The beginning of a Disney animated adventure with art history!
I recently wrote about how my kids sparked the idea for a new blog series about Disney animation and Pixar films and how they relate to art history. The kids and I decided we'd go back to the film that started it all, Snow White and the Seven Dwarfs (1937), and then proceed forward through all of the films! It's ambitious, I know. But I like it—and that my kids want to be part of this journey. Plus, I love watching film franchises in order to get a sense of their historical moment and transformations. You'll always find me watching the Marvel Cinematic Universe, phases one through three, in order.
So, let's dive into the first post about the animated film hailed as “the greatest animated film of all time.” It features the first Disney princess, Snow White. The film premiered on December 21, 1937, at the Carthay Circle Theatre in Los Angeles.
Table of Contents: Snow White and the Seven Dwarfs and Art History
Snow White's artistic influences
As we watched the movie, I remembered that Snow White's character design draws inspiration from several sources.
Early concept art showed her with blonde hair, akin to late 19th-century artist Eugene Grasset's depiction of the goddess of spring with its idyllic representations of nature and animals. Looking at Grasset's stained glass window, you can see how demure the young woman is. Birds flying above seem to blend in with the tree. The goddess almost becomes one with nature, her clothes, hair, and even her body blending in with her natural surroundings. Similarly, Snow White is one with nature. We even see her tame wild animals!
Snow White also clearly borrows from Betty Boop. The high-pitched voice, dark hair and pale skin, and even the slightly exaggerated size of Snow White's head resemble Betty Boop. This makes sense, too, given that Betty Boop was having her moment in the 1930s. She was even in an animated black-and-white film called Betty Boop in Snow White in 1933. And wouldn't you know it: the animator Grim Natwick, who worked on Disney's Snow White as a lead animator in developing Snow White's character, also animated the Betty Boop film!
Walt Disney’s European influences
Before looking at more of the art historical references in the film, I wanted to mention that these influences all hail from European art. This isn't surprising. For a very long time, European art has been prioritized in art history, and even pop culture has been considered the most famous, the most important, and so on. It has come to dominate what we call the canon of art history—though that has changed. But in the 1930s, it was far less common to look to art beyond Europe for inspiration.
In 1935, Walt Disney embarked on a European tour which greatly influenced his artistic vision, though "Snow White and the Seven Dwarfs" was already underway. We know that Disney's European visit would profoundly impact the Disney animation studio and Disneyland. Walt returned with books, ideas, and experiences that all influenced Disney for decades.
It might also be helpful to note that Disney's familial background possibly shaped his perspective; his father, Elias Disney, was Irish-Canadian, and his mother, Flora Call Disney, was of German-American descent. Snow White draws heavily on German art and architecture for its aesthetic, though not solely.
Literary Origins and Medieval Inspirations
"Snow White" is adapted from the Grimm Brothers' fairy tales, originally set in Germany. However, Disney made numerous changes to the story, infusing it with a unique medieval charm. Or perhaps it is more accurate to describe Snow White as drawing on medievalisms, which are ideas, practices, even art that is inspired by the Middle Ages. Many art movements in nineteenth-century Europe looked to the medieval era for inspiration, such as Gothic Revival, Romanticism, the pre-Raphaelites, etc. Likewise, Disney animators looked to these nineteenth-century traditions for inspiration while creating Snow White. Even the Brothers Grimm published their tales, collected from folklore and folktales, in the nineteenth century. I mention all this because it is important to remember that the medieval flair of Disney films like Snow White is filtered through the nineteenth century.
Illuminated Manuscripts
The film opens with a big book, white and gold, that is likely supposed to refer to medieval illuminated manuscripts, though not as intentionally as later Dinsey animated films like Sleeping Beauty. As the book opens, we see words on the page, with certain letters appearing larger in red, navy, and gold. We learn some backstory about Snow White and the Evil Queen. A peacock is intertwined in one of the letters, not shown here, alluding to the Evil Queen's peacock throne that we see later in the film.
The blue, red, and gold letters that punctuate the text are one way that Disney animators wanted to align Snow White with the Middle Ages. In medieval manuscripts, we often see initial letters of different sections emphasized by making them bigger, more ornate, or more colorful.
In particular, the capitalized letters in Snow White's opening text remind me of Lombardic capitals. These are fanciful upper-case letters that start different sections in European medieval manuscripts. They are thick and have curved stems, like you see in those opening scenes of the film!
The Castle and the Alcázar de Segovia in Spain
We move from our medieval-inspired manuscript to the Evil Queen's castle in Snow White. We first see it from afar, rising up from a rocky crag with tall spires. The village is set below the towering castle.
Interestingly, the animators did not look to German castles for inspiration. They seem to have drawn inspiration from a Spanish castle, the Alcázar de Segovia in Castile and León, a medieval fortress-palace from the 12th century.
It is a famous medieval structure and a UNESCO World Heritage Site. It has functioned as both a palace and a fortress and has hosted numerous Spanish kings. It was also where Spanish queen and monarch Isabel of Castile was crowned; you might know her as one of the Catholic monarchs who funded Christopher Columbus's voyage to "the Indies."
The Alcázar de Segovia exudes power. It has inspired many artists, including 19th-century artists like David Roberts and, more recently, films and TV shows, including Snow White and Cinderella.
Fun fact: The Alcázar de Segovia also inspired the 1967 movie Camelot and the current Amazon show Wheel of Time (it's the place for Ghealdan).
The Alcázar de Segovia is atop a hill and overlooks the city of Segovia, putting it in an excellent defensive position. It has fortified towers, turrets, a keep, a moat, and huge and impenetrable walls. Disney animators added extra turrets to enhance the magical appearance of the castle in Snow White. They maintained a somewhat accurate depiction of tiny windows and arrow loops in medieval castles. However, this is not an exact copy of Alcázar de Segovia, but animators still clearly borrowed from this famous medieval fortress and palace. They just dialed up the medievalisms.
Historical resonances?
It seems appropriate to note that when Snow White was being made, the Spanish Civil War (1936–39) had started. Dictator Francisco Franco was taking over spaces like the Alcázar de Segovia, so perhaps using the famous Spanish castle had a deeper meaning for animators, making connections between the Evil Queen and the dictator.
Check this out! While writing this post, I discovered an excellent Architectural Digest video featuring medievalist art historian Meredith Cohen, who works at my alma mater, UCLA. She, too, notes the possible Franco connection.
Snow White’s introduction and Romanesque architecture
When we first see Snow White, she sweeps and wears tattered clothes and clogs. Standing near a well, she asks some birds if they want to hear a secret, and she launches into the song "I'm Wishing." A prince hears her and eventually startles her and serenades her. As this happens, the scene is set against backdrops and within spaces that conjure up the idea of something medieval.
We see a rounded arch framed by two twisting columns. It reminds me of Romanesque architecture, which was popular in the 11th and 12th centuries. One of its defining characteristics was rounded arches.
There are also twisting columns (or what are called Solomonic columns) that frame Snow White as she looks down from a balcony at the prince. You find these in some Romanesque buildings as well.
Interesting fact: Solomonic columns, with their distinctive corkscrew shape, appeared in ancient Rome and possibly even earlier in West Asia. They became popular in the Eastern Roman "Byzantine" Empire, too. Why? Well, it turns out that people believed that this type of column came from the Temple of Jerusalem, which is why later they were named Solomonic—after the biblical King Solomon from Jerusalem.
At one point, the Queen observes Snow White through a stained-glass window, evoking a medieval ambiance. However, this stained glass doesn't look medieval, but something nineteenth-century with its large panes of pure colored glass. Still, it's clear that the animators were running with the medieval theme when creating the castle. They had a clear vibe in mind.
The Evil Queen’s peacock throne
After determining that she needs to kill Snow White, the Evil Queen stews in her throne room inside the castle.
As you can see in the photograph above, it is a fabulous peacock throne. I love how the animators framed the Queen with the peacock feathers. She does like to be the center of attention!
To create this throne it's pretty clear to me that the animators adapted the peacock throne at Linderhof Park in Bavaria, Germany, created in 1877 by King Ludwig II. We know that they wanted to set Snow White in Germany, so there you go. The original throne was set within the so-called Moorish Kiosk at the palace. This elaborate throne was supposed to conjure up visions of peacocks, elaborate thrones, and luxurious materials in Persian and Indian art. (I am not sure I should dive into Orientalism in this already long blog post, but the throne exemplifies it!)
The actual throne and the one depicted in Snow White are very "extra"—they are over the top. But they certainly let anyone in the throne room know who is in charge and frame that ruler with all those peacock feathers. And let's face it: The Evil Queen is SUCH a peacock, wanting everyone to notice her for her beauty. After all, she wants to be the fairest in the land. Good choice, Disney animators.
Fun fact: King Ludwig II's architectural projects influence Disney in other ways! His Neuschwanstein Castle was a model for Sleeping Beauty's Castle at Disneyland. And yes, I will go into great depth about this in my Fantasyland Book.
The Dwarfs’ Adorable Cottage
After Snow White flees into the woods to escape being murdered by the Queen, the film's architecture changes dramatically from castles and elaborate peacock thrones to the modest thatched cottage that belongs to the seven dwarfs.
Important note: Some people consider dwarf offensive, while others prefer the term little person or person of short stature. When I use the term dwarf in this post, it is in reference to the original film using that term.
“Oh, it's adorable! Just like a doll's house.”—Snow White
Moving from the Queen's enormous and elaborate fortified castle to the quaint, homey cottage seems pretty intentional. Snow White even refers to it as adorable. The thatched roof cottage evokes German-Danish border houses and other thatched structures in Germany that were popular in the 18th and 19th centuries.
It really captures the idea of German architecture and design, which helps to establish the setting for Snow White. Interestingly, UNESCO has declared the craft of thatching in Germany as part of Germany's intangible cultural heritage.
The exterior clearly connects the film to Germany, but what about the interior of the adorable cottage? Animators included lovely details to drum up the quaintness and cozy feeling. Most things are whittled from wood, suggesting they are made by hand. Doorways have carved decoration, including faces with open mouths. There are carved wooden beams and chairs. The beds are all carved in wood, with each dwarf's name included as well. My favorite detail is the owl heads on the stairs! I get the sense that animators wanted us to feel that the dwarfs had spent time and effort to decorate their home.
All this woodworking harkens to German woodcarving traditions and folk art, which fit with the story's setting. But one item in the mind and cottage speaks to this most: the Cuckoo Clock. More on that in a moment.
The Seven Dwarfs: their caps and their cuckoo clocks
The dwarfs are introduced to us as they work in a mine to locate precious gemstones. They all wear distinctive caps. And you know what? They wear a type of Phrygian cap.
The Phrygian cap
These caps symbolize freedom and eventually also revolution and liberty; they have a long history, even connecting to the 2024 Olympics' use of the cap in France. The mascots of the Paris Olympics are The Phryges, or the Phrygian caps!
I believe that Disney animators borrowed from the Phrygian cap to suggest that the dwarfs were free from the Queen's power and tyranny. They live free in their adorable cottage, doing what they do.
Fun fact: The Smurfs also wear Phrygian caps!
Something else that I couldn't stop thinking about was how the Greek mythological figure Orpheus also wore a Phrygian cap. He was a musician known for taming animals with his music. In an incredible mosaic from Turkey, we can see Orpheus donning his red Phrygian cap as he plays the lyre. Animals surround him to suggest he calms them.
Are you seeing the connections now?! Snow White pacifies the animals in Snow White, and soon enough, the dwarfs, too. So we have a little classical mythology thrown into the Snow White mix!
Cuckoo for Cuckoo Clocks
The mine features a wooden clock that lets the dwarfs know it is time to go home. As the two adorable capped men strike an anvil, the dwarfs end their day and sing their way to their cottage. They have another cuckoo clock inside their cottage, too!
The cuckoo clocks resemble those from the Black Forest region of Germany, which have been popular travel souvenirs since the mid-19th century. It's yet another way that Disney animators help viewers feel like they are in "the past"—like a 19th-century version of the Middle Ages.
Perhaps you've noticed before that clocks are everywhere in Disney films and Disney parks! Walt Disney liked clocks, such as German cuckoo clocks.
The Poisoned Apple and the Hag
In a pivotal scene, the Evil Queen, disguised as a hag, offers Snow White a poisoned apple through a window.
The window's circular elements resemble leaded rondel windows from the medieval period and their 20th-century revival in styles like Gothic Revival Architecture. The roundels at the cottage are simple and without decoration, but beginning in the late 13th century in France, stained-glass roundels began to appear.
This is a nice 20th-century example of these glass roundels set in windows, just like we see in the cottage.
Weaving It All Together—Whew!
By weaving together all these art historical references and medieval inspirations, Disney created a timeless masterpiece in "Snow White and the Seven Dwarfs."
This film reflects Walt Disney's European influences and draws on a lot of art history within its visuals and design. While it mostly focuses on German and northern European art, Disney animators still found inspiration in other places—like Spain!
Ok, whew! I had no idea that there would be so much, and I barely scratched the surface. This was a whirlwind overview. I hope you've enjoyed this brief introduction to the art history of Snow White and the Seven Dwarfs. Stay tuned for the next installment in this series, where I dig into Pinocchio! I'd love to know what you think so far.
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Learn more
Robin Allan, Walt Disney, and Europe: European Influences on the Animated Feature Films of Walt Disney (Indiana University Press, Indiana, 1999).—I haven't read this yet, but I need to!
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