Disney Beauty and the Beast Cel Setup on Production Background featuring the Stove

Studio: Disney
Medium: Cel Setup on Production Background
Film: Beauty and the Beast
Year: 1991
Characters: The Stove
Edition: One of a kind
Framed Size: 23 1/4" x 18 3/4"
Originally purchased from Sotheby's "The Art of Beauty and the Beast" October 17, 1992 Auction, Lot 115.
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Beauty and the Beast (Walt Disney, 1991) is Walt Disney's thirtieth animated feature film. The story is based on the fairy tale La Belle et la B̻te by french author Jeanne-Marie Le Prince de Beaumont and a 1946 film version of the novel. This cinematic masterpiece required the talents of nearly 600 animators, artists, and technicians and took three and a half years to produce. Art directors working on the film traveled to the Loire valley in France for inspiration, and studied the work of romantic French painters like Fragonard and Boucher.

Lyricist and Executive producer Howard Ashman is credited with having the idea to transform the castle's enchanted objects into living creatures with unique personalities. Glen Keane, the supervising animator on the Beast, created his own hybrid beast by combining the mane of a lion, the beard and head structure of a buffalo, the tusks and nose bridge of a wild boar, the heavily muscled brow of a gorilla, the legs and tail of a wolf, and the big and bulky body of a bear.

Computer-generated imagery was used in several parts of the film, most notably in the "Be Our Guest" sequence and in the creation of a striking three-dimensional ballroom background, allowing dramatic camera movements on the animated characters as they danced. Walt Disney producers and animators were wary of computer animation and unsure how the industry and audiences would react to it. However new improvements in technology and CAPS (Computer Animation Production System) convinced them to test out computer animation in some of the film's scenes. Beauty and the Beast was a pioneer in computer-based animation and the success of the ballroom sequence helped convince studio executives to further invest in computer animation.