Tag Archives: children’s book illustration

Butterflies and Books

Illustrations depicting books and reading tend to feature certain animals over and over. Cats, cats and more cats is one motif. Birds show up quite a bit. And, I’ve noticed in my collection of images about books and reading, although insects are a rare element, there’s one insect that is clearly the favorite.

Winged, fanciful and echoing the shape of a book, it’s easy to see why artists choose the butterfly.

This week, I wanted to share some of the images I like. Most are simply pretty:

Illustration by Duy Huhnh

 

Illustration by Marco Palena

No credit found

No credit found

 

But some have a little more to say:

Illustration by Linda Apple

 

And after all that pretty, I like the vigor of my friend and co-blogger Julie Paschkis’s reading acrobat and his butterfly friend.

Illustration by Julie Paschkis

 

This one is intriguing to me because the butterflies are so flat. Were they flattened in the book and now are set free? Are they dead or artificial ideas even if they can fly off the page? Or just the play of thoughts for this absorbed reader?

Illustration by Jannike Vive

 

There’s one illustration I have to include. I say dragonflies are close enough and perhaps, as even their name suggests, they subvert the sweetness of the butterfly imagery. I love the mischief in this young reader’s eyes.

Illustration by Noemi Villamuza

 

 

Kay Nielsen: An Appreciation

k-nielsen-poltarnees-coverWhen I was cleaning off my parents’ bookshelves, I came across a book, Kay Nielsen: An Appreciation, by Welleran Poltarnees. It was stashed between two larger art books. It must have been my mother’s, although I don’t remember her buying it. It was in a clear plastic bag with her name on it. Was my mother a fan of Nielsen’s work? She must have been. Like mother, like daughter.

I’ve been enamored of Kay Nielsen’s illustrations since I discovered them in my teens at my local bookshop. It was Kay Nielsen, edited by David Larkin (I bought it then and still have it). This was in the 70s, when illustrations of his were being re-popularized along with others of the “Golden Age of Illustration” such as Arthur Rackham and Edmund Dulac.

k-nielsen-poltarnees-frontispiece

Kay Nielsen: An Appreciation was issued by The Green Tiger Press in 1976. It is bound in hand-marbled paper. The interior is printed on heavy stock, with full color images tipped in. Along with both full and single color illustrations, there is commentary on the illustrations by Poltarnees, an autobiographical statement from 1939 and a 1945 interview by Jasmine Britton, the supervising librarian for the Los Angeles school system at that time.

k-nielsen-poltarnees-22-23

It is clearly a labor of love. I understand why my mother kept it sealed in a plastic cover.

Although I loved Nielsen’s work, I never bothered to learn more about who he was. In fact, for many years I assumed Kay was a woman. Of course, now such research is simple to do if you have a computer and a blogpost to write.

Kay Nielsen was born in Copenhagen in 1886. He attended art schools in Paris, then moved to London in 1911. He became celebrated and successful for his wondrous, dramatic paintings in books such as Powder and Crinoline and Hansel and Gretel.

k-nielsen-in-powder-and-crinoline-rosanie-or-the-inconstant-prince

k-nielsen-in-powder-and-crinoline-felicia-or-the-pot-of-pinks

kay-nielsen-hansel-and-gretel

k-nielsen-hansel-and-gretel

My favorite book of his is East of the Sun West of the Moon,

k-nielsen-east-of-the-sun-west-of-the-moon-the-lassie-and-her-godmother

k-nielsen-east-of-the-sun-west-of-the-moon-the-three-princesses-of-whiteland

particularly the image below, which resonated with my angsty teenage soul.

k-nielsen-east-of-the-sun-west-of-the-moon-the-three-princesses-in-the-blue-mountain

It surprised me to learn now that the illustrations I so admired were all produced between 1912 and 1925. He published one book in 1930. He moved twice to the United States, first in 1936, and again in the 50s after returning to Denmark. He worked for Disney for a few years, contributing to the “Ave Maria” and “Night on the Bald Mountain” sequences in “Fantasia”, where his influence is clear.

k-nielsen-sketch-for-night-on-bald-mountain

night-on-bald-mountain

But his style fell out of favor after the second world war and there were long dry spells where he and his wife had to rely on assistance from friends.

Jasmine Britton arranged to have Nielsen paint a mural for the library of the Los Angeles Central Junior High School in 1941.

k-nielsen-the-first-spring-mural

He painted another for the Wong Chapel in the First Congregational Church of Los Angeles. His final work was a mural for Whitman College in Walla Walla, Washington.

He died in poverty and obscurity in 1957 at the age of 71. Services were held at the Wong Chapel. His wife died little over a year later.

Tastes change. Thank heavens that tastes change back again, and that the work of artists who were once considered out of fashion can be brought back for new viewers to appreciate. I found several sites with information about Kay Nielsen. If you want to learn more and see more wondrous images, I recommend this piece by Terry Windling.

Our Nation’s Library

The Library of Congress is one of those things that you feel you know—because you’ve said the words all your life—but then you realize you don’t really know that much about it.

One of my sisters recently sent me a link that I want to share, but first a bit about the library gleaned from the web. It’s the largest library in the world. According to its website “its collections are universal, not limited by subject, format, or national boundary, and include research materials from all parts of the world and in more than 450 languages. Two-thirds of the books it acquires each year are in languages other than English.”

Officially, it’s the research library for the United States Congress and it’s the oldest federal cultural institution in the U.S. It includes the Center for the Book which supports the Young Readers Center and the Poetry and Literature Center, which promote books, reading and libraries.

And it does lots of amazing things including scanning and posting this wonderful collection of classic children’s books: http://read.gov/books

Most of the books are from the mid to late 1800s and early 1900s. It’s fun to see how kids books have changed.

I love this one–The Children’s Object Book published in the 1880s.

objects-kitchen

objects-winter

I instantly thought of Richard Scarry books.

scarry-townscarry-mealtime

The objects have changed, the art style has changed, the sheer volume of stuff has changed—but kids still like to look at and identify the objects of their world.

The book collection is heavy on fairy tale and folk tale collections, Mother Goose and lots of rhyming. Some of it pretty tortured.

the-rocket-text the-rocket-1

rocket-dog-and-cat-textrocket-dog-and-cat

rocket-train-set-text

rocket-train-set

But it’s fun to see “concept” books like The Rocket Book by Peter Newell, 1912, being played around with early on in children’s publishing. Another concept book, Gobolinks, or Shadow-Pictures for Young and Old, published in 1896, encourages kids to use their imaginations with inkblots.

gobolink-1

Of course, it instantly brings to mind the Rorschach test. So out of curiousity I googled it to see how the dates matched up. The Rorschach test wasn’t developed until the 1960s, but interpreting blobs of ink started much earlier. According to Wikipedia, “Justinus Kerner invented this technique when he started accidentally dropping blots of ink onto paper due to failing eyesight. Instead of throwing them away, he found that intriguing shapes appeared if he unfolded the papers. He elaborated these shapes into intricate cartoons and used them to illustrate his poems.” This was in the 1850s.

The collections features work from some big name illustrators like Arthur Rackham:

sleeping-beauty

Sleeping Beauty, 1920

And N.C. Wyeth

Robin Hood, 1957

Robin Hood, 1957

And W.W. Denslow:

Denslow's Three Bears, 1901

Denslow’s Three Bears, 1901

There are also early versions of what I would call “franchise” books (like Disney’s Winnie the Pooh books.) There’s a long chapter book about Peter Rabbit called Mrs. Peter Rabbit from 1919. They don’t claim this is Beatrix Potter’s Peter Rabbit, but still the name serves its purpose.

In this case, Peter Rabbit, after many adventures finds his true love, gets married and has kids.

mr-and-mrs-peter-rabbit

Part of what I love about this on-line collection is the clarity of the reproductions. The pages show the wear and tear of the years and the hands they passed through.

marked-up-peter-rabbitmother-goose

It reminds me of the books I read from my family bookshelves as a kid. Many of them dating back to the turn of the century. I remember the tattered covers, the soft, yellowed pages and their musty smell; the occasional colored illustration on it’s own page of slicker, whiter paper. Sometimes there was onion paper between the illustration page and the next page of text. All of this shows up in the Library of Congress’s collection. So the experience of these books will be saved for generations to come.

If you want to check out the Library itself and all it has to offer you can here: https://www.loc.gov

 

 

A long, winding book road

croccover

It began as a ditty in my head over 25 years ago:

There once was a Christmas crocodile

A crocka-a-crocka-a-crocodile

Who said with a wicked and cunning smile

“I shall eat the Christmas tree

unless, you see,

I get exactly what I want.”

Seven years later it had morphed into a prose story about a crocodile who eats up Christmas and begins: The Christmas Crocodile didn’t mean to be bad, not really. Alice Jayne found him on Christmas Eve under the tree. He wore a red bow around his neck. It was lovely. Except he ate it.

A few years later Simon & Schuster bought it. Caldecott-winning artist David Small miraculously agreed to illustrate it and in the fall of 1998 it was published. It got a big glowing review by Judith Viorst in the New York Times; it was read on NPR by Daniel Pinkwater and on the QVC t.v. shopping channel; and it sold out that Christmas season.

Unfortunately, it was also orphaned. My editor, Stephanie Lurie, left Simon & Schuster. And without an in-house champion, The Christmas Crocodile was out of print by 2004.

And that seemed to be that.

banished-crocodile

But I kept hearing from people how much they loved the book. That it was a Christmas favorite, a Christmas tradition at their house. I just knew it was a good book. It was illustrated by David Small, for heaven’s sake. It shouldn’t have died so soon.

So I tried numerous times over the years to get a publisher interested in a re-issue, but it’s an almost impossible goal. Publishers generally don’t like to re-issue some other publisher’s book. If that publisher couldn’t make a go of it, how could they? is the reasoning. For a while, Simon & Schuster even considered reissuing it themselves.

But it seemed like good old Croc was doomed to out-of-print status until I happened to be chatting with Nancy Pearl at an event[i] and she mentioned that she had a new line of “rediscovered” books coming out.

Nancy is probably the best-known librarian in the world. She regularly comments on books on National Public Radio’s Morning Edition. She has written a number of best-selling books, including Book Lust and Book Crush, recommending books she loves. Perhaps her most fun claim to fame is as the model for the Shushing Librarian action figure.

shushing-librarian

She also finds out-of-print books for Amazon that she thinks deserve to be re-issued. A few years ago she set her sights on out-of-print kids books. You can imagine how eager I was to tell her about The Christmas Crocodile. Nancy asked to see a copy; she loved it and it went from there.

So my crocodile lives again re-printed by Two Lions Press, a division of Amazon. The team there, headed by editor Marilyn Brigham, did a beautiful job of it. With David Small’s approval, they developed a new cover for it, and it features a couple pages of introduction by Nancy. But otherwise it’s exactly like the original.

new-crocodile-cover

It just came out this September and here’s hoping the book finds a second life!

By the way, if you have an out-of-print kid’s book and don’t have a chance of running into Nancy Pearl anytime soon, there is one press that specializes in re-issues of out-of-print kids books, Purple House Press.

Also, if you buy the book and would like a signed book plate, just let me know who you’d like me to sign it to and where to send it. You can contact me by leaving a comment here or by messaging me on Facebook.

[i] So this is a pitch for seemingly thankless tasks. Nancy and I were volunteer judges for the University of Washington Bookstore’s annual bookmark contest where kids design a bookmark. We judges pick the winners out of many hundreds of entries and these are printed up by the bookstore to hand out over the year. It’s fun, but one of those things that you don’t expect to further your career.

In The Study Rooms at the V & A (Part III)

w-crane-babys-bouquet-ringel-tanz-sketchWhen I wrote my last post, I had just left London for Seattle. I am over my jet-lag now and my cultural re-entry is underway. It is great to reconnect with friends and family on the same continent, but I DO miss London. What a richly laden place that is.

And the Victoria and Albert is a richly laden museum. As I mentioned in my first post about my visit to the V & A Museum’s Prints and Drawings Study Rooms, one of the objects I viewed that day was the original volume of Walter Crane’s designs for The Baby’s Bouquet, a companion to his earlier Baby’s Opera. Fifty-six pen and watercolour drawings in a bound, 7 1/4″ X 7 1/2″ booklet – created in the 1870s and published in 1877.

w-crane-babys-bouquet-cover-sketch

In my notes from that day I wrote,

OMG! This is the most beautiful thing ever!!! I can’t believe I am here touching this! I can’t believe it’s allowed!

Clearly, I was thrilled. It is truly exquisite. The illustrations appear to have been made contiguously in the bound book, with no correction fluid or paste-ins. There are some suggestions and notes for the engraver. Inside the cover there is a mini-mock up with a few endpaper ideas.

w-crane-babys-bouquet-inside-cover-sketch

w-crane-babys-bouquet-inside-cover-open-sketch

Preliminary pencil drawings can be seen under the watercolour. Crane’s touch with the brush (or pen) is light and confident. It is as though he never had a moment of doubt about any aspect of what he was doing.

W Crane-Little Cock Sparrow-sketch detail.jpg

I was curious to see a published edition of the book for comparison, but wasn’t able to until recently, when I joined Julie Paschkis and Jennifer Kennard on a book field trip to the University of Washington Rare Books Library. Jennifer made an advance appointment for us, and I requested to see their copy of an 1879 edition.

p1070129

The published version is beautiful as well, but very different from the original. Engraving was the technique that allowed illustrations to be printed with the press technology of the time. Each colour was cut into a different plate, then inked and printed separately.

Watercolour washes have variations in value and tone that are made when the paintbrush moves across the surface of the paper with varying amounts of pigment. Wood engraving is a form of relief printing from a wood block. What isn’t meant to print is cut away. A thin layer of ink is then rolled across the surface of raised lines. The image is transferred to paper through the use of pressure. Watercolour and wood engraving are extremely different techniques.

The engraver, Edmund Evans, based his prints on Crane’s drawings, but made many artistic additions of his own. I don’t know if Edmunds was someone Crane knew personally and worked with repeatedly, but one would think so. Crane must have been able to trust him to take his creation and transform it so dramatically. Either way, both books exemplify two artists and masters of their craft. I will show photos of Crane’s originals along with the prints so you can compare for yourself.

w-crane-babys-bouquet-frontespiece-sketch

w-crane-babys-bouquet-frontespiece

w-crane-babys-bouquet-title-pg-sketch

w-crane-babys-bouquet-title-pg

w-crane-babys-bouquet-contents-sketchw-crane-babys-bouquet-contents

w-crane-babys-bouquet-the-little-disaster-sketchw-crane-babys-bouquet-the-little-disaster

w-crane-babys-bouquet-buy-a-broom-sketchw-crane-babys-bouquet-buy-a-broom-sketch-detailw-crane-babys-bouquet-buy-a-broom

Some images are more different than others. Who do you think decided to add the target and turn the boy’s head?

w-crane-little-cock-sparrow-sketchw-crane-little-cock-sparrow

This image appeared in the original version, but was eliminated in the final.

w-crane-carrion-crow-sketch

This image was changed in format to become a two-page spread with a full-page image. Crane’s handwritten notes show below the drawing.

w-crane-babys-bouquet-the-north-wind-and-the-robin-sketchw-crane-babys-bouquet-the-north-wind-and-the-robin

w-crane-old-man-in-leather-sketchw-crane-old-man-in-leather

 

w-crane-babys-bouquet-the-four-presents-sketchw-crane-babys-bouquet-the-four-presents-sketch-detail

Some colours deepen from the original sketches.

w-crane-babys-bouquet-the-four-presents

Some palettes change more dramatically.

w-crane-babys-bouquet-gefunden-sketchw-crane-babys-bouquet-gefunden

In this piece, you can see how a fairly simple painted background…

w-crane-babys-bouquet-gefunden-sketch-detail

…becomes more complex when transformed into an engraving. There are four blocks cut and printed – yellow, red, blue and black. Notice how finely the lines are carved.

w-crane-babys-bouquet-gefunden-detail

w-crane-babys-bouquet-looby-light-sketchw-crane-babys-bouquet-looby-light

I think you will agree that both the drawn and painted sketches and the cut and printed final illustrations are beautiful. I leave it to you to decide which you prefer. You can dance Looby Light while you think about it.

 

Is There a Pattern Here?

Rob Gonsalves

Rob Gonsalves

Art is the imposing of a pattern on experience, and our aesthetic enjoyment is recognition of the pattern.
Alfred North Whitehead

I collect images of books in art. And, just as philosopher Alfred North Whitehead noted, I love to find patterns and motifs among them. I imagine that’s the pleasure of most collections.

Recently I was looking at some of my images and noticed a type of illustration that is relatively unusual. I think of it as the surreal image.

There are tons of images focused on books and reading that are fanciful and unreal. They might be charming:

Illustration by Beatrix Potter

Illustration by Beatrix Potter

Or metaphorical:

Illustration by Rafal Olbinski

Illustration by Rafal Olbinski

Or startling.

Illustration by Jacek Yerka

Illustration by Jacek Yerka

But they don’t quite have the quality I’m talking about. I can’t put my finger on it. Maybe the word is “unsettling.”

Perhaps the forest is a little too encroaching, a little too dark.

Rob Gonsalves

Illustration by Rob Gonsalves

Or the vines too silently creeping.

Illustration by Chris Van Allsburg

Illustration by Chris Van Allsburg

Illustration by Nom Kinnear King

Illustration by Nom Kinnear King

With this one, I keep finding myself waiting uneasily for those eyes to open.

Illustration by Frances Cochiacchio

Illustration by Frances Cochiacchio

Although not all that is out of place is ominous.

Illustration by Michael Sowa

Illustration by Michael Sowa

The  most classically surreal image I have (echoes of Magritte for sure) is mostly just amusing.

Illustration by Patrick Desmet

Illustration by Patrick Desmet

Maybe what’s holding these together for me is the thing unnoticed. Something’s odd. Something’s off, but it’s only we, the observers, who are noticing.

Illustration by Rob Gonsalves

Illustration by Rob Gonsalves

In fantasy literature, there’s a type of story that fantasy writer and academic Farah Mendelsohn calls liminal. It’s a type of fantasy that’s a little hard to define, but basically it involves a protagonist who doesn’t quite cross through the portal into fantasy, but stays on the border between the real world and the world of the fantastic. Perhaps these images aren’t so much surreal, as “liminal.”

To pull this post back into the world of writing children’s books, I’ll just add a couple links here. One of the questions that almost invariably comes up when I teach classes in writing fantasy and science fiction is where someone’s story “fits.” Like most of children’s literature, there are defined categories in fantasy that are good to at least be familiar with. As a writer you may choose to match those characteristics or violate them, but it’s good to know what rules you’re breaking.

Here’s a list of 10 good terms to be familiar with if you read or write fantasy. And the other is a link to a little information about Mendelsohn and her books. She’s good to know about if you’re going to go deeply into fantasy writing.

In the meantime, don’t turn too quickly to find out about the rustling from that bookshelf behind you. Perhaps it’s best not to know.

In The Study Rooms at the V & A (Part I)

W Crane-babys bouquet sketch fly detail

This morning, a moving company loaded our London belongings into a shipping container. For the next month we will be traveling while our stuff makes it’s way to our home in Seattle.

Since we decided to move back to Seattle from London, my sightseeing to-do list has become an imperative. At the top of the list has been scheduling a date at the Victoria & Albert Museum’s Prints and Drawings Study Rooms.

The Victoria and Albert Museum of art and design (V&A) is a monument to humanity’s creative efforts, and for nearly two years it has been a short tube ride from my home. I have gone there numerous times, but never feel I have seen all that is on display.  I always look forward to discovering something new.

Inner courtyard at V&A

Scheduling an appointment was much easier (and less intimidating) than I expected. Rather than surly guardians of culture, the staff are like friendly librarians. I was afraid that I had waited too long and there would be no sessions available for months, but I got an appointment for the following week. The hardest part was deciding what to request out of the some 750,000 objects in the museum’s prints and drawings collection.

There were five of us waiting at the assigned meeting point outside the V&A National Art Library entrance that morning. We were led by a museum guard through a cordon into a wing of the museum usually closed to the general public.

into the V&A

We trailed behind the guard through hallways lined with boxes and filing cabinets, past offices and copy machines. We rode an elevator and climbed three flights of winding stone steps worn down to a curve from decades of traffic. The old plaster walls were chipped where displays had once hung.

V&A red stairways

The circuitous journey seemed designed to make sure we could never find our way back. One of the others in the group said something about leaving a trail of breadcrumbs.

The study room itself is large and bright with several long tables. We checked our belongings into lockers before entering. Pencils, paper, computers, phones and cameras are allowed. NO pens.

V&A study room

The first item I had requested was waiting for me. The staff demonstrated how to properly handle the artwork. At first I was afraid to touch anything, but they assured me that the items could withstand my gentle examination.

Thus began one of the highlights of my time in London.

I spent the morning looking at an original textile design by C.F.A. Voysey,

CFA Voysey-birds and berries design

a box and sketchbook of Randolph Caldecott drawings,

R Caldecott-studies of women in coats

and an incredibly beautiful pencil and watercolor “dummy” for A Baby’s Bouquet by Walter Crane.

W Crane-Babys Bouquet dummy cover

I refreshed myself with lunch in the William Morris room in the museum café

V&A cafe Morris room 2

and repeated the convoluted journey back to the study rooms to continue with sketches for Winnie The Pooh by E. H. Shepard,

E H Shepard-WTP in tree sketch

and drawings by Arthur Rackham.

A Rackham-sketch detail

Whenever I go to the V&A, I feel happy and excited, but this day was special. This was a Thrill. I couldn’t get over the fact that, not only did I have the opportunity to look closely at drawings by some of my illustrative heroes that are rarely seen, but I could actually touch their work. It was amazing. I was on a high. For the next three days, anyone I spoke to heard all about it.

But that is all I will tell you for now. This is a teaser of sorts. I will continue this post in five weeks when it’s my turn again. By then I will be back in Seattle (just barely). In the meantime, you can peruse the 1,165,712 objects and 624,590 images from the V&A’s full collection online. Have fun!

 

 

 

 

A New Childhood: Picture Books From Soviet Russia

The New Childhood entry poster House of Illustration

Last week I returned to House of Illustration to see their current show – A New Childhood: Picture Books From Soviet Russia.

It is an excellent, eye-opening exhibit. I snapped a few subversive shots to share with you.

Before the October Revolution of 1917, children’s books were beautifully illustrated but expensive. Only children of the upper classes were regularly taught to read. Children’s books were not for the masses.

bilibin feast cakeIvan Bilibin, 1895

After the end of the Tsarist regime, fairy tales were considered irrelevant. Children were reimagined as “builders of the new egalitarian future.” New children’s books would promote socialist beliefs and give practical instruction.

Galina & Olga Chichagova 1925-posterGalina and Olga Chichagova, poster design with text by A. Galena, 1925.

“The images of old storybooks. Out with the mysticism and fantasy of children’s books!! Give a new children’s book!! Work, battle, technology, nature – the new reality of childhood.

On the positive side, during this time there was a blossoming of creativity in children’s literature. The influence of folk art as well as past art movements and picture books from Europe converged in these new books.

Eduard Krimmer 1926-How The Whale Got His ThroatEduard Krimmer, How the Whale Got His Throat (Rudyard Kipling) 1926.

Illustrators explored new styles and techniques. The Soviet government lifted a Tsarist ban on Yiddish publishing.

Issachar Ber Ryback 1922-In The Forest coverIssachar Ber Ryback for In The Forest (Leib Kvitko) 1922.

Books were considered valuable tools in disseminating new ideals. Publishers flourished.

Eduard Krimmer 1925-NumbersEduard Krimmer, Numbers, 1925

Vera Ermolaeva 1925-Top Top TopVera Ermolaeva, Top-Top-Top (Nikolai Aseev), 1925

Absurdism proved useful in communicating the regime’s ideas.

Iureii Annenkov 1918-The FleaIllustrations for The Flea (Natan Vengrov) by Iurii Annenkov, c. 1918

Konstantin Rudakov’s work was humorous and zany, but considered “bourgeois dregs” by Nadezhda Krupskaya, noted theorist and Lenin’s wife. Some of his books were banned.

Kostantin Rudakov 1926-TelephoneKonstantin Rudakov, Telephone, 1926

Picture books would show children how to build the future.

Evgenia Evenbakh 1926-The TableEvgenia Evenbakh, The Table, 1926

Aleksandr Deineka 1930-ElectricianAleksandr Deineka, Electrician (B. Uralski), 1930

Tevel Pevzner 1931-The Cow ShedTevel Pevezner, The Cow Shed (Evgeny Shvartz), 1931

Tevel Pevzner 1931-The Poultry YardTevel Pevezner, The Poultry Yard (Evgeny Shvartz), 1931

Georgii Echeistov 1930-What It Carries Where It Travels 1 Georgii Echeistov 1930-What It Carries Where It Travels 2 Georgii Echeistov 1930-What It Carries Where It Travels 3 Georgii Echeistov 1930-What It Carries Where It Travels 4Georgii Echeistov, What It Carries Where It Travels, 1930

Unknown 1934-First Counting BookUnknown illustrator, First Counting Book (F. N. Blekher), 1934

The circus was still popular, but the Lion was no longer portrayed as King of the beasts. Instead he was President.

Maria Siniakova 1929-CircusMaria Siniakova, Circus (Nikolai Aseev), 1929

Vladimir Lebedev 1925-CircusVladimir Lebedev, Circus (Samuil Marshak) 1925

Marshak quote

Some illustrators were still determined to show children at play and having fun. Some got away with it.

Vladimir Konashevitz 1925-Unpublished illustration-Pictures For Little OnesVladamir Konashevitz, unpublished illustration for Pictures For Little Ones, 1925

Vladimir Konashevitz 1925-MugsVladamir Konashevitz, Mugs, 1925.

Others delved further into the new reality of childhood.

Aleksandr Deineka 1930-Red Army ParadeAleksandr Deineka, The Red Army Parade, 1930

The atmosphere of experimentation ended in the mid-1930s when “socialist realism” became the assigned aesthetic ideal. Children’s books could only support Soviet approved aspirations. State censorship was enforced. Yiddish publishing was no longer tolerated and high taxes caused many Russian publishers to close. Many illustrators continued to work but ceased experimenting. Some fled to Europe. Others were arrested.

I visited Soviet Russia when I was a child in 1970. What I remember most about Moscow was how bleak it was. Saint Basil’s Cathedral rose like a glorious fantasy out of the concrete. Everything else, including the people, was grey and heavy. Our guide was afraid to answer any of our questions. People spoke to us in whispers if they spoke to us at all. They were the children who had grown up under the Soviet regime.

For those of you who aren’t able to make it to London to see this show before it closes in September, you can look for the book, Inside the Rainbow, Russian Children’s Literature 1920-1935: Beautiful books, terrible times, which inspired House of Illustration to exhibit works from this collection.

Gwen White’s Book of Toys

Book of toys038

While researching for my last post, Gwen White’s Pictorial Perspective, I discovered that she had written and illustrated other books as well. That led to research into whether I could buy any of them. Most were not available or beyond my budget, but I did find one copy of White’s A Book of Toys that was affordable. Gwen White and toys. I bought it based on that combination, and the cover, without knowing anything about the interior contents.

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I am happy to report that the book is as wonderful as I’d hoped. The images are simple and grand at the same time. The writing is straightforward yet playful. This is part of our heritage as children’s book illustrators and authors.

I want to share it with you here and I couldn’t decide what to leave out so I have scanned the entire book. It feels an appropriate companion piece to my earlier posts on A Book of Pictorial Perspective and Folk Toys -les jouets populaires

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I may have to go back to the London Museum and Kensington palace to see if any of the toys White has illustrated are still on exhibit. The museum at Bethnal Green is now the Victoria & Albert Museum of Childhood which I wrote about here.

I hope you have enjoyed reading this little book as much as I have.

(Maybe you figured this out already, but the Penguins on the cover aren’t just toys. The publisher is Penguin and the book is part of a King Penguin Books series)

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WHAT NEXT?

On March 30 I sent all the interior illustrations for LITTLE WOLF’S FIRST HOWLING to Candlewick Press for publication next Spring.

It has been an intense and exhilarating five months creating the final art for this book: learning Photoshop, (thank you Kevan Atteberry for help with that); collaborating with my sister Kate McGee, (I did the black layer, Kate did the color), and figuring out what the art would look like.

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And now, except for the cover, it’s done.

What next?

 I am reminded of a family story. My mom and dad raised five kids.

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That meant every three years between 1962 and 1975 they joined the audience on the football bleachers at Sonora High on a beautiful June evening to watch one of their kids graduate. After the youngest, my brother Tim, was handed his diploma, Mom turned to Dad and said, “Well, Harve, what shall we do now?”

I know. It’s not really comparable. Mom and Dad worked on their project of raising kids for thirty years. Theirs was a much bigger “what next?”

LITTLE WOLF’s been growing in my mind and studio for less than a year and a half. But I did become very fond of him and will certainly miss the almost daily interaction with Kate as we worked on the art.

My cousin Jerry has a quote for times such as these. It’s advice from 1790: “The most sublime act is to set another before you.” – William Blake, Proverbs of Hell. Blake was in his mid thirties when he wrote that, and already he’d produced an impressive body of work: books and engravings, both. Clearly he leapt forward to each next task quickly and with joy.

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But I am feeling a little empty. All I could do for Little Wolf has been done, (except for the cover). His boat has sailed.

I suppose this is why some author/illustrators work on more than one project at a time: to make it easier to face the end of possibilities when you send the artwork away.

I told Bonny Becker, (fellow BATT blogger), that I was having trouble letting go of Little Wolf. She reminded me of a picture book idea I had floated awhile back, a story that started with a mouse squeak.

“Get to work,” she suggested.

p.s. Mom took up air racing.

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ADDENDUM

Our critique group met Tuesday and Julie Paschkis brought along a special tin of tea. It’s BATT Brand Finis Tea, made in Seattle and London. Ingredients: Wit, Wisdom, Labor & Love of Bonny, Julie, Laura, Margaret and Julie. Directions: Steep tea for three minutes and 32 seconds. Sip slowly and savor the sensation of sending it off.

We toasted Little Wolf with our mugs of berryblossom white tea. I get to keep the tin until the next member has a book to send off. A tradition is born. Thank you, Julie!