A succinct introduction to art history via a Seussian museum of equine art.
This posthumously published text recently discovered in Ted Geisel’s studio uses horse-focused art pieces to provide historical context to artistic movements. Showing art ranging from the Lascaux cave paintings to an untitled 1994 sculpture by Deborah Butterfield, Joyner’s playful illustrations surround the curated photographs of art pieces. By using horses as the departing point in the artistic journey, Seuss and Joyner are able to introduce diverse perspectives, artifacts, and media, including Harnessed Horse from the northern Wei dynasty, a Navajo pictorial blanket titled Oh, My Beautiful Horses, and photographs by Eadweard Muybridge. Questions to readers prompt thought about the artistic concepts introduced, aided by a cast of diverse museumgoers who demonstrate the art terms in action. Joyner further engages readers by illustrating both general cultural and Seussian references. Glimpses of the Cat in the Hat are seen throughout the book; he poses as a silent observer, genially guarding Seuss’ legacy. For art enthusiasts, some illustrations become an inside joke, as references to artists such as Alexander Calder, Salvador Dalí, Marina Abramovic, and René Magritte make appearances. Thorough backmatter contains notes on each art piece referenced along with a study of the manuscript’s history and Seuss’ artistic style. Absent, probably unsurprisingly, is any acknowledgment of the Cat’s antecedents in minstrelsy and Seuss’ other racist work, but prominent among the museumgoers are black- and Asian-presenting characters as well as a girl wearing hijab and a child who uses a wheelchair.
A galloping marvel—enlightening and entertaining. (Informational picture book. 6-10)Pub Date: Sept. 3, 2019
ISBN: 978-0-399-55912-9
Page Count: 80
Publisher: Random House
Review Posted Online: June 10, 2019
Kirkus Reviews Issue: July 1, 2019
Categories: CHILDREN'S BIOGRAPHY & MEMOIR
Did you like this book?
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
The iconic animator introduces young readers to each “happy place” in his life.
The tally begins with his childhood home in Marceline, Missouri, and climaxes with Disneyland (carefully designed to be “the happiest place on Earth”), but the account really centers on finding his true happy place, not on a map but in drawing. In sketching out his early flubs and later rocket to the top, the fictive narrator gives Ub Iwerks and other Disney studio workers a nod (leaving his labor disputes with them unmentioned) and squeezes in quick references to his animated films, from Steamboat Willie to Winnie the Pooh (sans Fantasia and Song of the South). Eliopoulos incorporates stills from the films into his cartoon illustrations and, characteristically for this series, depicts Disney as a caricature, trademark mustache in place on outsized head even in childhood years and child sized even as an adult. Human figures default to white, with occasional people of color in crowd scenes and (ahistorically) in the animation studio. One unidentified animator builds up the role-modeling with an observation that Walt and Mickey were really the same (“Both fearless; both resourceful”). An assertion toward the end—“So when do you stop being a child? When you stop dreaming”—muddles the overall follow-your-bliss message. A timeline to the EPCOT Center’s 1982 opening offers photos of the man with select associates, rodent and otherwise. An additional series entry, I Am Marie Curie, publishes simultaneously, featuring a gowned, toddler-sized version of the groundbreaking physicist accepting her two Nobel prizes.
Blandly laudatory. (bibliography) (Picture book/biography. 6-8)Pub Date: Sept. 10, 2019
ISBN: 978-0-7352-2875-7
Page Count: 40
Publisher: Dial
Review Posted Online: Aug. 18, 2019
Kirkus Reviews Issue: Sept. 1, 2019
Did you like this book?
Contemporary and historical female artists are showcased for younger readers.
The artists’ names aren’t presented in A-to-Z order. The alphabetical arrangement actually identifies signature motifs (“D is for Dots” for Yayoi Kusama); preferred media (“I is for Ink” for Elizabeth Catlett); or cultural, natural, or personal motives underlying artworks (“N is for Nature” for Maya Lin). Various media are covered, such as painting, box assemblage, collage, photography, pottery, and sculpture. One artist named isn’t an individual but rather the Gee’s Bend Collective, “generations of African American women in Gee’s Bend, Alabama,” renowned for quilting artistry. Each artist and her or their work is introduced on a double-page spread that features succinct descriptions conveying much admiring, easily comprehensible information. Colorful illustrations include graphically simplified representations of the women at work or alongside examples of their art; the spreads provide ample space for readers to understand what the artists produced. Several women were alive when this volume was written; some died in the recent past or last century; two worked several hundred years ago, when female artists were rare. Commendably, the profiled artists are very diverse: African American, Latina, Native American, Asian, white, and multiethnic women are represented; this diversity is reflected in their work, as explained via texts and illustrations.
A solid introduction to fascinating artists, some familiar, others less so. (minibiographies, discussion questions, art suggestions) (Informational picture book. 6-9)Pub Date: Feb. 11, 2020
ISBN: 978-0-593-10872-7
Page Count: 64
Publisher: Dial
Review Posted Online: Dec. 8, 2019
Kirkus Reviews Issue: Jan. 1, 2020
Categories: CHILDREN'S CONCEPTS | CHILDREN'S BIOGRAPHY & MEMOIR
Did you like this book?
© Copyright 2020 Kirkus Media LLC. All Rights Reserved.
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
