LIVES OF THE ARTISTS

Poetic evocations of five artists—Rembrandt, Guardi, Van Gogh, Bonnard, Nevelson—accompanied by a painting in full color at the outset and a drawing at the close (except in the case of Nevelson's sculpture—where the pattern is tellingly reversed). Just who these little tributes might be written for would be hard to say, since the references will be obscure to most young people—even in an atypically straightforward instance: "Guardi,/we don't know/too much about you./Your sister wed/Tiepolo./Your father,/your two brothers,/ and your sons/ were painters, too./In your time Canaletto/was acknowledged master/of the Venetian view." (The comparison with Canaletto on the two succeeding pages is well-drawn—if one knows Canaletto's work.) A child sensitive to word-sounds might read on regardless; and a child responsive to art and reflectively-inclined might respond to the lines opposite the sturdy, intent little Rembrandt drawing: "Every outside/has an inside,/and every inside/has an outside./ Just one stroke/ of Rembrandt's/chalk,/needle, brush, or pen/could tell both tales./ They tell them/ to this day." But this is the sort of anamolous object best discovered under a toadstool—or presented, knowingly, as a gift.

Pub Date: March 18, 1982

ISBN: 0374346283

Page Count: 47

Publisher: Farrar, Straus and Giroux

Review Posted Online: April 27, 2012

Kirkus Reviews Issue: March 1, 1982

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A sumptuous, nostalgic ode to a disappearing landscape

THE LOST WORDS

An oversized album compiled in response to the recent omission by the Oxford Junior Dictionary of many natural-science words, including several common European bird, plant, and animal species, in favor of more current technological terms.

In his introduction, Macfarlane laments this loss, announcing his intention to create “a spellbook for conjuring back these lost words.” Each lost word is afforded three double-page spreads. First, the letters of each lost word are sprinkled randomly among other letters and an impressionistic sketch in a visual puzzle. This is followed by an acrostic poem or riddle describing essential qualities of the object, accompanied by a close-up view. A two-page spread depicting the object in context follows. Morris’ strong, dynamic watercolors are a pleasure to look at, accurate in every detail, vibrant and full of life. The book is beautifully produced and executed, but anyone looking for definitions of the “lost words” will be disappointed. The acrostic poems are subjective, sophisticated impressions of the birds and animals depicted, redolent with alliteration and wordplay, perhaps more appropriate for creative writing prompts than for science exploration. This book is firmly rooted in the English countryside, celebrating such words as “conker,” “bramble,” and “starling” (invasive in North America), but many will cross over for North American readers. A free “Explorer’s Guide” is available online.

A sumptuous, nostalgic ode to a disappearing landscape . (Picture book/poetry. 10-adult)

Pub Date: Oct. 2, 2018

ISBN: 978-1-4870-0538-2

Page Count: 128

Publisher: Anansi Press

Review Posted Online: Sept. 23, 2018

Kirkus Reviews Issue: Oct. 1, 2018

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A succinct, passionate guide to fostering creativity.

HOW TO BE AN ARTIST

A noted critic advises us to dance to the music of art.

Senior art critic at New York Magazine and winner of the 2018 Pulitzer Prize in Criticism, Saltz (Seeing Out Louder, 2009, etc.) became a writer only after a decadeslong battle with “demons who preached defeat.” Hoping to spare others the struggle that he experienced, he offers ebullient, practical, and wise counsel to those who wonder, “How can I be an artist?” and who “take that leap of faith to rise above the cacophony of external messages and internal fears.” In a slim volume profusely illustrated with works by a wide range of artists, Saltz encourages readers to think, work, and see like an artist. He urges would-be artists to hone their power of perception: “Looking hard isn’t just about looking long; it’s about allowing yourself to be rapt.” Looking hard yields rich sources of visual interest and also illuminates “the mysteries of your taste and eye.” The author urges artists to work consistently and early, “within the first two hours of the day,” before “the pesky demons of daily life” exert their negative influence. Thoughtful exercises underscore his assertions. To get readers thinking about genre and convention, for example, Saltz presents illustrations of nudes by artists including Goya, Matisse, Florine Stettheimer, and Manet. “Forget the subject matter,” he writes, “what is each of these paintings actually saying?” One exercise instructs readers to make a simple drawing and then remake it in an entirely different style: Egyptian, Chinese ink-drawing, cave painting, and the styles of other artists, like Keith Haring and Georgia O’Keeffe. Freely experiment with “different sizes, tools, materials, subjects, anything,” he writes. “Don’t resist something if you’re afraid it’s taking you far afield of your usual direction. That’s the wild animal in you, feeding.” Although much of his advice is pertinent to amateur artists, Saltz also rings in on how to navigate the art world, compose an artist’s statement, deal with rejection, find a community of artists, and beat back demons. Above all, he advises, “Work, Work, Work.”

A succinct, passionate guide to fostering creativity.

Pub Date: March 17, 2020

ISBN: 978-0-593-08646-9

Page Count: 144

Publisher: Riverhead

Review Posted Online: Nov. 5, 2019

Kirkus Reviews Issue: Dec. 1, 2019

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