all Revelle program celebrating the 100th anniversary of the composer's birth.

1:55.0

For this, the symphony would be joined by a chorus and six soloists who sang their parts in French.

2:02.2

When La Anfant was performed as a traditional opera, the soloists, dressed in full costumes,

2:09.1

acted out their roles on stage, often moving through elaborate sets.

2:14.3

But a symphony typically engaged the piece as a concert performance without sets,

2:20.1

staged directions, or acting. The director of the San Francisco Symphony, Sergei Osawa,

2:26.2

wanted to find a middle ground. The stage would be filled with the symphony itself,

2:31.4

meaning there was no possibility of even a semi-staged presentation,

...

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