AG
Anton Grot
Additional Credits
Born January 18, 1884Died March 21, 1974 (90 years)
From Wikipedia, the free encyclopedia
Anton Grot (18 January 1884 – 21 March 1974) was a distinguished Polish art director long in Hollywood. He was known for his prolific output with Warner Brothers, contributing, in such films as Little Caesar, and Gold Diggers of 1933 to the distinctive Warners look and style. According to TCM.com, he showed a "flair for harsh realism, Expressionistic horror and ornate romantic moods alike". He was born Antocz Franciszek Groszewski in Kiełbasin, Poland and died in Stanton, California. He studied at the Krakow art academy and at technical school in Koenigsberg, Germany, majoring in interior decoration, illustration, and design. He changed his name and emigrated to the U.S. in 1909.
The Lubin Company hired him to paint and design sets in 1913, in Philadelphia; and he also worked on films for Vitagraph and Pathé. At Pathé he developed his innovative techniques, along with William Cameron Menzies, in the way of using continuity sketches. His method of presenting a series of sketches of all the film’s sets would later become standard practice among Art Directors, particularly with Menzies (his assistant in 1917, on The Naulahka). Cinematographer Arthur Miller remembered Anton Grot:
“a gifted and talented artist who made beautiful charcoal drawings...of the set before it was completed. All his compositions showed a full shot of each set, with all the delicate tones and shadings that suggested ideas for lighting and, in general, were of great help to me as a cameraman.”
Grot came to Hollywood in 1922 to assist Wilfred Buckland with the sets for the Douglas Fairbanks Robin Hood; and stayed on, to work with Cecil B. DeMille and William K. Howard. He was eventually signed by Warner Bros, as “art director, artist, and designer", and designed 80 films before his retirement in 1948. Grot collaborated notably with fellow émigré, director Michael Curtiz, on 15 films. Beginning with the biblical epic Noah’s Ark (1928), these included The Private Lives of Elizabeth and Essex (1938), Captain Blood (1935), The Sea Hawk (1940), and Mildred Pierce (1945). Grot is credited with contributing significantly to Curtiz’ personal style.
Anton Grot (18 January 1884 – 21 March 1974) was a distinguished Polish art director long in Hollywood. He was known for his prolific output with Warner Brothers, contributing, in such films as Little Caesar, and Gold Diggers of 1933 to the distinctive Warners look and style. According to TCM.com, he showed a "flair for harsh realism, Expressionistic horror and ornate romantic moods alike". He was born Antocz Franciszek Groszewski in Kiełbasin, Poland and died in Stanton, California. He studied at the Krakow art academy and at technical school in Koenigsberg, Germany, majoring in interior decoration, illustration, and design. He changed his name and emigrated to the U.S. in 1909.
The Lubin Company hired him to paint and design sets in 1913, in Philadelphia; and he also worked on films for Vitagraph and Pathé. At Pathé he developed his innovative techniques, along with William Cameron Menzies, in the way of using continuity sketches. His method of presenting a series of sketches of all the film’s sets would later become standard practice among Art Directors, particularly with Menzies (his assistant in 1917, on The Naulahka). Cinematographer Arthur Miller remembered Anton Grot:
“a gifted and talented artist who made beautiful charcoal drawings...of the set before it was completed. All his compositions showed a full shot of each set, with all the delicate tones and shadings that suggested ideas for lighting and, in general, were of great help to me as a cameraman.”
Grot came to Hollywood in 1922 to assist Wilfred Buckland with the sets for the Douglas Fairbanks Robin Hood; and stayed on, to work with Cecil B. DeMille and William K. Howard. He was eventually signed by Warner Bros, as “art director, artist, and designer", and designed 80 films before his retirement in 1948. Grot collaborated notably with fellow émigré, director Michael Curtiz, on 15 films. Beginning with the biblical epic Noah’s Ark (1928), these included The Private Lives of Elizabeth and Essex (1938), Captain Blood (1935), The Sea Hawk (1940), and Mildred Pierce (1945). Grot is credited with contributing significantly to Curtiz’ personal style.
Anton Grot Filmography
| 1950 | Backfire · as Art Direction |
| 1948 | One Sunday Afternoon · as Art Direction |
| 1948 | June Bride · as Art Direction |
| 1948 | Romance on the High Seas · as Art Direction |
| 1947 | The Unsuspected · as Art Direction |
| 1947 | Possessed · as Art Direction |
| 1947 | The Two Mrs. Carrolls · as Art Direction |
| 1947 | Nora Prentiss · as Art Direction |
| 1946 | Never Say Goodbye · as Art Direction |
| 1946 | Deception · as Art Direction |
| 1946 | One More Tomorrow · as Art Director |
| 1946 | My Reputation · as Art Direction |
| 1945 | Mildred Pierce · as Art Direction |
| 1945 | Rhapsody in Blue · as Art Direction |
| 1944 | The Conspirators · as Art Direction |
| 1943 | Thank Your Lucky Stars · as Art Direction |
| 1941 | Affectionately Yours · as Art Direction |
| 1941 | The Sea Wolf · as Art Direction |
| 1940 | A Dispatch from Reuters · as Art Director |
| 1940 | The Sea Hawk · as Art Direction |
| 1939 | The Private Lives of Elizabeth and Essex · as Art Direction |
| 1939 | Juarez · as Art Direction |
| 1938 | They Made Me a Criminal · as Art Direction |
| 1938 | Hard to Get · as Production Design |
| 1938 | Secrets of an Actress · as Art Direction |
| 1938 | Fools for Scandal · as Art Director |
| 1937 | Tovarich · as Art Direction |
| 1937 | The Great Garrick · as Art Direction |
| 1937 | The Life of Emile Zola · as Art Direction |
| 1937 | Confession · as Art Direction |
| 1937 | Stolen Holiday · as Art Director |
| 1936 | Sing Me a Love Song · as Art Direction |
| 1936 | Anthony Adverse · as Art Direction |
| 1936 | The White Angel · as Art Direction |
| 1936 | The Golden Arrow · as Art Direction |
| 1935 | Captain Blood · as Art Direction |
| 1935 | A Midsummer Night's Dream · as Art Direction |
| 1935 | Dr. Socrates · as Art Direction |
| 1935 | Broadway Gondolier · as Art Direction |
| 1935 | Bright Lights · as Art Direction |
| 1935 | Stranded · as Art Direction |
| 1935 | The Florentine Dagger · as Art Direction |
| 1935 | Traveling Saleslady · as Art Direction |
| 1935 | Gold Diggers of 1935 · as Art Director |
| 1935 | Red Hot Tires · as Art Direction |
| 1934 | The Secret Bride · as Art Direction |
| 1934 | The Firebird · as Art Direction |
| 1934 | 6 Day Bike Rider · as Art Direction |
| 1934 | British Agent · as Art Direction |
| 1934 | Side Streets · as Art Director |
| 1934 | Dr. Monica · as Art Direction |
| 1934 | He Was Her Man · as Art Direction |
| 1934 | Upperworld · as Art Direction |
| 1934 | Gambling Lady · as Art Direction |
| 1934 | Mandalay · as Art Direction |
| 1934 | Easy to Love · as Art Direction |
| 1933 | Son of a Sailor · as Art Direction |
| 1933 | Baby Face · as Art Direction |
| 1933 | From Headquarters · as Art Director |
| 1933 | Ever in My Heart · as Art Direction |
| 1933 | Footlight Parade · as Art Direction |
| 1933 | Voltaire · as Art Director |
| 1933 | Gold Diggers of 1933 · as Art Direction |
| 1933 | The Keyhole · as Art Direction |
| 1933 | The King's Vacation · as Art Direction |
| 1933 | Mystery of the Wax Museum · as Art Direction |
| 1932 | The Match King · as Art Direction |
| 1932 | 20,000 Years in Sing Sing · as Art Direction |
| 1932 | Scarlet Dawn · as Art Direction |
| 1932 | One Way Passage · as Art Direction |
| 1932 | Big City Blues · as Art Direction |
| 1932 | A Successful Calamity · as Production Design |
| 1932 | Two Against the World · as Art Director |
| 1932 | Doctor X · as Art Direction |
| 1932 | Street of Women · as Art Direction |
| 1932 | Two Seconds · as Art Direction |
| 1932 | Man Wanted · as Art Direction |
| 1932 | Beauty and the Boss · as Art Direction |
| 1932 | Alias the Doctor · as Art Director |
| 1932 | The Heart of New York · as Art Director |
| 1932 | The Hatchet Man · as Art Director |
| 1932 | High Pressure · as Art Direction |
| 1932 | The Woman from Monte Carlo · as Art Direction |
| 1931 | Surrender · as Art Director |
| 1931 | The Mad Genius · as Art Direction |
| 1931 | The Road to Singapore · as Art Direction |
| 1931 | Side Show · as Art Direction |
| 1931 | Broadminded · as Art Director |
| 1931 | |
| 1931 | Kiss Me Again · as Art Direction |
| 1931 | Body and Soul · as Art Direction |
| 1931 | Little Caesar · as Art Direction |
| 1930 | Going Wild · as Art Direction |
| 1930 | Mother's Cry · as Art Direction |
| 1930 | The Widow from Chicago · as Art Direction |
| 1930 | Bright Lights · as Art Direction |
| 1930 | Top Speed · as Art Direction |
| 1930 | Sweet Mama · as Art Direction |
| 1930 | The Song of the Flame · as Set Decoration |
| 1929 | The Squall · as Art Direction |
| 1928 | Noah's Ark · as Art Director |
| 1928 | A Ship Comes In · as Art Direction |
| 1928 | Walking Back · as Art Direction |
| 1928 | Stand and Deliver · as Art Direction |
| 1927 | The King of Kings · as Production Designer |
| 1927 | White Gold · as Art Direction |
| 1926 | Young April · as Art Direction |
| 1926 | The Volga Boatman · as Art Direction |
| 1925 | The Road to Yesterday · as Art Direction |