1 What Did Raoul Barre Contribute to the Arts of Animation

'Noahzark Hotel'.

Raoul Barré was one of the pioneers of the French-Canadian comic strip, together with Albéric Bourgeois, Joseph Charlebois, René-Charles Béliveau and Thursday. Busnel. He was the first Canadian comic artist to publish in French. Among his comic series were 'Pour un Dîner de Noël' (1902), 'Histoire de Sauvage', 'Les Contes du Père Rheault' (1906) and Noahzark Hotel' ('À l'Hôtel du Père Noél', 1913). Barré was likewise an important pioneer of animation. He invented the peg and slash system, which were prominent animation techniques until deep in the 1930s; He furthermore discovered how portray horizonts and pan movements in animation. Barré was also the kickoff person in history to institute an animation studio and the first to create an blithe series around one recurring character. In the 1910s his studio besides adapted several popular newspaper comics into animated shorts.

Early life
Vital Achille Raoul Barré was born in 1874 as the son of a communion wine importer with 12 children. He studied at the Institut du Mont Saint-Louis in Montréal and le Conseil des Arts et Manufactures. He published his starting time illustrations in magazines like Monde Illustré and Le Passe-temps. In the jump of 1896 Barré moved to Paris, where he studied at the Académie Julian and École des Beaux-arts. Effectually the same time he published caricatures in Le Sifflet, Le Cri de Paris, Le Gavroche, Les Débats, La Revue des Deux Frances and La Gaîté Gauloise. Barré didn't limit his political opinions to cartoon lonely. When French military officer Alfred Dreyfus was put on trial because of treason, Barré was one of the few people at the time who realized antisemitism was the real reason Dreyfuss got tarred and feathered. He was a fierce critic of the unjust way these trials were held, making him a diagonal opponent of another cartoonist and future animation pioneer, Émile Cohl. He returned to Québec in 1898.

Early comics
In 1900 Barré became a frequent collaborator of the Montréal newspaper La Presse. His pantomime comic 'Cascade un Dîner de Noël' was published in La Presse on 20 December 1902 and is considered the outset Quebecan comic strip. In eight panels, it tells the story of a family of 3 trying to take hold of a duck for their Christmas diner. He continued to work for the paper until 1908. He published many picture stories and cartoons, some of them with speech balloons, on the 'En roulant ma boule' page. This included the drawing feature 'Histoire de Sauvage'. A book collection of 'En roulant ma boule' was published past Librairie Déom Frères. Some other comic strip, 'Les Contes du Père Rheault' (1906), appeared in color in La Patrie and also featured speech communication balloons. Barré furthermore illustrated novels by Henri Julien. He published under the pseudonyms "Raoul Barry" and "VARB" and moved to New York Metropolis in 1913, where he began an association with the McClure Newspaper Syndicate. The same year his comic strip 'Noahzark Hotel' was distributed by the same syndicate. It was published in The New Oasis Union between 12 January and 9 November 1913 and as well ran in La Patrie nether the title 'À l'Hôtel du père Noél'. This funny animal comic is set up in a hotel.

'Les Contes du Père Rheault' (25 August 1906).

Animation career
In 1914 Barré ventured into animation. He started out at the Edison Studios, where he met Bill Nolan, a producer of live-action shorts who'd become his business organization and creative partner. They made several animated advertisements. They pioneered the peg organization to keep animated drawings in the exact aforementioned guild and aforementioned identify on newspaper. Barré besides devised the "slash system" which kept the groundwork drawings and the character drawings carve up, and so combining them together while filming every image. This system was in use until deep in the 1930s, but eventually replaced past the much more efficient cel animation sysem. Nolan as well discovered that if a background drawn on a long piece of paper was passed under the drawings of a character walking, an illusion of horizontal motion was produced. This was the footing of all pan movements in animated films.

'Histoire de Sauvage'.

Barré-Nolan Studio
In 1914 Barré and Nolan founded their ain studio chosen Barré-Nolan. This was the first animation studio in history, even though their endeavor was moderate compared with the more professional manufacturing plant-based studios that would follow later on. In May 1915 they launched i of the first animated series build effectually ane grapheme: 'The Animated Grouch Chasers', which was distributed by the Edison Studios and notable for combining blitheness with live-action. Together with Gregory LaCava and Frank Moser of William Randolph Hearst'due south International Motion-picture show Service they too worked on a series of "Phables", based on the comic strip by Tom Powers. Among the people who were one time employed at Barré-Nolan were Gregory LaCava, Jack King, Frank Moser and Pat Sullivan. In 1916 Hearst's International Film Service hired most of Barré'southward animators, including Nolan. Barré became a contractor to IFS, simply just stayed for 7 films.

One of Barré'southward 'Animated Grouch Chasers'.

Barré-Bowers Studio
In 1916 he founded Barré-Bowers Studios with animator Charles Bowers who'd previously fabricated animated films based on Rudolph Dirks' 'Der Katzenjammer Kids' and Frederick Burr Opper'south 'Happy Hooligan'. Together they made an animated version of Bud Fisher'south comic strip 'Mutt and Jeff'. Among the people employed in their studio were Vernon Stallings, Ted Sears, Mannie Davis, Manny Gould, Burt Gillett, Ben Sharpsteen, Dick Huemer and Bill Tytla. Barré retired from blitheness in 1919, amid rumors of a nervous breakdown. Tensions had been high in the studio, specially because Bud Fisher often took credit for all the work there, while in reality he didn't do annihilation and rarely visited the place. Barré became an oil painter and poster designer, while the company was renamed the Bud Fisher Studio.

The 'Mutt and Jeff' cartoon serial concluded in 1926 afterwards Fisher fired Bowers in 1919 considering of financial irregularities on how the studio was run. He rehired Bowers in 1920, but fired him again afterward considering of padding the studio payroll and other shady dealings. Barré returned to blitheness in 1926, while working for Pat Sullivan'southward 'Felix the Cat' series as an animator.  'Eveready Harton in Buried Treasure' (1928) was the first 'adults only' cartoon in history. A collection of naughty pornographic jokes, it was allegedly intended for a party to award Winsor McCay's altogether. According to Disney animator Ward Kimball information technology was made every bit a collaboration betwixt Barré ,Max Fleischer and Paul Terry studios, who all blithe sure scenes without each other's knowledge. Among the animators who worked on the picture were George Canata, Walter Lantz, George Vernon Stallings and Rudy Zamora Sr. Other sources claim that the curt was as well risqué to be processed past any lab at the time, which led the footage to sink into obscurity until the 1970s.

In 1928 Barré retired once more, this fourth dimension for adept. He kept making paintings and political cartoons for Le Taureau under the pseudonym "É. Paulette" and started his own art school.

Decease
Raoul Barré died of cancer at the age of 58 in 1932.

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Source: https://www.lambiek.net/artists/b/barre_raoul.htm