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Walt Disney

Walt Disney was an American motion picture and television producer and showman, famous as a pioneer of cartoon films, including Mickey Mouse, and as the creator of the amusement parks Disneyland and Disney World.

(1901-1966)

Who Was Walt Disney?

Walter Elias "Walt" Disney co-founded Walt Disney Productions with his brother Roy, which became one of the best-known motion-picture production companies in the world. Disney was an innovative animator and created the cartoon character Mickey Mouse. He won 22 Academy Awards during his lifetime, and was the founder of theme parks Disneyland and Walt Disney World.

Walt Disney’s Parents and Siblings

Disney’s father was Elias Disney, an Irish-Canadian. His mother, Flora Call Disney, was German-American. Disney was one of five children, four boys and a girl.

Walt Disney’s Childhood

Disney was born on December 5, 1901, in the Hermosa section of Chicago, Illinois. He lived most of his childhood in Marceline, Missouri, where he began drawing, painting and selling pictures to neighbors and family friends.

In 1911, his family moved to Kansas City, where Disney developed a love for trains. His uncle, Mike Martin, was a train engineer who worked the route between Fort Madison, Iowa and Marceline. Later, Disney would work a summer job with the railroad, selling snacks and newspapers to travelers.

When Disney was 16, he dropped out of school to join the Army but was rejected for being underage. Instead, he joined the Red Cross and was sent to France for a year to drive an ambulance. He moved back to the U.S. in 1919.

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Walt Disney’s First Cartoons

In 1919, Disney moved to Kansas City to pursue a career as a newspaper artist. His brother Roy got him a job at the Pesmen-Rubin Art Studio, where he met cartoonist Ubbe Eert Iwwerks, better known as Ub Iwerks. From there, Disney worked at the Kansas City Film Ad Company, where he made commercials based on cutout animation.

Around this time, Disney began experimenting with a camera, doing hand-drawn cel animation. He decided to open his own animation business. From the ad company, he recruited Fred Harman as his first employee.

Disney and Harman made a deal with a local Kansas City theater to screen their cartoons, which they called Laugh-O-Grams . The cartoons were hugely popular, and Disney was able to acquire his own studio, upon which he bestowed the same name.

Laugh-O-Gram hired a number of employees, including Iwerks and Harman's brother Hugh. They did a series of seven-minute fairy tales that combined both live action and animation, which they called Alice in Cartoonland .

By 1923, however, the studio had become burdened with debt, and Disney was forced to declare bankruptcy.

Walt Disney Animation Studios

Disney and his brother Roy moved to Hollywood with cartoonist Ub Iwerks in 1923, and there the three began the Disney Brothers' Cartoon Studio. The company soon changed its name to Walt Disney Studios, at Roy’s suggestion.

The Walt Disney Studios’ first deal was with New York distributor Margaret Winkler, to distribute their Alice cartoons. They also invented a character called Oswald the Lucky Rabbit and contracted the shorts at $1,500 each. In the late 1920s, the studios broke from their distributors and created cartoons featuring Mickey Mouse and his friends.

In December 1939, a new campus for Walt Disney Animation Studios was opened in Burbank. In 1941 a setback for the company occurred when Disney animators went on strike. Many of them resigned. It would be years before the company fully recovered.

One of Disney Studio’s most popular cartoons, Flowers and Trees (1932), was the first to be produced in color and to win an Oscar. In 1933, The Three Little Pigs and its title song "Who's Afraid of the Big Bad Wolf?" became a theme for the country in the midst of the Great Depression .

Walt Disney’s Mickey Mouse and Other Characters

Disney’s first successful film starring Mickey Mouse was a sound-and-music-equipped animated short called Steamboat Willie . It opened at the Colony Theater in New York November 18, 1928. Sound had just made its way into film, and Disney was the voice of Mickey, a character he had developed and that was drawn by his chief animator, Ub Iwerks. The cartoon was an instant sensation.

The Disney brothers, their wives and Iwerks produced two earlier silent animated shorts starring Mickey Mouse, Plane Crazy and The Gallopin' Gaucho , out of necessity. The team had discovered that Disney’s New York distributor, Margaret Winkler, and her husband, Charles Mintz, had stolen the rights to the character Oswald and all of Disney’s animators except for Iwerks. The two earliest Mickey Mouse films failed to find distribution, as sound was already revolutionizing the movie industry.

In 1929, Disney created Silly Symphonies, featuring Mickey's newly created friends, Minnie Mouse, Donald Duck, Goofy and Pluto.

Walt Disney Movies

Disney produced more than 100 feature films. His first full-length animated film was Snow White and the Seven Dwarfs , which premiered in Los Angeles on December 21, 1937. It produced an unimaginable $1.499 million, in spite of the Great Depression, and won eight Oscars. This led Walt Disney Studios to complete another string of full-length animated films over the next five years.

During the mid-1940s, Disney created "packaged features," groups of shorts strung together to run at feature length. By 1950, he was once again focusing on animated features.

Disney's last major success that he produced himself was the motion picture Mary Poppins , which came out in 1964 and mixed live action and animation.

A few other of Disney's most famous movies include:

• Pinocchio (1940)
• Fantasia (1940)
• Dumbo (1941)
• Bambi (1942)
• Cinderella (1950)
• Treasure Island (1950)
• Alice in Wonderland (1951)
• Peter Pan (1953)
• Lady and the Tramp (1955)
• Sleeping Beauty (1959)
• 101 Dalmatians (1961)

Disney’s Television Series

Disney was also among the first people to use television as an entertainment medium. The Zorro and Davy Crockett series were extremely popular with children, as was The Mickey Mouse Club , a variety show featuring a cast of teenagers known as the Mouseketeers. Walt Disney's Wonderful World of Color was a popular Sunday night show, which Disney used to begin promoting his new theme park.

Walt Disney Parks

Disney's $17 million Disneyland theme park opened on July 17, 1955, in Anaheim, California, on what was once an orange grove. Actor (and future U.S. president) Ronald Reagan presided over the activities. After a tumultuous opening day involving several mishaps (including the distribution of thousands of counterfeit invitations), the site became known as a place where children and their families could explore, enjoy rides and meet the Disney characters.

In a very short time, the park had increased its investment tenfold, and was entertaining tourists from around the world.

The original site had attendance ups and downs over the years. Disneyland has expanded its rides over time and branched out globally with Walt Disney World near Orlando, Florida, and parks in Tokyo, Paris, Hong Kong and Shanghai. Sister property California Adventure opened in Los Angeles in 2001.

Walt Disney World

Within a few years of Disneyland’s 1955 opening, Disney began plans for a new theme park and to develop Experimental Prototype Community of Tomorrow (EPCOT) in Florida. It was still under construction when Disney died in 1966. After Disney’s death, his brother Roy carried on the plans to finish the Florida theme park, which opened in 1971 under the name Walt Disney World.

Walt Disney’s Wife, Children and Grandchildren

In 1925, Disney hired an ink-and-paint artist named Lillian Bounds. After a brief courtship, the couple married.

Disney and Lillian Bounds had two children. Diane Disney Miller, born in 1933, was the couple’s only biological daughter. They adopted Sharon Disney Lund shortly after her birth in 1936.

Diane and her husband, Ronald Miller, had seven children: Christopher, Joanna, Tamara, Walter, Jennifer, Patrick, and Ronald Miller Jr.

Sharon and her first husband, Robert Brown, adopted a daughter, Victoria Disney. Sharon’s second husband, Bill Lund, was a real estate developer who scouted the 27,000 acres in Orlando that became Disney World. Their twins, Brad and Michelle, were born in 1970.

Sharon’s side of the family became embroiled in a controversy after her death in 1993, when her trust became available to her three children. The trust included a caveat that allowed her ex-husband Bill Lund and sister Diane to withhold funds if they could show that Sharon’s children couldn’t properly manage the money. This led to accusations of conspiracy and mental incompetence, insinuations of incest, and an ugly two-week-long battle of a trial in December 2013.

READ MORE: Is Walt Disney's Body Frozen?

When and How Walt Disney Died

Disney was diagnosed with lung cancer in 1966 and died on December 15, 1966, at the age of 65. Disney was cremated, and his ashes interred at Forest Lawn Cemetery in Los Angeles, California.

QUICK FACTS

• Name: Walt Elias Disney
• Birth Year: 1901
• Birth date: December 5, 1901
• Birth State: Illinois
• Birth City: Chicago
• Birth Country: United States
• Gender: Male
• Best Known For: Walt Disney was an American motion picture and television producer and showman, famous as a pioneer of cartoon films, including Mickey Mouse, and as the creator of the amusement parks Disneyland and Disney World.
• Astrological Sign: Sagittarius
• Kansas City Art Institute and School of Design
• Chicago Art Institute
• McKinley High School
• Nacionalities
• Interesting Facts
• When Disney was just a teenager, he joined the Red Cross in 1918 and was sent to France for a year to drive an ambulance to help with the war effort.
• Disney experienced many failures — including filing for bankruptcy — before he became a hugely successful animator and amusement park creator.
• When Disneyland opened in 1955, it reportedly cost $17 million to make.
• Death Year: 1966
• Death date: December 15, 1966
• Death State: California
• Death City: Burbank
• Death Country: United States

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CITATION INFORMATION

• Article Title: Walt Disney Biography
• Author: Biography.com Editors
• Website Name: The Biography.com website
• Url: https://www.biography.com/business-leaders/walt-disney
• Access Date:
• Publisher: A&E Television Networks
• Last Updated: January 7, 2022
• Original Published Date: April 3, 2014
• Laughter is America's most important export.
• There's nothing funnier than the human animal.
• I love Mickey Mouse more than any woman I have ever known.
• You may not realize it when it happens, but a kick in the teeth may be the best thing in the world for you.
• I don't believe in talking down to children. I don't believe in talking down to any certain segment. I like to kind of just talk in a general way to the audience. Children are always reaching.
• Money doesn't excite me–my ideas excite me.
• Disneyland is dedicated to the ideals, the dreams and the hard facts that have created America...with the hope that it will be a source of joy and inspiration to the world.
• [Y]ou'll not find a single mousetrap around the house. I've never forgotten it was a mouse that made me what I am today.
• The age we're living in is the most extraordinary the world has ever seen. There are new concepts of things, and we now have the tools to change those concepts into realities. We are moving forward.
• Life is composed of lights and shadows, and we would be untruthful, insincere, and saccharine if we tried to pretend there were no shadows.
• I don't care about critics. Critics take themselves too seriously. They think the only way to be noticed and to be the smart guy is to pick and find fault with things. It's the public I'm making pictures for.
• For years afterward, I hated Snow White because every time I'd make a feature after that, they'd always compare it with Snow White, and it wasn't as good as Snow White.
• I always like to look on the optimistic side of life, but I am realistic enough to know that life is a complex matter. With the laugh comes the tears and in developing motion pictures or television shows, you must combine all the facts of life — drama, pathos and humor.
• All our dreams can come true — if we have the courage to pursue them.
• Never do anything that someone else can do better.
• Everybody in the world was once a child. We grow up. Our personalities change, but in every one of us something remains of our childhood.

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Walt Disney

Walt Disney   Biography

Walter Elías Disney was born in Chicago, Illinois, on December 5, 1901, and died in Burbank, California, on December 15, 1966. Walter was a director, producer, animator, cartoonist and screenwriter from the United States, winner of the Oscar Award 22 times, plus 4 honorary awards of the Academy, and of the Emmy in 7 opportunities .

Walt Disney is known for his famous children’s characters such as Mickey Mouse or Donald Duck , and for founding one of the most important animations, film, and entertainment companies, Walt Disney Productions.

Walt Disney is the son of Elias Disney, a farmer of Irish ascendancy who had come from Canada, and Flora Call, a school teacher. Walt was the fourth of five children. When he was five years old, the family moved to Marceline, Missouri, where Walt spent a happy childhood drawing and playing with his sister Ruth. However, in 1909, his father became ill with typhoid fever and was unable to work in the field, so he had to sell the farm and go to Kansas City to work as a delivery boy for the Kansas City Star, with the help of his children Walt and Roy. Due to this work, Walt graduated from the Benton Grammar School in 1911. Then he did several jobs while studying at the Art Institute of Chicago and at McKinley High School, where he was a school newspaper cartoonist.

“All our dreams can come true if we have the courage to pursue them.” Walt Disney

During the First World War, Walt Disney wanted to imitate his brother, who was in the Navy, and he appeared in the army after leaving the Institute but was not admitted because of his age. Preventing the same thing happening, he presented himself to the Red Cross lying about his age, and this organization sent him to Europe when Germany had already signed the armistice. In Germany, he drove ambulances in which he drew and took some officers from one place to another until in 1919 he returned to America, to Kansas City.

While in Kansas City and thanks to his brother Roy, he got a job where he had to create ads for magazines, cinemas, and newspapers. In this job, he met Ubbe Iwerks, with whom he founded an advertising company in 1920, which they had to leave shortly afterward because of the lack of clients. Later, they both were hired at Kansas City Films Ad, where they learned basic animation techniques.

After studying anatomy and physics, and experimenting with his work team, Walt Disney started his own studio called Laugh-O-Gram Films. In it, he dedicated himself to producing animated short stories of popular stories , but that cost them more than they earned. This is why his studio went bankrupt in 1923 and Disney traveled to Hollywood in search of opportunities.

In Hollywood after knocking on doors looking for an opportunity without success , so he decided to send the last short film he had produced in his previous studio, Alice’s Wonderland , to the distributor Margaret Winkler, who hired him to make more films. To do this, Walt set up a studio in his uncle’s garage and entrusted his brother Roy with the financial issues , founding the Disney Brother’s Studio, which would be the beginning of Walt Disney Productions.

After successfully exhibiting nine Alice films, Disney created Oswald, a character whose show, Oswald the Lucky Rabbit, quickly triumphed when it was distributed by Universal Pictures. Before this, the husband of Margaret Winkler asked Disney to continue working on this new series for a lower salary, and that it did not really matter if he refused because he and Universal Studios had the rights of the character. Walt Disney refused and preferred to create a new character, Mickey Mouse . This one appeared for the first time in 1928, but in its beginnings, it did not attract much attention . It was not until the implementation of sound that became a resounding success, having the voice of Walt Disney himself.

After 1930, there were already different products of Mickey Mouse, and several personalities had admitted their sympathy for the character, among which were politicians such as Jorge V, Roosevelt, and Mussolini. By 1935, all Disney short films already had sound and color image.

“Ask yourself if what you’re doing today will get you where you want to go tomorrow.” Walt Disney

After two years of production, from 1935 to 1937, Snow White was released, managing to raise more than six times the enormous sum that the production had cost. With the income, Disney opened some studios in Burbank and hired more employees. However, in 1941 several workers called a strike to complain about the poor salary and the lack of prominence they had in the credits. Disney, which refused to recognize the demands at the beginning, had to agree at the end because of the bad image that the strike was having on his name and his company.

In the forties, the company was economically affected by the World War II, but he was able to recover thanks to the adaptation he made of the market, which now asked for different formats than the short film. By the 50s, Disney was introduced in the market of the television and the action movies. In 1955, the Disneyland amusement park was completed. Already by the 1960’s, Walt Disney’s company was considered to be the most important family training company in the world and after receiving 26 Oscar Awards for his productions, 10 feature films, 12 short films and 4 honorary awards, one of them for having created Mickey Mouse, Walt Disney died on December 15, 1966, due to cardiorespiratory arrest.

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Fernando Botero Biography

Fernando Botero Angulo (April 19, 1932 – September 15, 2023) was a sculptor, painter, muralist, and draftsman, hailing from Medellín, Antioquia, Colombia. He was a Colombian artist known and celebrated for infusing a substantial volume to human and animal figures in his works.

Early Years and Beginnings

Fernando Botero was born into an affluent Paisa family , composed of his parents, David Botero and Flora Angulo, along with his older brother Juan David, who was four years his senior, and his younger brother, Rodrigo, who would be born four years after Fernando, in the same year that their father passed away. In 1938, he enrolled in primary school at the Ateneo Antioqueño and later entered the Bolivariana to continue his high school education. However, he was expelled from the institution due to an article he published in the newspaper El Colombiano about Picasso , as well as his drawings that were considered obscene. As a result, he graduated from high school at the Liceo of the University of Antioquia in 1950.

In parallel to his studies, Fernando attended a bullfighting school in La Macarena at the request of one of his uncles. However, due to an issue related to bullfighting, Botero left the bullring and embarked on a journey into painting. In 1948, he held his first exhibition in Medellín. Two years later, he traveled to Bogotá where he had two more exhibitions and had the opportunity to meet some intellectuals of the time. He then stayed at Isolina García’s boarding house in Tolú, which he paid for by painting a mural. Once again in Bogotá, he won the second prize at the IX National Artists Salon with his oil painting “Facing the Sea” .

“Ephemeral art is a lesser form of expression that cannot be compared to the concept of art conceived with the desire for perpetuity. What many people fail to understand is that Picasso is a traditional artist”- Fernando Botero

Due to the prize from the IX Salon and the sale of several of his works, Fernando Botero traveled to Spain in 1952 to enroll at the Royal Academy of Fine Arts of San Fernando in Madrid. There, he lived by selling drawings and paintings in the vicinity of the Prado Museum. In 1953, he went to Paris with filmmaker Ricardo Irrigarri, and later, they both traveled to Florence. Here, he entered the Academy of San Marco, where he was heavily influenced by Renaissance painters such as Piero della Francesca, Titian, and Paolo Uccello.

Career and Personal Life

In 1955, Botero returned to Colombia to hold an exhibition featuring several of his works created during his time in Europe, but it was met with a lukewarm reception from the public.

Woman With a Mirror / Foto:Luis García (Zaqarbal) / Attribution-ShareAlike 3.0 Spain (CC BY-SA 3.0 ES)

In 1956, he married Gloria Zea, with whom he would later have three children: Fernando, Juan Carlos, and Lina. The couple traveled to Mexico City, where Fernando Botero was eager to see the works of Mexican muralists, but this experience left him disillusioned. Consequently, he began searching for his own artistic style, drawing influence from both the Mexican artist Rufino Tamayo and the Colombian artist Alejandro Obregón . In this quest, he started experimenting with volume, initially in still lifes, and gradually extending this approach to other elements.

In 1957, he successfully exhibited in New York, showcasing his new artistic sensibility. The following year, he returned to Bogotá, where he was appointed as a professor at the School of Fine Arts at the National University of Colombia . He presented his work “La Camera Degli Sposi” at the X Colombian Artists Salon , winning the first prize and becoming the country’s most prominent painter. This piece sparked some controversy as it was initially censored for being almost a parody of Andrea Mantegna’s “La Cámara de los Esposos”. However, it was later reinstated in the exhibition on the advice of Marta Traba. Subsequently, Fernando Botero exhibited his works in various spaces in the United States, where a businessman from Chicago purchased “La Camera Degli Sposi” .

“Fernando Botero and his works are the finest ambassadors of our country in this land of navigators and discoverers, of poets and fado singers”- Juan Manuel Santos

In 1960, Botero separated from Gloria Zea and traveled to New York. He led a modest life here as the New York art scene was primarily inclined towards abstract expressionism. Consequently, Botero was influenced by artists like Pollock, which led him to experiment with color, brushwork, and format, to the point of nearly abandoning his distinctive style characterized by the manipulation of volume. Aware of this, Botero returned to his usual style of flat colors and figurative representations.

Starting in 1962, he began a series of exhibitions in both Europe and the United States, as well as in Colombia. By 1970, the year his son Pedro was born to his second wife, Cecilia Zambrano, Fernando Botero had already become the world’s most sought-after sculptor. However, in 1974, his son Pedro tragically died in a traffic accident, leading to his second divorce and leaving significant marks on his artistic endeavors.

In 1978, the Colombian painter married Sophia Vari , a renowned Greek artist with whom he shared a significant part of his life, until sadly, she passed away in May 2023.

Since 1983, Fernando Botero has been exhibiting his works and donating them to various cities around the world. As a result, we can find his pieces in the streets of Medellín, Barcelona, Oviedo, Singapore, and Madrid, among others. In 2008, the Autonomous University of Nuevo León in Mexico conferred upon him an honorary Doctorate.

Renowned Colombian artist, Fernando Botero, died on September 15, 2023 , in Monaco at the age of 91 due to pneumonia . His artistic legacy will endure forever. In his hometown, seven days of mourning were declared.

Pedrito a Caballo, Fernando Botero (1975).

Top 10 Famous works by Fernando Botero

Some of the most recognized works by Colombian painter and sculptor Fernando Botero:

• “Pedrito on Horseback” / “Pedrito a Caballo” (1974): This is an oil painting on canvas measuring 194.5 cm x 150.5 cm. For Botero, this work is his masterpiece and a refuge during a personal tragedy. The child depicted is Pedro, his son from his second marriage, who tragically passed away in an accident when he was young.
• “Mona Lisa at 12 Years Old” / “Mona lisa a los 12 años” (1978): This piece stands out as a unique version of Leonardo da Vinci’s famous painting, the Mona Lisa . Painted in oil on canvas and measuring 183 cm x 166 cm, Botero incorporates his characteristic style of voluptuous and rounded figures into this work, which has become one of his most distinctive pieces.
• “Woman’s Torso” / “Torso de Mujer” (1986): It is a majestic bronze sculpture that rises to an impressive height of approximately 2.48 meters. It is often affectionately referred to as “La Gorda” (“The Fat One”). This artwork finds its home in Parque de Berrío, located in the captivating city of Medellín.
• “Woman with Mirror” / “Mujer con Espejo” (1987): An imposing bronze sculpture weighing 1000 kg. It is located in Plaza de Colón, in the heart of Madrid, Spain. The artwork captivates the gaze with the portrayal of a woman peacefully lying face down on the ground, holding a mirror in her hands. Her expression reflects deep introspection and enigmatic melancholy.
• “The Orchestra” / “La Orquesta” (1991): In this oil on canvas artwork, measuring 200 cm x 172 cm, Botero presents a band of musicians with a singer, all immersed in a spirit of celebration. The artist aims to convey a sense of harmony and joy through his portrayal.
• “Woman Smoking” / “Mujer Fumando” (1994): It is a creation executed in watercolor, spanning dimensions of 122 cm x 99 cm. In this work, Maestro Botero skillfully captures the essence of a woman elegantly holding a cigarette between her fingers. His meticulous focus on voluptuous forms, posture, and the serene expression of the figure masterfully combine to emphasize the sensuality and profound intimacy of the moment captured in the artwork.
• “Man on Horseback” / “Hombre a Caballo” (1996): This bronze sculpture is one of the most iconic works in the artist’s career. It depicts a rider in a majestic and proud posture. Over the years, this imposing work has been exhibited in multiple cities around the world, solidifying its place as a prominent piece in the sculptor’s body of work.
• “The Horse” / “El Caballo” (1997): This iconic sculpture showcases a horse of majestic presence and a distinctive rounded form, sculpted in bronze and measuring approximately 3 meters in height. This masterpiece reflects Botero’s profound passion for horses while also serving as a powerful representation of the mythical Trojan Horse.
• “The Death of Pablo Escobar” / “La muerte de Pablo Escobar” (1999): This artwork, created using the oil on canvas technique, has dimensions of 58 cm x 38 cm. While not considered a masterpiece, this artistic piece represents one of the most significant moments in Colombia’s history. Fernando Botero captures, in his distinctive style, the moment of the death of the drug lord Pablo Escobar , addressing issues related to violence and criminality that have marked the country’s history. An interesting detail is that, although Pablo Escobar admired Fernando Botero’s art, it cannot be said that the admiration was mutual. The painter created two works depicting the death of the drug trafficker.
• “Boterosutra Series” / “Serie Boterosutra” (2011): This work by Botero is part of an erotic art collection called Boterosutra , marking a milestone in the history of Colombian art as the first artistic representation of sexual intimacy between lovers. This series comprises around 70 small-sized pieces created using various techniques, including colored drawings, watercolors, brushstrokes, and also black and white, all of which constitute one of the most contemporary works by the painter.

Gustave Courbet

Biography of Gustave Courbet

Gustave Courbet, Jean Désiré Gustave Courbet (1819-1877) was a painter. Courbet was born in the French town of Ornans. His parents and family were landowners in Ornans. Courbet was influenced by his parents to study law, but his true passion was drawing. Therefore, while studying law, he began drawing under the tutelage of a student named Flajoulot. When he turned 20, he withdrew from his law studies and moved to Paris to complete his artistic training with the teachings of Steuben, Bonvin, and Père Baud, a student of Gros. There he became interested in the works of Chardin, the Le Nain brothers, and the Spanish painters Ribera, Zurbarán, Murillo, and Velázquez.

Based in Paris since 1839, he delved into the Realist painting trend of the 19th century. He studied at the Swiss Academy and extensively analyzed the works of some artists from the Flemish, Venetian, and Dutch schools of the 16th and 17th centuries. He achieved artistic maturity when he discovered the works of Rembrandt on a trip he took to the Netherlands in 1847. From then on, works such as L’après diner a Ornans (1849), El entierro en Ornans (1849) or Los paisanos de Flagey volviendo del campo (1850) emerged, where the characters are represented with all their vulgarity or a compromising sensuality.

Courbet’s works caused a stir and controversy because the public was faced with a new realistic vision of everyday events. Additionally, his style as a revolutionary and provocative man, follower of the anarchist philosophy of Proudhon, and participant in the 1871 Paris Commune, led to his imprisonment for six months, until he sought refuge in Switzerland in 1873. All of this scandalized the public, who often criticized him but also admired him. His self-portraits were based on Romanticism. In 1846, he wrote a manifesto against Romantic and neoclassical tendencies with Bouchon. Courbet’s realism was a protest against the sterile academic painting and exotic motifs of Romanticism. He focused on the revolutionary environments of the 19th century.

He traveled to Holland to study the works of Hals and Rembrandt and participated indirectly in the military uprising. During this period, two of his most important realist works were created: The Burial at Ornans and The Stone Breakers, this work was lost due to World War II. Courbet’s paintings elicited all types of comments due to their realistic portrayal of the lives of ordinary people. After the coup d’etat of Louis Napoleon Bonaparte in 1852, the painter returned to his hometown.

While there, Courbet opened his own exhibition titled “Realism.” It was born as a protest against the rejection of his works at the Paris Universal Exhibition in 1855. The central work was the enormous painting: “The Painter’s Studio” (1855). It was presented as a “realistic allegory.” Later, other figure and portrait paintings emerged: “Ladies by the Seine” (1857), the self-portrait “The Cellist” (1849) and “The Beautiful Irishwoman” (1866). The artist also created works related to the sea, landscapes of forests and mountains with their fauna, flowers and still lifes.

Courbet became a representative of the emerging realism of the time. Courbet was described as a conceited man, who claimed to be the most handsome and seductive of humans, due to his Assyrian profile, he boasted of his ability to illuminate new forms of truth and beauty to end the outdated trends of Paris. For this reason, we can understand why he was such a controversial painter and was often hated. Nevertheless, the magnificent works that this painter conceived during his life could not be denied.

Let’s return to The Burial at Ornans (1849), it is his work of greatest dimensions and complexity, he wanted to bring a huge fragment of rural reality from his land to the refined environment of Paris. This composition can be seen as disordered and with little hierarchy. Courbet manages to make the viewer sit at the same level as the villagers of Ornans and symbolically attend the funeral of a humble peasant. In addition, the diversity of individual expressions tries to make a critical description and a study of the social categories of a population. This work is admired for its formal and coloristic stylization, and its horizontal composition.

Another great work of this French painter is Bonjour, monsieur Courbet (1854). The painting shows in great detail the local environment, as well as the light and characters, reflecting a real event with great objectivity. This painting has become a kind of standard-bearer of realistic art for many artists in recent decades. Courbet broke the mold with the work Señoritas a orillas del Sena (1857), because the Parisian public was used to paintings on mythological or historical themes; on the contrary, in Courbet’s canvas, the two women represented in showy clothes are two prostitutes resting by the river.

Also impressive was the way it was painted, in opposition to the tastes and rules of the time; the thick brushstrokes, the color tones and the disregard for the canons of beauty. In that work both the composition and the color, want to reflect reality, each of the elements reflect the same importance, transmitting a certain sense of imperceptible objectivity. Courbet showed total uninhibitedness in front of the female sex. A reflection of this is the work The Origin of the World (1866), was made by order of Bey, this was the most transgressive painting of the 19th century.

Other paintings by this French painter include: Self-Portrait with Black Dog (1842), The Desperate Man (1845), The Meeting (1854), The Painter’s Studio (1855), Woman with Parrot (1866), The Trout (1871) among others. These are just a few of the many works that this artist left for posterity and for future generations interested in realistic art. Courbet’s radical stance, reflected in the realm of politics, specifically with the Paris Commune, led to him being accused of participating in the demolition of the Vendôme Column. He had to go into exile in 1875 in Switzerland, where he died two years later in solitude and poverty.

Anime history

Japanese anime or animation emerged at the beginning of the 20th century influenced by animation and the world of cinema developed in the United States, later it was modified and claimed Japanese culture. The anime-style as we know it began to develop in the late 1950s, when the production company Toei Studios and the different series based on short sleeves or cartoons, such as Tetsuwan Atomu, also known as Astro Boy. From the 1980s and 1990s, the anime became popular, appearing large cult series such as Dragon Ball, Neon Genesis Evangelion, Sailor Moon, Detective Conan, Rurouni Kenshin, and Cowboy Bebop, among others. In the new millennium, the Japanese animated industry has been booming, providing new content every season based on successful manga, light novels, video games, and music.

The earliest surviving Japanese animated short made for cinemas, produced in 1917

The first Japanese animations were small short films developed at the end of the 1910s, largely inspired by American animation, in these, folk and comic themes were addressed. The first short film was Namakura Gatana by Junichi Kouchi, it was two minutes long, the story told the story of a man with his katana (Japanese sword or saber) . In the following decade, the duration of the short films was extended to ten or fifteen minutes, in which typical oriental tales were represented. Among the pioneer artists of this era are Oten Shimokawa, Junichi Kouchi, Seitaro Kitayama and Sanae Yamamoto; by this time the short film Obasuteyama (The Mountain Where Old Women Are Abandoned) by Yamamoto was published.

During the 30s and 40s, the Japanese animated industry went through a series of changes, the stories were neglected and western stories were taken into account. A short time later the anime Norakuro (1934) of Mituyo Seo, one of the first animations based on a manga. Since then this became a frequent practice. By the end of the 1930s, World War II broke out, a warlike confrontation in which Japan was involved as a member of the Axis powers, at which time the animations became war propaganda. At the end of the war, the country was occupied by the allied powers led by the United States, which seriously affected the country that was going through a deep economic crisis.

Industry development and international boom

In the course of the crisis, the manga and anime industry became popular in the country, thus establishing the basis for the development of the own animated style that occurred around the middle of the 20th century. It was around this time that Toei Studios, an animation film producer, emerged as one of the key figures in the history of anime. This company was a pioneer in the animation of Japan, provided various productions that allowed the advancement of animation in the country. The company’s first animation was Koneko no rakugaki, a short thirteen-minute film published in 1957. The following decade the company grew by focusing on the development of feature films. Other companies such as Mushi Pro, a producer that made the animation of Tetsuwan Atomu (Astro Boy) by Osamu Tezuka, mangaka and animator, one of the most relevant artists of the Japanese animated industry of the 20th century.

Between the 1960s and 1970s, the anime of robots (mecha) became popular appearing iconic series such as Tetsujin 28-gō and Mazinger Z or Gundam, for this same period the popular Doraemon series (1973), based on the homonymous anime, began to air Fujiko Fujio, a series that tells the story of a cosmic robot cat that has attached to its body a bag from which it subtracts various artifacts which are used in the adventures of Doraemon and his human friend Nobita. In the 1980s and 1990s, Japanese animation boomed internationally, which led to many series beginning to dub into English and Spanish, in these years cult series such as Dragon Ball, based on the manga of Akira Toriyama. Saint Seiya also known as The Knights of the Zodiac, Captain Tsubasa, exported as Super champions; Rurouni Kenshin, known in the west as Samurai X, Neon Genesis Evangelion of Hideaki Anno; Pokémon, Ranma ½, and Sakura Card Captor, among others.

In 2000, the already booming anime is largely massified by the acceptance and the huge fan base that it had acquired at the time, these followers known as otakus, boosted the Japanese animated industry. Since then there have been numerous animated productions that have been distributed worldwide, among the most prominent series of the new millennium are One Piece, Naruto, Bleach, Fullmetal Alchemist, Inuyasha, Yu-Gi-Oh, Rozen Maiden, Kuroshitsuji, and Death Note, all are ace based on sleeves that when becoming successful, allowed the development of the animated series.

At present, any manga that has a large number of followers is very likely to have adapted in an animated series, such as Hunter x Hunter, Pandora Hearts, Ao no Exorcist, Mirai Nikki, Bakuman and Shingeki no Kyojin, among many others, light novels have been adapted that have become popular as Durarara!!, Boku wa Tomodachi ga Sukunai, Sword Art Online, and My Youth Romantic Comedy Is Wrong, As I Expected, among others. In recent years, the Yaoi and Yuri genres have been popularized in which romantic relationships between people of the same sex are addressed, among these series it is possible to rescue Junjō Romantica, Sekaiichi Hatsukoi, No. 6, Aoi Hana, Sasameki Koto and Yagate Kimi ni Naru

At present, the Japanese animated industry produces numerous series, ova, and films per year, becoming one of the strongest industries in the world of animation. Among the most prominent people in this industry is Hayao Miyazaki, founder of Studio Ghibli, a studio where films such as My Neighbor Totoro, The Incredible Vagabond Castle, The Journey of Chihiro, and Ponyo, among others, likewise, stand out in the present, artist Makoto Shinkai, creator of 5 centimeters per second, Hoshi Wo Ou Kodomo, Kotonoha no Niwa and Kimi no Na Wa.

John Ruskin

John Ruskin Biography

John Ruskin (February 8, 1819 – January 20, 1900) writer, painter, art critic, and reformer. He was born in London, England. His parents were Margaret Cox and John James Ruskin, a rich merchant who instilled in him a passion for art, literature, and adventure. He studied at the University of Oxford. In 1837, he entered the University of Oxford. Then, he founded a drawing school for students: the Company of St George, for social improvement, useful arts, and the defense of an ornamentalism linked to the reform of society.

He received socialist influences, especially from the group of “Sheffield socialists,” as did William Morris. He advanced a postulate regarding the relationship between art and morals, these dissertations appear in the first volume of Modern Painters (1843), a work that provided an important place among art critics. Later, he published The Seven Lamps of Architecture (1849) and The Stones of Venice (1851-1853), where the moral, economic and political importance of architecture were analyzed. In 1851 he became interested in pre-Raphaelist painters such as Dante Rossetti, Edward Burne-Jones, and John Everett Millais.

His ideas denounce the aesthetic numbness and the pernicious social effects of the Industrial Revolution. His work at Oxford ended in the rejection of the vivisection practices carried out in the laboratories of that institution. After marrying Effie Gray, he published Conferences on architecture and painting (1854), Conferences on the political economy of art (1858) and Fors Clavigera (1871-1884).

Ruskin suffered some psychiatric episodes and little by little he lost the sense of reality. Finally, he died in Lancashire on January 20, 1900. He aroused the admiration of generations of Victorian artists, especially as an introducer of the neo-Gothic taste in England, the greatest champion of pre-Raphaelism. Currently, part of his works is preserved between drawings of nature and different Gothic cathedrals at the University of Oxford.

• Modern painters
• The seven lamps of architecture
• The stones of Venice
• Conferences on architecture and painting
• The political economy of art
• Sesame and lilies
• The morale of dust
• The crown of wild olive
• Fors Clavigera
• The Amiens Bible

John Harvey McCracken

John Harvey McCracken Biography

John Harvey McCracken (December 9, 1934 – April 8, 2011) minimalist artist. He was born in Berkeley, California, United States. He excelled in sculpture and was a reference to the Minimalist Movement. He dedicated four years of his youth to serve in the United States Navy. Subsequently, he entered the California School of Arts and Crafts in Oakland.

Obtaining a BFA in 1962 and completing most of the work for an MFA. Academic life allowed him to meet characters like Gordon Onslow Ford and Tony DeLap. He was hired at several recognized universities where he taught different art subjects, worked at the University of California, School of Visual Arts, University of Nevada, University of California, Santa Barbara, among others.

His first sculptural work was done with the minimalists John Slorp and Peter Schnore, and the painters Tom Nuzum, Vincent Perez, and Terry StJohn. Dennis also known Oppenheim, enrolled in the MFA program at Stanford. He began to experiment with increasingly three-dimensional canvases, McCracken began producing art objects made with industrial techniques and materials such as plywood, spray lacquer, pigmented resin, resulting in striking minimalist works with highly reflective and soft surfaces. He applied similar techniques in the construction of surfboards.

Later, McCracken was part of the Light and Space movement composed by artists such as James Turrell, Peter Alexander, Larry Bell, Robert Irwin, and others. The biggest influences of the art circle were Barnett Newman and the minimalists like Donald Judd, Dan Flavin, and Carl Andre. Thanks to this space, his sculptural work began to walk between the material world and design. He was the first to conceive the idea of ​​the plank. The artist combined aspects of painting and sculpture in his work and many experimented with impersonal and elegant surfaces. In addition to the planks, the artist also created independent wall pieces and sculptures with different shapes and sizes, worked in highly polished stainless steel and bronze.

In McCracken’s work, it is usual to see solid colors in bold with its highly polished finish, it is a way that takes work to another dimension. His palette included pink gum, lemon yellow, deep sapphire and ebony, which he applied as a monochrome. He also made objects of stained wood, highly polished bronze and reflective stainless steel. For several years he relied on Hindu and Buddhist mandalas to make a series of paintings, they were exhibited at Castello di Rivoli in 2011.

His wife was the artist Gail Barringer, she revived to a certain extent her husband’s artistic career, and earned her the recognition of a younger generation of artists, merchants, and curators. Unfortunately, he died on April 8, 2011. Years before, his work had been honored in Documenta 12 in Kassel.

EXHIBITIONS

• “Primary structures” in the Jewish Museum (1966)
• “American sculpture of the sixties” at the Los Angeles County Museum (1967).
• “Inverleith House” at the Royal Botanic Garden Edinburgh (2009)

His top ten auction prices exceed $ 200,000, including his high auction mark for a Black Plank, in polyester resin, fiberglass and plywood, which sold for $ 358,637 at Phillips de Pury & Company London in June 2007. More recently, Flash (2002), a red-board piece of firefighters, sold for $ 290,500 at Christie’s New York in 2010.

Nine Planks V, Blue column, Plank, Don’t tell me when to stop, Mykonos, Pyramid, Blue Post and Dintel I, Love in Italian, Right, Blue Post and Dintel, Yellow pyramid, The Absolutely Naked Fragrance, Violet Block in two parties, you won’t know which one until you’ve been to All of Them, Red Plank, Ala (Aile), among others.

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Biography Online

Walt Disney Biography

Early Life – Walt Disney

Walt Disney was born on 5 December 1901, in Chicago. His parents were of German/English and Irish descent. As a child, the Disney family moved between Marceline in Missouri, Kansas City and back to Chicago. The young Walt Disney developed an interest in art and took lessons at the Kansas City Institute and later Chicago Art Institute. He became the cartoonist for the school magazine.

When America joined the First World War, Walt dropped out of school and tried to enlist in the army. He was rejected for being underage, but he was later able to join in the Red Cross and in late 1918 was sent to France to drive an ambulance.

In 1919, he moved back to Kansas City where he got a series of jobs, before finding employment in his area of greatest interest – the film industry. It was working for the Kansas City Film Ad company that he gained the opportunity to begin working in the relatively new field of animation. Walt used his talent as a cartoonist to start his first work.

The success of his early cartoons enabled him to set up his own studio called Laugh-O-Gram. However, the popularity of his cartoons was not matched by his ability to run a profitable business. With high labour costs, the firm went bankrupt. After his first failure, he decided to move to Hollywood, California which was home to the growing film industry in America. This ability to overcome adversity was a standard feature of Disney’s career.

“All the adversity I’ve had in my life, all my troubles and obstacles, have strengthened me… You may not realize it when it happens, but a kick in the teeth may be the best thing in the world for you.”

– The Story of Walt Disney (1957)

With his brother, Roy, Walt set up another company and sought to find a distributor for his new film – Alice Comedies – based on the adventures of Alice in Wonderland.

Mickey Mouse

In 1927, the Disney studio was involved in the successful production of ‘Oswald the Lucky Rabbit’, distributed by Universal Pictures. However, with Universal Pictures controlling the rights to ‘Oswald the Lucky Rabbit’, Walt was not able to profit from this success. He rejected an offer from Universal and went back to working on his own.

The Mickey Mouse cartoons with soundtracks became very popular and cemented the growing reputation and strength of Disney Productions. The skill of Walt Disney was to give his cartoons believable real-life characteristics. They were skillfully depicted and captured the imagination of the audience through his pioneering use of uplifting stories and moral characteristics.

In 1932, he received his first Academy Award for the Best Short Subject: Cartoons for the three coloured ‘Flowers and Trees’ He also won a special Academy Award for Mickey Mouse.

In 1933, he developed his most successful cartoon of all time ‘The Three Little Pigs’ (1933) with the famous song ‘Whose Afraid of the Big Bad Wolf.”

In 1924, Walt Disney began his most ambitious project to date. He wished to make a full length animated feature film of ‘Snow White and the Seven Dwarfs.’ Many expected it to be a commercial failure. But, using new techniques of filming, the production was met with glowing reviews. It took nearly three years to film – coming out in 1937 after Disney had run out of money. But, the movie’s strong critical reception, made it the most successful film of 1938, earning $8 million on its first release. The film had very high production values but also captured the essence of a fairy tale on film for the first time. Walt Disney would later write that he never produced films for the critic, but the general public. Replying to criticism that his productions were somewhat corny, he replied:

“All right. I’m corny. But I think there’s just about a-hundred-and-forty-million people in this country that are just as corny as I am.” – Walt Disney

Disney always had a great ability to know what the public loved to see.

After the success of Snow White and the Seven Dwarfs, the studio produced several other successful animations, such as ‘Pinocchio’, ‘Peter Pan’, ‘Bambi’ and ‘The Wind in the Willows’. After America’s entry into the Second World War in 1941, this ‘golden age’ of animation faded and the studio struggled as it made unprofitable propaganda films.

Political and religious views

In 1941, Disney also had to deal with a major strike by his writers and animators. This strike left a strong impression on Disney. He would later become a leading member of the anti-Communist organisation ‘Motion Picture Alliance for the Preservation of American Ideals’ (the right-wing organisation was also considered to be anti-semitic.) At one point, he (unsuccessfully) tried to brand his labour union organisers as Communist agitators.

However, in the 1950s, Disney distanced himself from the Motion Picture Alliance for the Preservation of American Ideals. However, by associating with the organisation, he was often associated with the anti-labour and anti-semitic philosophy it expressed. Disney was a Republican, though was not particularly involved in politics. It is often asked whether Walt Disney was anti-semitic.

His biographer, Neal Gabler stated:

“…And though Walt himself, in my estimation, was not anti-semitic, nevertheless, he willingly allied himself with people who were anti-semitic, and that reputation stuck. He was never really able to expunge it throughout his life.”

Walt Disney believed in the benefits of a religious approach to life, though he never went to church and disliked sanctimonious teachers.

“I believe firmly in the efficacy of religion, in its powerful influence on a person’s whole life. It helps immeasurably to meet the storms and stress of life and keep you attuned to the Divine inspiration. Without inspiration, we would perish.”

Ch. 15: Walt Lives!, p. 379

He respected other religions and retained a firm faith in God.

Post-war success

During the war, there was much less demand for cartoon animation. It took until the late 1940s, for Disney to recover some of its lustre and success. Disney finished production of Cinderella and also Peter Pan (which had been shelved during the war) In the 1950s, Walt Disney Productions also began expanding its operations into popular action films. They produced several successful films, such as ‘Treasure Island’ (1950), ‘20,000 Leagues Under the Sea’ (1954) and ‘Pollyanna’ (1960)

In another innovation, the studio created one of the first specifically children’s shows – The Mickey Mouse Club. Walt Disney even returned to the studio to provide the voice. In the 1960s, the Disney Empire continued to successfully expand. In 1964, they produced their most successful ever film ‘Mary Poppins.’

In the late 1940s, Walt Disney began building up plans for a massive Theme Park. Walt Disney wished the Theme Park to be like nothing ever created on earth. In particular, he wanted it to be a magical world for children and surrounded by a train. Disney had a great love of trains since his childhood when he regularly saw trains pass near his home. It was characteristic of Walt Disney that he was willing to take risks in trying something new.

“Courage is the main quality of leadership, in my opinion, no matter where it is exercised. Usually, it implies some risk, especially in new undertakings. Courage to initiate something and to keep it going, pioneering and adventurous spirit to blaze new ways, often, in our land of opportunity.”

– The Disney Way Fieldbook (2000) by Bill Capodagli

After several years in the planning and building, Disneyland opened on July 17, 1955. Disney spoke at the address.

“To all who come to this happy place; welcome. Disneyland is your land. Here age relives fond memories of the past …. and here youth may savor the challenge and promise of the future. Disneyland is dedicated to the ideals, the dreams and the hard facts that have created America … with the hope that it will be a source of joy and inspiration to all the world.”

The success of Disneyland encouraged Walt to consider another park in Orlando, Florida. In 1965, another theme park was planned.

Walt Disney died of lung cancer on December 15, 1966. He had been a chain smoker all his life. An internet myth suggested Walt Disney had his body cryonically frozen, but this is untrue. It seems to have been spread by his employers, looking for one last joke at the expense of their boss.

After his death, his brother Roy returned to lead The Disney Company, but the company missed the direction and genius of Walt Disney. The 1970s were a relatively fallow period for the company, before a renaissance in the 1980s, with a new generation of films, such as ‘Who Framed Roger Rabbit’ (1988) and ‘The Lion King’ (1994)

Citation: Pettinger, Tejvan . “Biography of Walt Disney”, Oxford, UK.  www.biographyonline.net , 8th August 2014. Last updated 1st March 2019.

Walt Disney: The Triumph of the American Imagination

Walt Disney: The Triumph of the American Imagination at Amazon

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Walt Disney (1901-1966)

Additional crew.

IMDbPro Starmeter See rank

• 66 wins & 47 nominations total

• Producer (uncredited)

• producer (uncredited)

• executive producer
• 38 episodes

• Mickey Mouse (voice, uncredited)
• 147 episodes
• Mickey Mouse (voice)

• Walt Disney (uncredited)

• producer adviser

• conception (uncredited)

• In-development projects at IMDbPro

Personal details

• The Walt Disney Company
• Mr. Walt Disney
• 5′ 10″ (1.78 m)
• December 5 , 1901
• Chicago, Illinois, USA
• December 15 , 1966
• Los Angeles, California, USA (complications from lung cancer)
• Lillian Disney July 13, 1925 - December 15, 1966 (his death, 2 children)
• Diane Disney
• Parents Flora Disney
• Relatives Robert Disney (Aunt or Uncle)
• Other works Grand Marshal, Tournament of Roses parade
• 5 Biographical Movies
• 29 Print Biographies
• 7 Portrayals
• 29 Articles
• 2 Pictorials
• 1 Magazine Cover Photo

Did you know

• Trivia Personally disliked Alice in Wonderland (1951) and Peter Pan (1953) because of the lack of "heart" and "warmth" in their main characters. Was very sad about the unfavorable reception of Fantasia (1940) as he was proud of the film. Ironically, the first re-issue of Fantasia (1940) after his death was the first time it turned a profit.
• Quotes I don't make pictures just to make money. I make money to make more pictures.
• Trademarks Happy endings on all pictures produced by himself (also posthumous and actual works).
• Salaries One Hundred and One Dalmatians ( 1961 ) $5,166 /week
• When did Walt Disney die?
• How did Walt Disney die?
• How old was Walt Disney when he died?

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Biography of Walt Disney, Animator and Film Producer

Love of drawing, laugh-o-gram films, mickey mouse, sound and color, feature-length cartoons, union strikes, world war ii, more movies, plans for disneyland, disneyland opens, plans for walt disney world, florida.

Walt Disney (born Walter Elias Disney; December 5, 1901–December 15, 1966) was a cartoonist and entrepreneur who developed a multibillion-dollar family entertainment empire. Disney was the renowned creator of Mickey Mouse, the first sound cartoon, the first Technicolor cartoon, and the first feature-length cartoon. In addition to winning 22 Academy Awards in his lifetime, Disney also created the first major theme park: Disneyland in Anaheim, California.

Fast Facts: Walt Disney

• Known For: Disney was a pioneering animator and film producer who won 22 Academy Awards and built one of the largest media empires in the world.
• Born: December 5, 1901 in Chicago, Illinois
• Parents: Elias and Flora Disney
• Died: December 15, 1966 in Burbank, California
• Awards and Honors: 22 Academy Awards, Cecil B. DeMille Award, Hollywood Walk of Fame, Presidential Medal of Freedom, Congressional Gold Medal
• Spouse: Lillian Bounds (m. 1925-1966)
• Children: Diane, Sharon

Walt Disney was born the fourth son of Elias Disney and Flora Disney (née Call) in Chicago, Illinois, on December 5, 1901. By 1903, Elias, a handyman and carpenter, had grown weary of crime in Chicago; thus, he moved his family to a 45-acre farm he purchased in Marceline, Missouri. Elias was a stern man who administered “corrective” beatings to his five children; Flora soothed the children with nightly readings of fairy tales.

After the two eldest sons grew up and left home, Walt Disney and his older brother Roy worked on the farm with their father. In his free time, Disney made up games and sketched the farm animals. In 1909, Elias sold the farm and purchased an established newspaper route in Kansas City, where he moved his remaining family.

It was in Kansas City that Disney developed a love for an amusement park called Electric Park, which featured 100,000 electric lights illuminating a roller coaster, a dime museum, penny arcade, swimming pool, and a colorful fountain light show.

Rising at 3:30 a.m. seven days a week, 8-year-old Walt Disney and brother Roy delivered the newspapers, taking quick naps in alleyways before heading to Benton Grammar School. In school, Disney excelled in reading; his favorite authors were Mark Twain and Charles Dickens.

In art class, Disney surprised his teacher with original sketches of flowers with human hands and faces. After stepping on a nail on his newspaper route, Disney had to spend two weeks in bed recuperating. He spent his time reading and drawing newspaper-style cartoons.

Elias sold the newspaper route in 1917 and bought a partnership in the O-Zell Jelly factory in Chicago, moving Flora and Walt with him (Roy had enlisted in the U.S. Navy). Sixteen-year-old Walt Disney attended McKinley High School, where he became the school newspaper’s junior art editor. To pay for evening art classes at the Chicago Academy of Fine Arts, he washed jars in his father’s jelly factory.

Wanting to join Roy, who was fighting in World War I, Disney tried to join the Army but at age 16 he was too young. Undeterred, he joined the Red Cross’ Ambulance Corps, which took him to France and Germany.

After spending 10 months in Europe, Disney returned to the U.S. In October 1919, he got a job as a commercial artist at the Pressman-Rubin Studio in Kansas City. Disney met and became friends with fellow artist Ub Iwerks at the studio.

When Disney and Iwerks were laid off in January 1920, they formed Iwerks-Disney Commercial Artists. Due to a lack of clients, however, the duo only survived for about a month. After getting jobs at the Kansas City Film Ad Company as cartoonists, Disney and Iwerks began making commercials for movie theaters.

Disney borrowed a camera from the studio and began experimenting with stop-action animation in his garage. He shot footage of his animal drawings using different techniques until the pictures actually “moved” in fast and slow motion. His cartoons (which he called Laugh-O-Grams) eventually became superior to the ones he was working on at the studio; he even figured out a way to merge live action with animation. Disney suggested to his boss that they make cartoons, but his boss flatly turned down the idea, content with making commercials.

In 1922, Disney quit the Kansas City Film Ad Company and opened a studio in Kansas City called Laugh-O-Gram Films. He hired a few employees, including Iwerks, and sold a series of fairy tale cartoons to Pictorial Films in Tennessee.

Disney and his staff began work on six cartoons, each one a seven-minute fairy tale that combined live action and animation. Unfortunately, Pictorial Films went bankrupt in July 1923; as a result, so did Laugh-O-Gram Films.

Next, Disney decided he would try his luck at working in a Hollywood studio as a director and joined his brother Roy in Los Angeles, where Roy was recovering from tuberculosis.

Having no luck getting a job at any of the studios, Disney sent a letter to Margaret J. Winkler, a New York cartoon distributor, to see if she had any interest in distributing his Laugh-O-Grams. After Winkler viewed the cartoons, she and Disney signed a contract.

On October 16, 1923, Disney and Roy rented a room at the back of a real estate office in Hollywood. Roy took on the role of accountant and cameraman of the live action; a little girl was hired to act in the cartoons; two women were hired to ink and paint the celluloid, and Disney wrote the stories and drew and filmed the animation.

By February 1924, Disney had hired his first animator, Rollin Hamilton, and moved into a small storefront with a window bearing the sign “Disney Bros. Studio.” Disney’s "Alice in Cartoonland" reached theaters in June 1924.

In early 1925, Disney moved his growing staff to a one-story, stucco building and renamed his business “Walt Disney Studio.” Disney hired Lillian Bounds, an ink artist, and began dating her. On July 13, 1925, the couple married in her hometown of Spalding, Idaho. Disney was 24; Lillian was 26.

Meanwhile, Margaret Winkler also married, and her new husband, Charles Mintz, took over her cartoon distribution business. In 1927, Mintz asked Disney to rival the popular “Felix the Cat” series. Mintz suggested the name “Oswald the Lucky Rabbit” and Disney created the character and made the series.

In 1928, when costs became increasingly high, Disney and Lillian took a train trip to New York to renegotiate the contract for the popular Oswald series. Mintz countered with even less money than he was currently paying, informing Disney that he owned the rights to Oswald the Lucky Rabbit, and that he had lured most of Disney’s animators to come work for him.

Shocked, shaken, and saddened, Disney boarded the train for the long ride back. In a depressed state, he sketched a character and named him Mortimer Mouse. Lillian suggested the name Mickey Mouse instead.

Back in Los Angeles, Disney copyrighted Mickey Mouse and, along with Iwerks, created new cartoons with Mickey Mouse as the star. Without a distributor, though, Disney could not sell the silent Mickey Mouse cartoons.

In 1928, sound became the latest in film technology. Disney pursued several New York film companies to record his cartoons with this new novelty. He struck a deal with Pat Powers of Cinephone. Disney provided the voice of Mickey Mouse and Powers added sound effects and music.

Powers became the distributor of the cartoons and on November 18, 1928, "Steamboat Willie" opened at the Colon Theater in New York. It was Disney’s (and the world’s) first cartoon with sound. "Steamboat Willie" received rave reviews and audiences everywhere adored Mickey Mouse.

In 1929, Disney began making “Silly Symphonies,” a series of cartoons that included dancing skeletons, the Three Little Pigs, and characters other than Mickey Mouse, including Donald Duck, Goofy, and Pluto.

In 1931, a new film-coloring technique known as Technicolor became the latest in film technology. Until then, everything had been filmed in black and white. To hold off the competition, Disney paid to hold the rights to Technicolor for two years. He filmed a Silly Symphony titled "Flowers and Trees" in Technicolor, showing colorful nature with human faces, and the film won the Academy Award for Best Cartoon of 1932.

On December 18, 1933, Lillian gave birth to Diane Marie Disney, and on December 21, 1936, Lillian and Walt Disney adopted Sharon Mae Disney.

Disney decided to add dramatic storytelling to his cartoons, but making a feature-length cartoon had everyone (including Roy and Lillian) saying it would never work; they believed audiences just wouldn’t sit that long through a dramatic cartoon.

Despite the naysayers, Disney, ever the experimenter, went to work on the feature-length fairy tale "Snow White and the Seven Dwarfs." Production of the cartoon cost $1.4 million (a massive sum in 1937) and was soon dubbed “Disney’s Folly.”

When it premiered in theaters on December 21, 1937, though, "Snow White and the Seven Dwarfs" was a box office sensation. Despite the Great Depression, it earned $416 million.

A notable achievement in cinema, the movie won Disney an Honorary Academy Award. The citation read, "For 'Snow White and the Seven Dwarfs,' recognized as a significant screen innovation which has charmed millions and pioneered a great new entertainment field."

After the success of "Snow White," Disney constructed his state-of-the-art Burbank Studio, deemed a worker’s paradise for a staff of about 1,000 workers. The studio, with animation buildings, sound stages, and recording rooms, produced "Pinocchio" (1940), "Fantasia" (1940), "Dumbo" (1941), and "Bambi" (1942).

Unfortunately, these feature-length cartoons lost money worldwide due to the start of World War II. Along with the cost of the new studio, Disney found himself in debt. He offered 600,000 shares of common stock, sold at five dollars apiece. The stock offerings sold out quickly and erased the debt.

Between 1940 and 1941, movie studios began unionizing; it wasn’t long before Disney’s workers wanted to unionize as well. While his workers demanded better pay and working conditions, Disney believed that his company had been infiltrated by communists.

After numerous and heated meetings, strikes, and lengthy negotiations, Disney finally became unionized. However, the whole process left Disney feeling disillusioned and discouraged.

With the union question finally settled, Disney was able to turn his attention back to his cartoons; this time for the U.S. government. The United States had joined World War II after the bombing of Pearl Harbor and it was sending millions of young men overseas to fight.

The U.S. government wanted Disney to produce training films using his popular characters ; Disney obliged, creating more than 400,000 feet of film (about 68 hours).

After the war, Disney returned to his own agenda and made "Song of the South" (1946), a movie that was 30 percent animation and 70 percent live action. "Zip-A-Dee-Doo-Dah" was named the best movie song of 1946 by the Academy of Motion Picture Arts & Sciences, while James Baskett, who played the character of Uncle Remus in the movie, won an Oscar.

In 1947, Disney decided to make a documentary about Alaskan seals titled "Seal Island" (1948). It won an Academy Award for best two-reel documentary. Disney then assigned his top talent to make "Cinderella" (1950), "Alice in Wonderland" (1951), and "Peter Pan" (1953).

After building a train to ride his two daughters around his new home in Holmby Hills, California, Disney began formulating a dream in 1948 to build Mickey Mouse Amusement Park across the street from his studio. He visited fairs, carnivals, and parks around the world to study the choreography of people and attractions.

Disney borrowed on his life insurance policy and created WED Enterprises to organize his amusement park idea, which he was now referring to as Disneyland. Disney and Herb Ryman drew out the plans for the park in one weekend. The plan included an entrance gate to "Main Street" that would lead to Cinderella’s Castle and off to different lands of interest, including Frontier Land, Fantasy Land, Tomorrow Land, and Adventure Land.

The park would be clean and innovative, a place where parents and children could have fun together on rides and attractions; they would be entertained by Disney characters in the “happiest place on earth.”

Roy visited New York to seek a contract with a television network. Roy and Leonard Goldman reached an agreement where ABC would give Disney a $500,000 investment in Disneyland in exchange for a weekly Disney television series.

ABC became a 35 percent owner of Disneyland and guaranteed loans up to $4.5 million. In July 1953, Disney commissioned the Stanford Research Institute to find a location for his (and the world’s) first major theme park. Anaheim, California, was selected since it could easily be reached by freeway from Los Angeles.

Previous movie profits were not enough to cover the cost of building Disneyland, which took about a year to build at a cost of $17 million. Roy made numerous visits to the Bank of America's headquarters to secure more funding.

On July 13, 1955, Disney sent out 6,000 exclusive guest invitations, including to Hollywood movie stars, to enjoy the opening of Disneyland. ABC sent cameramen to film the opening. However, many tickets were counterfeited and 28,000 people showed up.

Rides broke down, food stands ran out of food, a heat wave caused freshly poured asphalt to capture shoes, and a gas leak caused temporary closings in a few themed areas.

Despite the newspapers referring to this cartoon-ish day as "Black Sunday," guests from all over the world loved it and the park became a major success. Ninety days later, the one-millionth guest passed through the park's turnstile.

In 1964, Disney’s "Mary Poppins" premiered; the film was nominated for 13 Academy Awards. With this success, Disney sent Roy and a few other Disney executives to Florida in 1965 to purchase land for another theme park.

In October 1966, Disney gave a press conference to describe his plans for building an Experimental Prototype Community of Tomorrow (EPCOT) in Florida. The new park would be five times the size of Disneyland, and it would include shopping, entertainment venues, and hotels.

The new Disney World development would not be completed, however, until five years after Disney’s death. The new Magic Kingdom (which included Main Street USA; Cinderella's Castle leading to Adventureland, Frontierland, Fantasyland, and Tomorrowland) opened on October 1, 1971, along with Disney's Contemporary Resort, Disney's Polynesian Resort, and Disney's Fort Wilderness Resort & Campground. EPCOT, Walt Disney’s second theme park vision, which featured a future world of innovation and a showcase of other countries, opened in 1982.

In 1966, doctors informed Disney that he had lung cancer. After having a lung removed and several chemotherapy sessions, Disney collapsed in his home and was admitted to St. Joseph’s Hospital on December 15, 1966. He died at 9:35 a.m. from an acute circulatory collapse and was buried at Forest Lawn Memorial Park in Glendale, California.

Disney left behind one of the largest media empires in the world. Since his death, the Walt Disney Company has only grown; today, it employs more than 200,000 people and generates billions in revenue each year. For his artistic achievements, Disney amassed 22 Oscars and numerous other honors. In 1960, he was given two stars on the Hollywood Walk of Fame (one for his film and one for his television work).

• David, Erica, and Bill Robinson. "Disney." Random House, 2015.
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Walt Disney Biography

Born: December 5, 1901 Chicago, Illinois Died: December 15, 1966 Los Angeles, California American animator, filmmaker, and businessman

An American filmmaker and businessman, Walt Disney created a new kind of popular culture with feature-length animated cartoons and live-action "family" films.

Walter Elias Disney was born in Chicago, Illinois, on December 5, 1901, the fourth of five children born to Elias and Flora Call Disney. His father, a strict and religious man who often physically abused his children, was working as a building contractor when Walter was born. Soon afterward, his father took over a farm in Marceline, Missouri, where he moved the family. Walter was very happy on the farm and developed his love of animals while living there. After the farm failed, the family moved to Kansas City, Missouri, where Walter helped his father deliver newspapers. He also worked selling candy and newspapers on the train that traveled between Kansas City and Chicago, Illinois. He began drawing and took some art lessons during this time.

Disney dropped out of high school at seventeen to serve in World War I (1914–18; a war between German-led Central powers and the Allies—England, the United States, and other nations). After a short stretch as an ambulance driver, he returned to Kansas City in 1919 to work as a commercial illustrator and later made crude animated cartoons (a series of drawings with slight changes in each that resemble movement when filmed in order). By 1922 he had set up his own shop as a partner with Ub Iwerks, whose drawing ability and technical skill were major factors in Disney's eventual success.

Off to Hollywood

Initial failure with Ub Iwerks sent Disney to Hollywood, California, in 1923. In partnership with his older brother, Roy, he began producing Oswald the Rabbit cartoons for Universal Studios. After a contract dispute led to the end of this work, Disney and his brother decided to come up with their own character. Their first success came in Steamboat Willie, which was the first all-sound cartoon. It also featured Disney as the voice of a character first called "Mortimer Mouse." Disney's wife, Lillian (whom he had married in 1925) suggested that Mickey sounded better, and Disney agreed.

Branching out

Disney rapidly expanded his studio operations to include a training school where a whole new generation of artists developed and made possible the production of the first feature-length cartoon, Snow White (1937). Other costly animated features followed, including Pinocchio, Bambi, and the famous musical experiment Fantasia. With Seal Island (1948), wildlife films became an additional source of income. In 1950 Treasure Island led to what became the studio's major product, live-action films, which basically cornered the traditional "family" market. Disney's biggest hit, Mary Poppins, was one of his many films that used occasional animation to project wholesome, exciting stories containing sentiment and music.

In 1954 Disney successfully invaded television, and by the time of his death the Disney studio had produced 21 full-length animated films, 493 short subjects, 47 live-action films, 7 True-Life Adventure features, 330 hours of Mickey Mouse Club television programs, 78 half-hour Zorro television adventures, and 280 other television shows.

Construction of theme parks

On July 18, 1957, Disney opened Disneyland in Anaheim, California, the most successful amusement park in history, with 6.7 million people visiting it by 1966. The idea for the park came to him after taking his children to other amusement parks and watching them have fun on amusement rides. He decided to build a park where the entire family could have fun together. In 1971 Disney World in Orlando, Florida, opened. Since then, Disney theme parks have opened in Tokyo, Japan, and Paris, France.

Disney also dreamed of developing a city of the future, a dream that came true in 1982 with the opening of Experimental Prototype Community of Tomorrow (EPCOT). EPCOT, which cost an initial $900 million, was planned as a real-life community of the future with the very latest in technology (the use of science to achieve a practical purpose). The two principle areas of EPCOT are Future World and World Showcase, both of which were designed for adults rather than children.

Disney's business empire

Furthermore, Disney created and funded a new university, the California Institute of the Arts, known as Cal Arts. He thought of this as the peak of education for the arts, where people in many different forms could work together, dream and develop, and create the mixture of arts needed for the future. Disney once commented: "It's the principal thing I hope to leave when I move on to greener pastures. If I can help provide a place to develop the talent of the future, I think I will have accomplished something."

Disney's parks continue to grow with the creation of the Disney-MGM Studios, Animal Kingdom, and an extensive sports complex in Orlando. The Disney Corporation has also branched out into other types of films with the creation of Touchstone Films, into music with Hollywood Records, and even into vacations with its Disney Cruise Lines. In all, the Disney name now covers a multi-billion dollar enterprise, with business ventures all over the world.

In 1939 Disney received an honorary (received without meeting the usual requirements) Academy Award, and in 1954 he received four more Academy Awards. In 1965 President Lyndon B. Johnson (1908–1973) presented Disney with the Presidential Medal of Freedom, and in the same year Disney was awarded the Freedom Foundation Award.

Walt Disney, happily married for forty-one years, was moving ahead with his plans for huge, new outdoor recreational areas when he died on December 15, 1966, in Los Angeles, California. At the time of his death, his enterprises had brought him respect, admiration, and a business empire worth over $100 million a year, but Disney was still mainly remembered as the man who had created Mickey Mouse almost forty years before.

For More Information

Barrett, Katherine, and Richard Greene. Inside the Dream: The Personal Story of Walt Disney. New York: Disney Editions, 2001.

Green, Amy Boothe. Remembering Walt. New York: Hyperion, 1999.

Logue, Mary. Imagination: The Story of Walt Disney. Chanhassen, MN: Child's World, 1999.

Thomas, Bob. Walt Disney: An American Original. New York: Simon and Schuster, 1976.

Watts, Steven. The Magic Kingdom: Walt Disney and the American Way of Life. Boston: Houghton Mifflin, 1998.

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• "Resurrecting Disney: Tracing Walt Disney‘s ever-present spirit in feature animated films of the Michael Eisner era (1984-2004)" / by Sara Gómez Alonso Dissertation, 2014. Tracing the always present spirit of Walt Disney in the animated films of the Michael Eisner era (1984-2004) try to define and analyze the characteristics, both with respect to the creative process and in the definition of contingut, integrated into the classic originals of Disney by, then, demonstrating that these will be recovered and implemented again after the death of Walt Disney -with their adaptations- by donating a place to a second age of animation.
• Walt Disney in the American grain / by William Irvin McReynolds Dissertation--Ph. D;. University of Minnesota 1971.

• The Secret Life of Walt Disney / Twenty Twenty Television for Channel 4 ; executive producer, Claudia Milne ; producers, Duncan Coates, Joseph Bullman ; director, Joseph Bullman. Editor, Tony Robinson; photography, Scott Marshall, Simon Bedford. Broadcast on Channel 4 in Great Britain. Record date: October 31, 1994. A look at the dark side of Walt Disney.
• Walt Disney / American Experience Films presents ; story by Sarah Colt & Tom Jennings ; telescript by Mark Zwonitzer ; produced and directed by Sarah Colt Walt Disney was uniquely adept at art as well as commerce, a master filmmaker who harnessed the power of technology and storytelling. This new film examines Disney's complex life and enduring legacy. Features rare archival footage from the Disney vaults, scenes from some of his greatest films, interviews with biographers and animators, and the designers who helped turn his dream of Disneyland into reality.

Selected Media: American Experience - Walt Disney (2015)

Walt Disney's Early Days (Dir. Sarah Colt, 2015)

UCLA students, staff, and faculty access through  Kanopy . Log into the campus VPN or proxy server to view video.

Walt Disney's Legacy (Dir. Sarah Colt, 2015)

Selected Media: Walt Before Mickey (2015)

Walt Before Mickey (dir. Khoa Le, 2015) 

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Walt Disney A Short Biography

(a condensed version of the Long Biography)

Walt Disney was born on December 5, 1901 in Chicago Illinois, to his father Elias Disney, and mother Flora Call Disney. Walt was one of five children, four boys and a girl.

After Walt’s birth, the Disney family moved to Marceline Missouri, Walt lived most of his childhood here.

Walt had very early interests in art, he would often sell drawings to neighbors to make extra money. He pursued his art career, by studying art and photography by going to McKinley High School in Chicago.

Walt began to love, and appreciate nature and wildlife, and family and community, which were a large part of agrarian living. Though his father could be quite stern, and often there was little money, Walt was encouraged by his mother, and older brother, Roy to pursue his talents.

During the fall of 1918, Disney attempted to enlist for military service. Rejected because he was under age, only sixteen years old at the time. Instead, Walt joined the Red Cross and was sent overseas to France, where he spent a year driving an ambulance and chauffeuring Red Cross officials. His ambulance was covered from stem to stern, not with stock camouflage, but with Disney cartoons.

Once Walt returned from France, he began to pursue a career in commercial art. He started a small company called Laugh-O-Grams, which eventually fell bankrupt. With his suitcase, and twenty dollars, Walt headed to Hollywood to start anew.

After making a success of his “Alice Comedies,” Walt became a recognized Hollywood figure. On July 13, 1925, Walt married one of his first employees, Lillian Bounds, in Lewiston, Idaho. Later on they would be blessed with two daughters, Diane and Sharon .

Walt Disney in his office

In 1932, the production entitled Flowers and Trees (the first color cartoon) won Walt the first of his studio’s Academy Awards. In 1937, he released The Old Mill , the first short subject to utilize the multi-plane camera technique.

On December 21, 1937, Snow White and the Seven Dwarfs , the first full-length animated musical feature, premiered at the Carthay Theater in Los Angeles. The film produced at the unheard cost of $1,499,000 during the depths of the Depression, the film is still considered one of the great feats and imperishable monuments of the motion picture industry. During the next five years, Walt Disney Studios completed other full-length animated classics such as Pinocchio, Fantasia, Dumbo, and Bambi.

Walt Disney, on his daily rounds through Disneyland

Walt Disney’s dream of a clean, and organized amusement park, came true, as Disneyland Park opened in 1955. Walt also became a television pioneer, Disney began television production in 1954, and was among the first to present full-color programming with his Wonderful World of Color in 1961.

Walt Disney is a legend; a folk hero of the 20th century. His worldwide popularity was based upon the ideals which his name represents: imagination, optimism, creation, and self-made success in the American tradition. He brought us closer to the future, while telling us of the past, it is certain, that there will never be such as great a man, as Walt Disney.

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The 10 Best Books on Walt Disney

Essential books on walt disney.

There are numerous books on Walt Disney, and it comes with good reason, he was an American animator, film producer, and entrepreneur. As a pioneer of the animation industry, Disney introduced several developments in the production of cartoons, and as a film producer, he holds the record for most Academy Awards earned and nominations by an individual, having won 22 Oscars from 59 nominations.

“All the adversity I’ve had in my life, all my troubles and obstacles, have strengthened me…You may not realize it when it happens, but a kick in the teeth may be the best thing in the world for you,” he remarked.

In order to get to the bottom of what inspired one of history’s most consequential figures, we’ve compiled a list of the 10 best books on Walt Disney.

Walt Disney: The Triumph of the American Imagination by Neal Gabler

Walt Disney was a true visionary whose desire for escape, iron determination, and obsessive perfectionism transformed animation from a novelty to an art form, first with Mickey Mouse and then with his feature films – most notably Snow White, Fantasia,  and  Bambi . In his superb biography, Neal Gabler shows us how, over the course of two decades, Disney revolutionized the entertainment industry. In a way that was unprecedented and later widely imitated, he built a synergistic empire that combined film, television, theme parks, music, book publishing, and merchandise. Walt Disney is a revelation of both the work and the man – of both the remarkable accomplishment and the hidden life.

Disney’s Land by Richard Snow

One day in the early 1950s, Walt Disney stood looking over 240 acres of farmland in Anaheim, California, and imagined building a park where people “could live among Mickey Mouse and Snow White in a world still powered by steam and fire for a day or a week or (if the visitor is slightly mad) forever.” Despite his wealth and fame, exactly no one wanted Disney to build such a park. Not his brother Roy, who ran the company’s finances; not the bankers; and not his wife, Lillian. Amusement parks at that time, such as Coney Island, were a generally despised business, sagging and sordid remnants of bygone days. Disney was told that he would only be heading toward financial ruin.

But Walt persevered, initially financing the park against his own life insurance policy and later with sponsorship from ABC and the sale of thousands and thousands of Davy Crockett coonskin caps. Disney assembled a talented team of engineers, architects, artists, animators, landscapers, and even a retired admiral to transform his ideas into a soaring yet soothing wonderland of a park. The catch was that they had only a year and a day in which to build it.

On July 17, 1955, Disneyland opened its gates…and the first day was a disaster. Disney was nearly suicidal with grief that he had failed on a grand scale. But the curious masses kept coming, and the rest is entertainment history. Eight hundred million visitors have flocked to the park since then.

Walt Disney: An American Original by Bob Thomas

Walt Disney is an American hero. From Mickey Mouse to Disneyland, he changed the face of American culture. His is a success story like no other: a man who developed animated film into an art form and made a massive contribution to the folklore of the world.

After years of research, respected Hollywood biographer Bob Thomas produced a definitive biography of the man behind the legend of Disney: the unschooled cartoonist from Kansas City who when bankrupt on his first movie venture and developed into the genius who produced unmatched works of animation, and ultimately was the creative spirit of an international entertainment empire that has enchanted generations.

Buying Disney’s World by Aaron H. Goldberg

In November of 1965, after numerous months of speculation surrounding a mystery industry that had been purchasing large amounts of land in central Florida, Walt Disney finally put an end to the rumors. He announced to the public his grandiose plans for the thousands of acres he had secretly purchased.

For the eighteen months prior to the announcement, Walt entrusted a small group of men to covertly make these purchases. Next, they were tasked with drafting a legislative act to submit to the state of Florida that would allow Disney to wield nearly absolute legal control over the property under a quasi-government municipality.

As told through the personal notes and files from the key figures involved in the project,  Buying Disney’s World details the story of how Walt Disney World came to be, like you’ve never heard before.

From conception to construction and everything in between – including how a parcel of land within Disney’s Fort Wilderness Resort was acquired during a high-stakes poker game – explore how the company most famous for creating Mickey Mouse acquired central Florida’s swamps, orange groves, and cow pastures to build a Disney fiefdom and a Magic Kingdom.

The Imagineering Story by Leslie Iwerks

The highly acclaimed and rated Disney+ documentary series, The Imagineering Story , becomes a book that greatly expands the award-winning filmmaker Leslie Iwerks’ narrative of the fascinating history of Walt Disney Imagineering. The entire legacy of WDI is covered from day one through future projects with never-before-seen access and insights from people both on the inside and on the outside.

So many stories and details were left on the cutting room floor – this book allows an expanded exploration of the magic of Imagineering. So many insider stories are featured. Sculptor Blaine Gibson’s wife used to kick him under the table at restaurants for staring at interesting-looking people seated nearby, and he’d even find himself studying faces during Sunday morning worship.

“You mean some of these characters might have features that are based on people you went to church with?” Marty Sklar once asked Gibson of the Imagineer’s sculpts for Pirates of the Caribbean. “He finally admitted to me that that was true.”

Walt’s Disneyland by Marcy Smothers

Walt Disney’s personal imprint remains firmly intact at Disneyland. Walt’s Disneyland allows guests to walk around Disneyland identifying the attractions and landmarks Walt championed, touching what he touched, and seeing his original Magic Kingdom through his eyes. Walt’s Disneyland is organized land by land, clockwise, beginning with Main Street, U.S.A. then on to Adventureland, Frontierland, New Orleans Square, Fantasyland, and Tomorrowland.

Walt’s Apprentice by Dick Nunis

Walt’s Apprentice: Keeping the Disney Dream Alive is the memoir of Disney Legend Dick Nunis. It is a warm personal reminiscence of learning directly from Walt Disney for 12 years, followed by more than 30 years devoted to championing his vision and standards as the Disney empire grew.

The story covers Disney’s highlights, including the 1960 Winter Olympics, 1964-1965 New York World’s Fair, and the development and opening of Disneyland, Walt Disney World, Epcot, Tokyo Disneyland, and Disneyland Paris.

Unlike other Disney books, this story is told from the perspective of operations rather than Imagineering. It touches on decisions that defined the guest experience and Disney’s reputation for quality in areas ranging from capacity and people-moving, training, delivering a consistent “good show,” food service, and more.

The Disney Story by Aaron H. Goldberg

Welcome to  The Disney Story , this gem among books on Walt Disney provides a decade-by-decade account of the man, the mouse, and the theme parks. From Mickey Mouse’s debut at the Colony Theatre in November 1928 to the opening of Shanghai Disneyland in 2016 – and everything in between.

The Walt Disney Film Archives by Daniel Kothenschulte

One of the most creative minds of the 20th century, Walt Disney created a unique and unrivaled imaginative universe. Like scarcely any other classics of cinema, his astonishing collection of animated cartoons revolutionized storytelling on screen and enchant to this day across geographies and generations.

This expansively illustrated publication on Disney animation gathers hundreds of images as well as essays by Disney experts, taking us to the beating heart of the studio’s “Golden Age of Animation.” We trace Disney’s complete animation journey from the silent film era, through his first full-length feature Snow White and the Seven Dwarfs (1937) and Fantasia (1940), right up to his last masterpieces Winnie the Pooh and the Honey Tree (1966) and The Jungle Book (1967).

With extensive research conducted through the historical collections of the Walt Disney Company, as well as private collections, editor Daniel Kothenschulte curates some of the most precious concept paintings and storyboards to reveal just how these animation triumphs came to life. Masterful cel setups provide highly detailed illustrations of famous film scenes while rare pictures taken by Disney photographers bring a privileged insider’s view to the studio’s creative process.

The Gospel According to Disney by Mark I. Pinsky

Religion journalist Mark Pinsky explores the role that the animated features of Walt Disney played on the moral and spiritual development of generations of children. Pinsky explores thirty-one of the most popular Disney films, as well as recent developments such as the 1990s boycott of Disney by the Southern Baptist Convention and the role that Michael Eisner and Jeffrey Katzenberg played in the resurgence of the company since the mid-1980s.

The Walt Disney World that Never Was by Christopher E. Smith

On an alternate earth, Walt Disney World guests are taking in the thrills of Thunder Mesa, braving the Beastly Kingdom, marveling at Villains Mountain, and staying the night at Disney’s Persian Resort. Want to join them? This is your guidebook to the theme park that Disney never built.

In this unique, extensively researched book, Christopher Smith discusses the many attractions, shows, and resorts that were planned for Walt Disney World, from opening day to the present day, but that exist only in the minds of Imagineers.

You’ll find old “favorites” such as Thunder Mesa and Beastly Kingdom, as well as those lost to the pixie dust of time, like Dick Tracy’s Crime Stoppers, the Enchanted Snow Palace, and Buffalo Junction. Smith looks at the politics and internal struggles behind the decision to shelve each concept, and imagines what guests might have experienced.

If you enjoyed this guide to essential books on Walt Disney, check out our list of The 5 Best Books on Steven Spielberg !

Walt Disney

• Occupation: Entrepreneur
• Born: December 5, 1901 in Chicago, Illinois
• Died: December 15, 1966 in Burbank, California
• Best known for: Disney animated movies and theme parks
• Nickname: Uncle Walt

• Tom Hanks played the role of Walt Disney in the 2013 movie Saving Mr. Banks .
• The original name for Mickey Mouse was Mortimer, but his wife didn't like the name and suggested Mickey.
• He won 22 Academy Awards and received 59 nominations.
• His last written words were "Kurt Russell." No one, not even Kurt Russell, knows why he wrote this.
• He was married to Lillian Bounds in 1925. They had a daughter, Diane, in 1933 and later adopted another daughter, Sharon.
• The robot from Wall-E was named after Walter Elias Disney.
• The sorcerer from Fantasia is named "Yen Sid", or "Disney" spelled backwards.
• Listen to a recorded reading of this page:

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The Truth About Walt Disney’s Frozen Head and His Quest to Live Forever

He imagined the world of tomorrow. Fifty-seven years after his death, could he come back to life in the future he envisioned?

Sixty years ago this month, on April 22, 1964, the New York World’s Fair opened in Flushing Meadows–Corona Park in Queens, New York. The Fair had the theme of “Peace Through Understanding,” and was dedicated to “Man’s Achievement on a Shrinking Globe in an Expanding Universe,” as symbolized by the 140-foot-tall stainless-steel globe, known as the “Unisphere,” that towered over a massive reflecting pool.

The 1964 World’s Fair wasn’t the first one held in Flushing Meadows; the Unisphere was built on the same ground once occupied by the similarly spherical “Perisphere,” which was constructed for the 1939 World’s Fair. To kick off the 1964 Fair, President Lyndon B. Johnson delivered opening remarks that evoked the ‘39 edition, which imagined the 1960s of the future:

“The last time New York had a World’s Fair, we also tried to predict the future. A daring exhibit proclaimed that in the 1960s, it would really be possible to cross the country in less than 24 hours, flying as high as 10,000 feet; that an astounding 38 million cars would cross our highways. There was no mention of outer space, or atomic power, or wonder drugs that could destroy disease.”

But Johnson’s reflections on human progress weren’t all positive. “No one prophesied that half the world would be devastated by war, or that millions of helpless would be slaughtered,” the President noted, just months after he approved the controversial National Security Action Memorandum 288 escalating the U.S.’s involvement in the Vietnam War. “No one foresaw power that was capable of destroying man, or a cold war which could bring conflict to every continent.”

Johnson’s presence at the 1964 World’s Fair underscored the somber reality facing America at the time. After all, an assassin’s bullet killed the intended speaker, his predecessor, John F. Kennedy , thrusting him—a representative of Washington D.C.’s “old guard”—into the role intended for JFK, a symbol of the “New Frontier.”

So, who could Fair attendees turn to for hopeful visions of “Peace Through Understanding,” and “Man’s Achievement on a Shrinking Globe”? Only one man: Walt Disney .

Disney, who had been a weekly presence in American homes for the last decade through his television show, Walt Disney’s Disneyland— later titled Walt Disney Presents —created four attractions for the ‘64 World’s Fair. These exhibits were a hit, drawing 135,000 visitors per day during the first season alone, according to The Walt Disney Family Museum .

Disney’s attractions included “Great Moments with Mr. Lincoln” at the Illinois Pavilion, an animatronic replica of another President who represented hope, and who was also assassinated ; “Ford’s Magic Skyway” for the Ford Motor Company, where guests rode in Ford vehicles past animatronic dinosaurs; and the now-iconic “it’s a small world,” which Disney’s Imagineers built in collaboration with Pepsi-Cola as a tribute to UNICEF.

But it was the “Carousel of Progress,” located in General Electric’s “Progressland” pavilion, that most epitomized Walt Disney’s vision of the future. The rotating animatronic show guided audiences through the history of human innovation and provided a comforting escape with its optimistic theme song by the Sherman Brothers , promising, “There’s a great, big, beautiful tomorrow/Shining at the end of every day.”

In the aftermath of a national tragedy, Walt Disney became a beacon of optimism for fairgoers, and for Americans. His presence fostered a belief in a “great big beautiful tomorrow.”

Perhaps it’s that enduring optimism that fuels the persistent conspiracy that Disney, who died in 1966, might still be among us, secretly preserved in hopes of one day being revived.

The “Final” Years of Walt Disney

In 1964, besides contributing to the World’s Fair, Disney also released his most acclaimed live-action film yet: Mary Poppins . Just a few years earlier, during a screening of To Kill a Mockingbird , Disney had reportedly lamented , “That’s the kind of film I’d like to make, but I can’t.” Now, his tender musical adaptation of P.L. Travers ’ novel had achieved the same milestone as Universal’s adaptation of Harper Lee ’s seminal work: a nomination for Best Picture at the Academy Awards.

With his status finally solidified in the entertainment industry, Disney turned his sights to the future—not of his film studio, but of humanity. Intent on using his renowned imagination to forge a brighter tomorrow, Disney envisioned a utopia designed to last forever. In 1964, the future looked bright for Walt Disney.

In less than three years, he would be dead.

On December 15, 1966, Walt Disney died as a result of complications from lung cancer. As Biography notes , “a private funeral was held the next day, and on December 17, his body was cremated and interred at Forest Lawn Memorial Park in Glendale, California.”

Some conspiracy theorists, however, believe that Disney’s remains aren’t actually at Forest Lawn. They’ll tell you, according to Biography , that Disney’s body is instead “suspended in a frozen state and buried deep beneath the Pirates of the Caribbean ride at Disneyland in Anaheim, California, awaiting the day when medical technology would be advanced enough to reanimate the animator.”

Why Do People Believe Walt Disney Is Frozen?

The rumored cryonic freezing of Walt Disney has no clear origin point that Biography could confirm . But its first documented mention is in a 1969 Ici Paris article, reportedly as a prank concocted by “disgruntled animators” who once worked for Disney “seeking to have a laugh at their late taskmasker employer’s expense.” Their motive was seemingly revenge for Disney’s strict oversight, an aftermath of a labor uprising in the late 1930s that is chronicled in depth in The Disney Revolt: The Great Labor War of Animation’s Golden Age .

Initially, whispers suggested Disney’s entire body was preserved in a secret facility, but soon the tale focused on the animator’s head alone, frozen beneath iconic Disneyland attractions like Pirates of the Caribbean, the Matterhorn, the Partners statue at the center of the park, and even the Magic Kingdom castle. Over time, it seems every corner of Disneyland has been rumored to shelter its founder’s frozen head.

The notion of Walt Disney’s icy remains hiding within park attractions might stem from the actual secrets of Disneyland. There is indeed a hidden space at the top of the Matterhorn, but it’s home to a basketball court for bored Disney staff, not a frozen former CEO. And while early versions of Pirates of the Caribbean did feature real skeletons from UCLA’s medical school, according to SFGate , none belonged to Disney himself.

The grim idea that only Walt Disney’s head was placed in cryostasis might have caught on due to its eerie, sci-fi feel, with modern cryonics offering both full-body and head-only preservation options. That singular detail adds a creepy wrinkle to the conspiracy, evoking images more akin to the 1962 horror flick The Brain That Wouldn’t Die than the reality of a Hollywood mogul’s legacy.

Nevertheless, the tale of Walt Disney’s “frozen head” persisted, specifically resurfacing in two biographies released years after his death: Leonard Mosely’s 1986 Disney’s World and Marc Eliot’s 1993 Walt Disney: Hollywood’s Dark Prince , which further embedded the legend into popular culture.

Eliot’s controversial biography, which was criticized by Disney’s family and historians alike for its speculative content, included unfounded allegations against Disney, including claims that he was an FBI informant (which evidence suggests he was not ), and that he refused to have flags at half mast at Disneyland when JFK died (which photographic evidence disproves ). Nevertheless, Hollywood’s Dark Prince fed into a desire to find the dark side of a man often propped up as the symbol of Americana, pushing both the cryonics rumor and the assertions of Disney’s rampant antisemitism (also notably debunked ) into the mainstream.

Disney’s family has firmly denied the rumor that he was cryogenically frozen, and as Biography points out, it has been “further discredited by those pointing to the existence of signed legal documents that indicate Disney was in fact cremated and that his remains are interred in a marked plot (for which his estate paid $40,000) at Forest Lawn, the exact location of which is a matter of public record.” Plus, the first instance of a person being cryopreserved after his death, James Bedford , didn’t occur until nearly a month after Disney’s cremation, debunking the timeline of the rumor that Disney was frozen.

Diane Disney, Walt’s daughter, wrote in a 1972 biography about her famous father that she “doubted her father had even heard of cryonics.”

Nonetheless, even skeptics who reject the frozen head story might concede that Walt Disney, a famously forward-thinking futurist, could have been aware of cryonics. The concept gained attention in 1964, the same year Disney shifted his focus from film to envisioning his utopian future.

The Futurist Who Inspired Walt Disney

If you were browsing the “New Releases” shelf at a bookstore in 1964, you might stumble upon an intriguing non-fiction book in between copies of Ernest Hemingway’s A Moveable Feast and the Warren Commission’s The Warren Report : Robert Ettinger’s The Prospect of Immortality .

“Most of us now living have a chance for personal, physical immortality,” Ettinger claims in the very first sentence. All you need to do, Ettinger says, is join one “established fact” with one “reasonable assumption.”

The fact: “At very low temperatures it is possible, right now, to preserve dead people with essentially no deterioration, indefinitely.”

The assumption: “If civilization endures, medical science should eventually be able to repair almost any damage to the human body, including freezing damage and senile debility or other cause of death.”

Six decades later, while we haven’t mastered the art of repairing all human body damage, our cryopreservation methods have advanced significantly, particularly with the introduction of vitrification by Greg Fahy and William F. Rall in the 1980s. And recent scientific advancements suggest that what we currently understand as death might be more reversible than previously thought.

Some excerpts from Ettinger’s book resonate with the futuristic optimism of Walt Disney’s Tomorrowland. For example, Ettinger writes,“If civilization endures ... if the Golden Age materializes, the future will reveal a wonderful world indeed, a vista to excite the mind and thrill the heart.” However, even if Disney had encountered Ettinger’s work, his imagination had already been sparked by another piece of literature before he died.

In May 1960, Horizon magazine published “Out of a Fair, a City,” an article in which architect Victor Gruen envisioned transforming the 1964 World’s Fair site into a domed city to test solutions for societal challenges. According to Imagineer Marty Sklar’s 1999 book, Remembering Walt , Gruen’s philosophy (further elaborated in Gruen’s 1964 work, “The Heart of our Cities: The Urban Crisis, Diagnosis and Cure,”) was a significant influence on Disney during his final years—so much that he began an ambitious plan to build a community in Florida that would “never cease to be a living blueprint of the future.”

Disney, utilizing land his corporation discreetly bought in Florida, set out to build an “Experimental Prototype Community of Tomorrow” adjacent to his planned East Coast theme park. The community aimed to eliminate traffic jams, offer abundant green spaces, and showcase efficient public transportation with the use of a monorail system.

After Walt Disney’s death, the Florida land earmarked for his future city was transformed into EPCOT, the second theme park at Walt Disney World Resort. EPCOT features a “Future World” section with educational attractions and a World Showcase with international pavilions, operating as a “perpetual World’s Fair.”

Why People Want To Believe Walt Disney Is Frozen

In his last years, Walt Disney was introspective, focusing not on the “prospect of immortality,” but on a different sentiment. While the 1964 song “Great Big Beautiful Tomorrow” planted the seed in millions of young minds, it was another tune by the Sherman Brothers from the same year that resonated deeply with Disney as he reflected on his life. Richard Sherman recalls :

“On Fridays, after work, Walt Disney would often invite us into his office and we’d talk about things that were going on at the Studio. After a while, he’d wander to the north window, look out into the distance and just say, 'Play it.' And Dick would wander over to the piano and play 'Feed the Birds' for him. One time just as Dick was almost finished, under his breath, I heard Walt say, 'Yep. That’s what it’s all about.'”

There is little left of the 1964 New York World’s Fair in Flushing Meadows—Corona Park. The spot where the “Carousel of Progress” once played in GE’s Progressland is now an athletic field. The Vatican pavilion has been replaced by a stone bench. The Unisphere, however, still remains, towering over a park whose occupants have little memory, or even awareness, of the “Great Big Beautiful Tomorrow” promised at the park 60 years ago.

For the Baby Boomers who experienced Disney’s contributions to the 1964 World’s Fair, the event offered hope and a last optimistic vision of the future from “Uncle Walt.” And while today, these visitors can encounter preserved pieces of the Fair at the Queens Museum and experience “it’s a small world” at Disney parks worldwide, they can’t turn that athletic field back into Progressland. And they can’t bring back the man who made it possible.

Walt Disney’s legacy extends far beyond his films and theme parks. He symbolizes something greater than a sprawling entertainment empire. As biographer Neal Gabler put it in the final pages of Walt Disney: The Triumph of the American Imagination , “he demonstrated how one could assert one’s will on the world at the very time when everything seemed to be growing beyond control and beyond comprehension.”

For conspiracy theorists who want to believe Walt Disney is a frozen head, waiting for revival, perhaps it’s because they want to believe he asserted his will over the one thing no one has been able to do before. That maybe, “if the Golden Age materializes,” Walt Disney could even come back to life. And with him would come, once again, the promise of a “Great Big Beautiful Tomorrow.” A promise he made in Queens 60 years ago.

Michael Natale is the news editor for Best Products , covering a wide range of topics like gifting, lifestyle, pop culture, and more. He has covered pop culture and commerce professionally for over a decade. His past journalistic writing can be found on sites such as Yahoo! and Comic Book Resources , his podcast appearances can be found wherever you get your podcasts, and his fiction can’t be found anywhere, because it’s not particularly good. 

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The Truth About Walt Disney’s Frozen Head and His Quest to Live Forever

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Sixty years ago this month, on April 22, 1964, the New York World’s Fair opened in Flushing Meadows–Corona Park in Queens, New York. The Fair had the theme of “Peace Through Understanding,” and was dedicated to “Man’s Achievement on a Shrinking Globe in an Expanding Universe,” as symbolized by the 140-foot-tall stainless-steel globe, known as the “Unisphere,” that towered over a massive reflecting pool.

The 1964 World’s Fair wasn’t the first one held in Flushing Meadows; the Unisphere was built on the same ground once occupied by the similarly spherical “Perisphere,” which was constructed for the 1939 World’s Fair. To kick off the 1964 Fair, President Lyndon B. Johnson delivered opening remarks that evoked the ‘39 edition, which imagined the 1960s of the future:

“The last time New York had a World’s Fair, we also tried to predict the future. A daring exhibit proclaimed that in the 1960s, it would really be possible to cross the country in less than 24 hours, flying as high as 10,000 feet; that an astounding 38 million cars would cross our highways. There was no mention of outer space, or atomic power, or wonder drugs that could destroy disease.”

But Johnson’s reflections on human progress weren’t all positive. “No one prophesied that half the world would be devastated by war, or that millions of helpless would be slaughtered,” the President noted, just months after he approved the controversial National Security Action Memorandum 288, escalating the U.S.’s involvement in the Vietnam War. “No one foresaw power that was capable of destroying man, or a cold war which could bring conflict to every continent.”

Johnson’s presence at the 1964 World’s Fair underscored the somber reality facing America at the time. After all, an assassin’s bullet killed the intended speaker, his predecessor, John F. Kennedy , thrusting Johnson—a representative of Washington D.C.’s “old guard”—into the role intended for JFK, a symbol of the “New Frontier.”

So, who could Fair attendees turn to for hopeful visions of “Peace Through Understanding,” and “Man’s Achievement on a Shrinking Globe”? Only one person: Walt Disney .

Disney, who had been a weekly presence in American homes for the last decade through his television show, Walt Disney’s Disneyland— later titled Walt Disney Presents —created four attractions for the ‘64 World’s Fair. These exhibits were a hit, drawing 135,000 visitors per day during the first season alone, according to The Walt Disney Family Museum .

Disney’s attractions included “Great Moments with Mr. Lincoln” at the Illinois Pavilion, an animatronic replica of another President who represented hope, and who was also assassinated ; “Ford’s Magic Skyway” for the Ford Motor Company, where guests rode in Ford vehicles past animatronic dinosaurs; and the now-iconic “it’s a small world,” which Disney’s Imagineers built in collaboration with Pepsi-Cola as a tribute to UNICEF.

But it was the “Carousel of Progress,” located in General Electric’s “Progressland” pavilion, that most epitomized Walt Disney’s vision of the future. The rotating animatronic show guided audiences through the history of human innovation and provided a comforting escape with its optimistic theme song by the Sherman Brothers , promising, “There’s a great, big, beautiful tomorrow/Shining at the end of every day.”

In the aftermath of a national tragedy, Walt Disney became a beacon of optimism for fairgoers, and for Americans. His presence fostered a belief in a “great big beautiful tomorrow.”

Perhaps it’s that enduring optimism that fuels the persistent conspiracy that Disney, who died in 1966, might still be among us, secretly preserved in hopes of one day being revived.

The 'Final' Years of Walt Disney

In 1964, besides contributing to the World’s Fair, Disney also released his most acclaimed live-action film yet: Mary Poppins . Just a few years earlier, during a screening of To Kill a Mockingbird , Disney had reportedly lamented , “That’s the kind of film I’d like to make, but I can’t.” Now, his tender musical adaptation of P.L. Travers ’ novel had achieved the same milestone as Universal’s adaptation of Harper Lee ’s seminal work: a nomination for Best Picture at the Academy Awards.

With his status finally solidified in the entertainment industry, Disney turned his sights to the future—not of his film studio, but of humanity. Intent on using his renowned imagination to forge a brighter tomorrow, Disney envisioned a utopia designed to last forever. In 1964, the future looked bright for Walt Disney.

In less than three years, he would be dead.

On December 15, 1966, Walt Disney died as a result of complications from lung cancer. As Biography has noted , “a private funeral was held the next day, and on December 17, his body was cremated and interred at Forest Lawn Memorial Park in Glendale, California.”

Some conspiracy theorists, however, believe that Disney’s remains aren’t actually at Forest Lawn. They’ll tell you, as Biography previously reported, that Disney’s body is instead “suspended in a frozen state and buried deep beneath the Pirates of the Caribbean ride at Disneyland in Anaheim, California, awaiting the day when medical technology would be advanced enough to reanimate the animator.”

Why Do People Believe Walt Disney Is Frozen?

The rumored cryonic freezing of Walt Disney has no clear origin point that Biography can confirm . But its first documented mention is in a 1969 Ici Paris article, reportedly as a prank concocted by “disgruntled animators” who once worked for Disney “seeking to have a laugh at their late taskmasker employer’s expense.” Their motive was seemingly revenge for Disney’s strict oversight, an aftermath of a labor uprising in the late 1930s that is chronicled in depth in The Disney Revolt: The Great Labor War of Animation’s Golden Age .

Initially, whispers suggested Disney’s entire body was preserved in a secret facility, but soon the tale focused on the animator’s head alone, frozen beneath iconic Disneyland attractions like Pirates of the Caribbean, the Matterhorn, the Partners statue at the center of the park, and even the Magic Kingdom castle. Over time, it seems every corner of Disneyland has been rumored to shelter its founder’s frozen head.

The notion of Walt Disney’s icy remains hiding within park attractions might stem from the actual secrets of Disneyland. There is indeed a hidden space at the top of the Matterhorn, but it’s home to a basketball court for bored Disney staff, not a frozen former CEO. And while early versions of Pirates of the Caribbean did feature real skeletons from UCLA’s medical school, according to SFGate , none belonged to Disney himself.

The grim idea that only Walt Disney’s head was placed in cryostasis might have caught on due to its eerie, sci-fi feel, with modern cryonics offering both full-body and head-only preservation options. That singular detail adds a creepy wrinkle to the conspiracy, evoking images more akin to the 1962 horror flick The Brain That Wouldn’t Die than the reality of a Hollywood mogul’s legacy.

Nevertheless, the tale of Walt Disney’s “frozen head” persisted, specifically resurfacing in two biographies released years after his death: Leonard Mosely’s 1986 Disney’s World and Marc Eliot’s 1993 Walt Disney: Hollywood’s Dark Prince , which further embedded the legend into popular culture.

Eliot’s controversial biography, which was criticized by Disney’s family and historians alike for its speculative content, included unfounded allegations against Disney, including claims that he was an FBI informant (which evidence suggests he was not ), and that he refused to have flags at half mast at Disneyland when JFK died (which photographic evidence disproves ). Nevertheless, Hollywood’s Dark Prince fed into a desire to find the dark side of a man often propped up as the symbol of Americana, pushing both the cryonics rumor and the assertions of Disney’s rampant antisemitism (also notably debunked ) into the mainstream.

Disney’s family has firmly denied the rumor that he was cryogenically frozen, and as Biography points out, it has been “further discredited by those pointing to the existence of signed legal documents that indicate Disney was in fact cremated and that his remains are interred in a marked plot (for which his estate paid $40,000) at Forest Lawn, the exact location of which is a matter of public record.” Plus, the first instance of a person being cryopreserved after his death, James Bedford , didn’t occur until nearly a month after Disney’s cremation, debunking the timeline of the rumor that Disney was frozen.

Diane Disney , Walt’s daughter, wrote in a 1972 biography about her famous father that she “doubted her father had even heard of cryonics.”

Nonetheless, even skeptics who reject the frozen head story might concede that Walt Disney, a famously forward-thinking futurist, could have been aware of cryonics. The concept gained attention in 1964, the same year Disney shifted his focus from film to envisioning his utopian future.

The Futurist Who Inspired Walt Disney

If you were browsing the “New Releases” shelf at a bookstore in 1964, you might stumble upon an intriguing non-fiction book in between copies of Ernest Hemingway’s A Moveable Feast and the Warren Commission’s The Warren Report : Robert Ettinger’s The Prospect of Immortality .

“Most of us now living have a chance for personal, physical immortality,” Ettinger claims in the very first sentence. All you need to do, Ettinger says, is join one “established fact” with one “reasonable assumption.”

The fact: “At very low temperatures it is possible, right now, to preserve dead people with essentially no deterioration, indefinitely.”

The assumption: “If civilization endures, medical science should eventually be able to repair almost any damage to the human body, including freezing damage and senile debility or other cause of death.”

Six decades later, while we haven’t mastered the art of repairing all human body damage, our cryopreservation methods have advanced significantly, particularly with the introduction of vitrification by Greg Fahy and William F. Rall in the 1980s. And recent scientific advancements suggest that what we currently understand as death might be more reversible than previously thought.

Some excerpts from Ettinger’s book resonate with the futuristic optimism of Walt Disney’s Tomorrowland. For example, Ettinger writes,“If civilization endures... if the Golden Age materializes, the future will reveal a wonderful world indeed, a vista to excite the mind and thrill the heart.” However, even if Disney had encountered Ettinger’s work, his imagination had already been sparked by another piece of literature before he died.

In May 1960, Horizon magazine published “Out of a Fair, a City,” an article in which architect Victor Gruen envisioned transforming the 1964 World’s Fair site into a domed city to test solutions for societal challenges. According to Imagineer Marty Sklar’s 1999 book, Remembering Walt , Gruen’s philosophy (further elaborated in Gruen’s 1964 work, “The Heart of our Cities: The Urban Crisis, Diagnosis and Cure,”) was a significant influence on Disney during his final years—so much that he began an ambitious plan to build a community in Florida that would “never cease to be a living blueprint of the future.”

Disney, utilizing land his corporation discreetly bought in Florida, set out to build an “Experimental Prototype Community of Tomorrow” adjacent to his planned East Coast theme park. The community aimed to eliminate traffic jams, offer abundant green spaces, and showcase efficient public transportation with the use of a monorail system.

After Walt Disney’s death, the Florida land earmarked for his future city was transformed into EPCOT, the second theme park at Walt Disney World Resort. EPCOT features a “Future World” section with educational attractions and a World Showcase with international pavilions, operating as a “perpetual World’s Fair.”

Why People Want To Believe Walt Disney Is Frozen

In his last years, Walt Disney was introspective, focusing not on the “prospect of immortality,” but on a different sentiment. While the 1964 song “Great Big Beautiful Tomorrow” planted the seed in millions of young minds, it was another tune by the Sherman Brothers from the same year that resonated deeply with Disney as he reflected on his life. Richard Sherman recalls :

“On Fridays, after work, Walt Disney would often invite us into his office and we’d talk about things that were going on at the Studio. After a while, he’d wander to the north window, look out into the distance and just say, ‘Play it.’ And Dick would wander over to the piano and play ‘Feed the Birds’ for him. One time just as Dick was almost finished, under his breath, I heard Walt say, ‘Yep. That’s what it’s all about.’”

There is little left of the 1964 New York World’s Fair in Flushing Meadows—Corona Park. The spot where the “Carousel of Progress” once played in GE’s Progressland is now an athletic field. The Vatican pavilion has been replaced by a stone bench. The Unisphere, however, still remains, towering over a park whose occupants have little memory, or even awareness, of the “Great Big Beautiful Tomorrow” promised at the park 60 years ago.

For the Baby Boomers who experienced Disney’s contributions to the 1964 World’s Fair, the event offered hope and a last optimistic vision of the future from “Uncle Walt.” And while today, these visitors can encounter preserved pieces of the Fair at the Queens Museum and experience “it’s a small world” at Disney parks worldwide, they can’t turn that athletic field back into Progressland. And they can’t bring back the man who made it possible.

Walt Disney’s legacy extends far beyond his films and theme parks. He symbolizes something greater than a sprawling entertainment empire. As biographer Neal Gabler put it in the final pages of Walt Disney: The Triumph of the American Imagination , “he demonstrated how one could assert one’s will on the world at the very time when everything seemed to be growing beyond control and beyond comprehension.”

For conspiracy theorists who want to believe Walt Disney is a frozen head, waiting for revival, perhaps it’s because they want to believe he asserted his will over the one thing no one has been able to do before. That maybe, “if the Golden Age materializes,” Walt Disney could even come back to life. And with him would come, once again, the promise of a “Great Big Beautiful Tomorrow.” A promise he made in Queens 60 years ago.

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