1940. Pierre
Schildneck Russian designer, who moved to France and then to Spain, painted
g1lass shots for “La florista de la Reina” (1940) and “Pepe Conde (1941) with
Enrique Alarcon as an assistant.Schildneck used the technique of matte painting
he learned with Percy Day in France. He filmed the shot masking the areas which
he will paint over, and then paint the glass in his studio filming again the
glass on the original negative.
1942. Enrique Salva and a young Emilio Ruiz as an assistant, begun to paint in camera glass shots for art director Sigfredo Burmann in “El abanderado” They use the technique of ” glass shots” placing the glass in front of the camera, and painting the miniature with direct reference of the real stage, filming the painting with the actors at once.
1944. Pierre
Schildneck as chief designer for the film “La torre de los siete
jorobados” uses miniature models and matte paintings to recreate the
underground city under Madrid.
1946. For
“Dulcinea” Enrique Salva and Emilio Ruiz paint a glass shot for the upper part
of sets and sky into the studio.
1948. Enrique Salva y Emilio Ruiz made several glass paintings for Sigfredo
Burmann in “Locura de amor”
1948 For the
Portuguese-Spanish coproduction Ines de Castro” Pierre Schild painted several
mattes to complete medieval sets.
1948. Art
director Alfonso de Lucas executed some glass shots for the film, “Don Juan de
Serrallonga”. painting the second floor of the house and the sky.
1950. Pierre
Schildneck paints on glass the Gran Via street in Madrid for “El ultimo
caballo”.
1951. Enrique
Salvá and Emilio Ruiz painted several glass shots for Sigfredo Burmann in “Alba
de America”. ( At left is E.Salvá, at right E. Ruiz).
1952 Alfonso de
Lucas used a glass shot trick for the film “los ases buscan la paz” He pasted a
photo of Budapest and added some painted houses to match the foreground set.
1954. Art
director Juan Alberto Soler after working with Pierre Schild , painted some
glass shot for his films, like “El duende de Jerez”
1955. For the film “Marcelino pan y vino”, Pierre Schildneck uses the technique of matte painting to create the abbey on the hill.
1955. Emilio
Ruiz paints a cityscape in a glass sheet for “Cruz de Mayo” The glass breaks
and he repeats the paint on a sheet of a wood silhouette. This method he
perfected over the years, painting on cut out aluminum sheet.
1957. Enrique
Salvá travels to Mexico and paints mattes for “Cabo de Hornos” When back to
Spain he died in a traffic accident.
1958 . Antonio
De Miguel, scenic painter, and assistant of art director Enrique Alarcón
executed several glass paintings for “Donde vas Alfonso XII?” like that ceiling for the Royal throne set
1959. Emilio
Ruiz paints glass shots for “The legions of Cleopatra” and “The last days
Pompeii ” beginning a long term collaboration on Hispano-Italian
co-productions, mostly peplums, Spaghetti westerns, and war films.
1960 – Pierre
Schild retired from movies. After Enrique Salvá death a few years earlier,
Emilio Ruiz remains the only artist specialized in this technique. Although
some other scenic artists and art directors continue to paint on glass
occasionally.
1960 Juan
Alberto Soler painted some glass shots for “Gaudi” to recreate the construction
of some monuments and buildings designed for Architect Antonio Gaudi.
1961. Antonio de
Miguel painted a glass shot of old Peruvian City of Lima, for the film “Fray
Escoba”.
1963. Antonio De Miguel painted glass shots for art director Enrique
Alarcon for many films like “Rocío de la Mancha”
Perseo
l’invincibile (1963) Emilio Ruiz painted glasses foe many Sword and Sandal
movies, most of them filmed in Spain and Italy.
1965. Juan
Alberto as art director of Itali-Spanish film “Toto de Arabia” painted a glass
shot to complete the upper part of an Arabian style set.
1967. For the
war film Dirty Heroes (1967) “Dalle Ardenne all’inferno” Emilio Ruiz makes
several glass shots using his cut out aluminum technique.
1967. in
addition to his tasks as an assistant art director, Antonio de Miguel paints a
glass shot for “Cotolay”
1973 . Emilio Ruiz painted miniatures on cut out aluminum for Ray Harryhausen´s “The 7th Voyage of Sinbad”.
1977. Emilio
Ruiz began a fruitful collaboration with Juan Piquer Simon at “Journey to the
Center of the Earth.”
1980. scenic
artist Julian Martin Benito, paint his first glass shot for the film
“Jalea real” beginning a career as a glass painter for over twenty years.
1981. Emilio
Ruiz make model miniatures and glass shots for “The Sea Devils” by Juan Piquer
1981. Francisco Prósper, after many years working as set constructor and miniature maker, started to paint on glass for the iranian film "Alqadisiya".
1981. Emilio
Ruiz supervised foreground miniatures and glass shots for “Conan the barbarian”
He begins a long term collaboration with Dino de Laurentiis.
1982. Julian
Martin oversees the miniatures and glass shots for TV series “Teresa de Jesus”
1983. Art
director Julio Esteban painted on a masonite cut out for the film “La loca
historia de los tres mosqueteros” to recreate a typical French inn for XVII
century.
1984. Art
director Julio Esteban painted an Islamic city on a masonite cut out for the
comedy “Cuando Almanzor perdió el Tambor”
1984. Francisco Prosper set designer and model maker, painted a few glass shoot for several films like "Tuareg"
1984. Julian
Martin painted on glass the top of the mansion for “Los santos inocentes” by
Mario Camus.
1986. Emilio
Ruiz oversees the miniatures and glass shots for Dino de Laurentii´s “Taipan”
1987. Francisco
prosper executes several glass paintings for Italian-Spanis coproduction “Los
alegres picaros” He erase modern buildings, street lights and Tv antennas
painting in glass period buildings, trees walls, etc.
1989. For the TV
series “la forja de un rebelde” Julian Martin was responsible for miniatures
and cut out paintings to recreate the city of Madrid at the early 20th century.
1991. For the
film “Christopher Columbus, the discovery” Emilio Ruiz painted on glass the
medieval city of Granada and surrounded mountains.
1991- For TV
series “Historias del otro lado” Julian martin executed several in-camera cut
out foreground paintings.
1992. The art
director Gonzalo Gonzalo executed two glass shots for the film “La vida
lactea”.
1994. Emilio
Ruiz paints Rome on glass for the Italian comedy “S.P.Q.R. 2,000 and a half
years ago”
1998. Julian
Martin among other miniatures, painted a cut out masonite for the ceiling of
the Prado Museum for “La hora de los valientes”.
1998. For “La
niña de tus ojos” by Fernando Trueba, Emilio Ruiz painted on glass the
German UFA studios in the late 30s.
1999. To
recreate the city of Barcelona at early years of 20th century Julian
Martin painted several glass shots for “La ciudad de los prodigios”
2001. Again for
Fernando Trueba, Emilio Ruiz paints the Shanghai of the 40s, on a masonite cut
out placed behind the actors for “El embrujo de Shanghai”
2007. Emilio
Ruiz dies shortly after completing a New York painting for “Luz de domingo”
