Helena Smith Dayton

{{Infobox artist

| name = Helena Smith Dayton

| image = 1917 Helena Smith Dayton.jpg

| imagesize =

| caption = 1917 portrait of Helena Smith Dayton

| birth_name = Helena Smith

| birth_date = {{circa}}{{Birth date text|1879}}

| birth_place = Burke, New York

| death_date = {{Death date and age|1960|02|22|1879}}

| death_place = New York, New York

| nationality = American

| education =

| field = Animation

| training =

| movement =

| works = Romeo and Juliet (1917)

| patrons =

| awards =

| spouse =

}}

Helena Smith Dayton (often hyphened as Helena Smith-Dayton) (1883–1960) was an American filmmaker, painter and sculptor working in New York City who used fledgling stop motion and clay animation techniques in the 1910s and 1920s, one of the earliest animators (and the first American woman) to experiment with clay animation. Her "clay cartoons" were humorous in nature, and Dayton was featured in the "Humorist Salons" in New York City.{{Cite book|url=https://www.worldcat.org/oclc/968290213|title=Ink & paint: the women of Walt Disney's animation|last=Johnson|first=Mindy|date=2017|isbn=9781484727812|language=English|page=23|publisher=Disney Editions |oclc=968290213}} She spent the end of World War I in Paris, managing an YMCA canteen for soldiers.{{Cite news|url=https://www.nytimes.com/1960/02/23/archives/mrs-helena-dayton.html|title=Mrs. Helena Dayton (Obituary)|date=February 23, 1960|work=The New York Times|access-date=4 June 2018|issn=0362-4331}} She was a published author, ranging in genre from journalism to plays to a guide to New York City.{{cite web|url=http://norman.hrc.utexas.edu/bookshopdoor/signature.cfm?item=38#1|title=Helena Smith Dayton: the Greenwich Village Bookshop Door|work=Harry Ransom Centre|publisher=University of Texas|accessdate=September 27, 2017}}

Career

=Art and animation=

Dayton began sculpting around 1914 while living in Greenwich Village in New York City.{{cite web|title=Artist, author, and Pioneering Motion Picture Animator: The Career of Helena Smith Dayton|url=https://journal.animationstudies.org/jason-douglass-artist-author-and-pioneering-motion-picture-animator-the-career-of-helena-smith-dayton-runner-up/|last=Douglass|first=Jason Cody|website=journal.animationstudies.org|date=December 29, 0201 |accessdate=February 5, 2018}} She described how she began to sculpt while she worked as a writer: "I was sitting at my typewriter, when my fingers began to itch for something to mould." She bought art clay and began to sculpt it. "From then on, I tried to fashion people as I saw them, the humorous always being uppermost in my thoughts." Her "grotesque" figurines graced magazine covers and accompanied her humorous short stories in magazines such as Puck and Cartoons Magazine.{{Cite web|url=https://babel.hathitrust.org/cgi/pt?id=osu.32435069200772&view=1up&seq=176|title=Cartoons magazine. v.9no.3 1916.|website=HathiTrust|language=en|access-date=2020-01-25}} A humorist, she specialized in creating clay models of prominent citizens. She described her work as "gigglesome bits of statuary." She copyrighted some of her creations{{Cite book|url=https://books.google.com/books?id=EhIDAAAAYAAJ&q=%22helena+smith+dayton%22&pg=RA1-PA451|title=Catalog of Copyright Entries: Works of art...|date=1914|publisher=Library of Congress, Copyright Office.|language=en}} and they were marketed as "Caricatypes". The figurines, averaging 7 1/2 inches in height, cost 75 cent each.{{Cite web|url=https://babel.hathitrust.org/cgi/pt?id=osu.32435069200772&view=1up&seq=176|title=Cartoons magazine. v.9no.3 1916.|website=HathiTrust|language=en|access-date=2020-01-25}} Girls dressed as Dayton's caricatypes would appear in the Ziegfeld Follies of 1916 with lines written by Dayton.{{Cite web|url=https://babel.hathitrust.org/cgi/pt?id=osu.32435069200772&view=1up&seq=169|title=Cartoons magazine. v.9no.3 1916.|website=HathiTrust|language=en|access-date=2020-01-25}}

File:Stills from Helena Smith-Dayton films (1917-02 Popular Science Monthly V 90 p. 257).jpg

She began experimenting with "clay cartoons" in 1916.{{citation needed|date=January 2020}} The February 1917 issue ofPopular Science Monthly included an article about the motion-picture novelty of "animated sculpture". Illustrations included photographs of Dayton with her clay figures, a picture from the animated sculpture play Battle of the Suds, a part of a film strip showing circa ten frames of three dancing chorus girls and another of a man and a snake. The journalist found the effect "startingly (sic) realistic and highly amusing" and believed that "the rather jerky action serves only to enhance the amusing result".{{Cite web|url=https://en.wikisource.org/wiki/Page:Popular_Science_Monthly_Volume_90.djvu/274|title=Page:Popular Science Monthly Volume 90.djvu/274 - Wikisource, the free online library|website=en.wikisource.org|access-date=2020-01-28}} Later in the year, Dayton admitted: “The difficult thing at first was to determine just how much to move an arm or a head, to avoid an appearance of jerkiness. I used to make the changes too great, but am learning to overcome that now.” Dayton created 16 poses for her sculpted figures for each foot of film, with up to 30 figurines moving in a scene. Dayton managed to animate about 100 feet of film per day and planned to release one film per month.“Romeo and Juliet – In Clay!,” Film Fun, November 2, 1917, p. 434.

The first documented public screening of some of her animated shorts took place on March 25, 1917 at the Strand Theater in New York City. Later in 1917, she released her adaptation of William Shakespeare's Romeo and Juliet. Before the animated portion of the film, the introduction featured a shot of Dayton sculpting the clay figures.{{Cite journal|date=November 24, 1917|title=Prominent Sculptor in Film|url=https://archive.org/stream/mopict34chal#page/1164/mode/2up|journal=The Moving Picture World|pages=1164}} She contributed the short film Pride Goeth Before a Fall, featuring “dances and other stunts”, to the second issue of Pathe’s Argus Pictorial "screen magazine" released on 25 November 1917. The third edition of the program, released on 16 December, closed with a film featuring her clay figures around the banquet bord.{{Cite book|url=https://archive.org/details/moving34chal|title=Moving Picture World (Dec 1917)|last=Chalmers Publishing Company|date=1917|publisher=New York, Chalmers Publishing Company|pages=[https://archive.org/details/moving34chal/page/n281 1490], 1523, 1774|others=New York The Museum of Modern Art Library}} Her forays in sculpture and animation had contributed greatly to her income by this point: her bank account contained $12,000 in 1917, the equivalent of $256,000 in 2018 dollars. Though newspapers and magazines in her day covered her work extensively and in detail, it is unclear whether Dayton produced any films after 1917.{{cite web|url=https://blog.animationstudies.org/?p=2641|title=Helena Smith Dayton: An Early Animation Pioneer Whose Films You Have Never Seen|last=Douglass|first=Jason Cody|date=September 24, 2018|publisher=Animation Studies 2.0|accessdate=September 24, 2018}} This may be due to the onset of World War I, during which she worked abroad as part of the war effort, putting her artistic work on hold. None of her films have yet been located, but impressions of her animation can be gathered from the stills and descriptions printed in magazines.

After working as a canteen director for the YMCA in Paris during World War I, she created sculpted figures depicting scenes in France. These were featured in an exhibition by the Society of Illustrators (of which she was a member) in 1922 in New York City.{{Cite news|url=https://www.nytimes.com/1922/05/13/archives/illustrators-open-show-with-a-party-exhibit-their-double-lives-in.html|title=ILLUSTRATORS OPEN SHOW WITH A 'PARTY'; Exhibit Their 'Double Lives' in Work and an Amusing Movie, 'Through Hollywood.'|date=May 13, 1922|work=The New York Times|access-date=4 June 2018|issn=0362-4331}}

Later in life, she took up painting. She exhibited her paintings in 1943 at the Montross Gallery.{{Cite news|url=https://www.nytimes.com/1943/04/20/archives/art-notes.html|title=Art Notes|date=April 20, 1943|work=The New York Times|access-date=4 June 2018|issn=0362-4331}} One New York Times art critic praised her work, calling her portraits in this exhibition "unflattering and sound, with a mining for individual character."{{Cite news|url=https://www.nytimes.com/1943/04/25/archives/a-reviewers-notebook.html|title=A Reviewer's Notebook|last=Devree|first=Howard| author-link = Howard Devree| date=April 25, 1943|work=The New York Times|access-date=4 June 2018|issn=0362-4331}}

=Writing=

Before she was an animator, Dayton worked as a reporter in Hartford, Connecticut.

Dayton co-authored two guidebooks with Louise Bascom Barratt: A Book of Entertainments and Theatricals (1923) and New York in Seven Days (1926).

Later in her career, she took up playwriting. She frequently collaborated with Louise Bascom Barratt. With Barratt in 1926, she co-wrote The Sweet Buy and Buy, which was performed on stage in 1927 (produced by James Gleason and Earle Boothe) and published as a book.{{Cite news|url=https://www.nytimes.com/1926/07/22/archives/theatrical-notes.html|title=Theatrical Notes.|date=July 22, 1926|work=The New York Times|access-date=4 June 2018|issn=0362-4331}}{{Cite news|url=https://www.nytimes.com/1927/08/07/archives/announcing-the-shows-of-the-new-theatrical-season-a-list-of-the.html|title=ANNOUNCING THE SHOWS OF THE NEW THEATRICAL SEASON; A List of the Sundry Entertainments That May Be Expected to Open in New York Between Now and Next Summer|date=August 7, 1927|work=The New York Times|access-date=4 June 2018|issn=0362-4331}} With Barratt again, she co-wrote Hot Water; it opened in 1929 at Lucille La Verne's theater in New York City, with La Verne in the leading role.{{Cite news|url=https://www.nytimes.com/1929/01/11/archives/hot-water-to-open-on-jan-21.html|title="Hot Water" to Open on Jan. 21. – The New York Times|year=1929|work=The New York Times|access-date=4 June 2018|issn=0362-4331}} In 1931, Casanova's Son, also co-written with Barratt, debuted in New York City.{{Cite news|url=https://www.nytimes.com/1931/08/25/archives/theatrical-notes.html|title=Theatrical Notes.|date=August 25, 1931|work=The New York Times|access-date=4 June 2018|issn=0362-4331}}

Personal life

Dayton was married to Fred Erving Dayton, a writer and publisher.

Sometime between 1920 and 1925, Helena Smith Dayton signed The Greenwich Village Bookshop Door at Frank Shay's Bookshop on Christopher Street. The door served as an autograph book for nearly 250 bohemians and is now held by the Harry Ransom Center at the University of Texas at Austin. Dayton's signature can be found on front panel 1.

Filmography

:1917? Battle of the Suds

:1917-03-25 Animated Sculpture (program of shorts), Strand Theater, New York

:1917-11? Romeo and Juliet (1.000 ft reel)

:1917-11-25 Pride Goeth Before a Fall in Argus Pictorial No. 2

:1917-12-16 Argus Pictorial No. 3 (featuring one short with figures around a banquet bord)

References

External links

[https://books.google.com/books?id=gyRHAQAAMAAJ&pg=PA204 "East Wallop's Hardy Annuals"], a story by Dayton in Cartoons magazine vol. 12 no. 2, August 1917

Category:American animated film directors

Category:Women animated film directors

Category:1883 births

Category:1960 deaths

Category:Artists from Hartford, Connecticut

Category:Animators from Connecticut

Category:American stop motion animators

Category:Clay animators

Category:19th-century American painters

Category:19th-century American women painters

Category:20th-century American painters

Category:American women film directors