A solid introduction to fascinating artists, some familiar, others less so.
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 Books
Review Posted Online: Dec. 7, 2019
Kirkus Reviews Issue: Jan. 1, 2020
A shiny but veneer-thin profile.
A hagiographical account of the great animator’s early years and later triumphs.
Next to the rest of the inspirational and aspirational entries in the Big Words series (Martin’s Big Words, 2001, etc.) this carries a muddled message. Rappaport gives the nod to many of Disney’s creative innovations, but, particularly toward the abrupt end, Disney comes off as more control freak than genius. Efforts to sanitize his classic rags-to-riches career include a weaselly claim that he “felt betrayed” when his animators went on strike for proper pay and film credit (the accompanying picture shows him sulking in a chair as picketers march outside). Even in her afterword she neglects to mention some of his less-stellar achievements, such as his testimony before the House Un-American Activities Committee (and, for that matter, Song of the South). Several of the large-type taglines interspersed throughout are likewise bland (“Music has always had a prominent part in all our products”), and a closing reference to Disney’s legacy in the modern theme parks’ “many rides and many stores” sheds a rather commercial light on Walt’s characterization of Disneyland as an organic tribute to all imagination. In the illustrations, Pomeroy, a Disney Studios veteran, supplies big, vivacious views of his subject at various ages, often surrounded by versions or sketches of Mickey and other cartoon creations as well as a largely white workforce.
A shiny but veneer-thin profile. (timeline, illustrator’s note, bibliography, source notes) (Picture book/biography. 6-8)Pub Date: July 10, 2018
ISBN: 978-1-4231-8470-6
Page Count: 48
Publisher: Disney-Hyperion
Review Posted Online: May 19, 2018
Kirkus Reviews Issue: June 1, 2018
Design flaws aside, a thorough and compelling introduction to Pinkerton’s work.
In her second picture book about the Pinkertons (Kate Warne, Pinkerton Detective, 2017), Moss brings to light the agency’s prevention of an early assassination attempt on Abraham Lincoln.
Allan Pinkerton “had sharp eyes, a quick mind, and a hunger for justice.” In 1860, Pinkerton and his detective agency were hired to protect president-elect Lincoln on the train journey to his inauguration. Secessionists were plotting to assassinate Lincoln in Baltimore, before he could reach Washington and become president. Thanks to careful planning and the hard work of many agents (including Kate Warne), Pinkerton was able to safely escort Lincoln to his destination and prevent this early assassination attempt. Moss’ prose is clear and engaging, filled with intriguing details. Pages with images in panels are interspersed with full-page spreads, and Pinkerton himself is frequently shown with a beam of light emanating from his oversized golden-yellow half-moon eyes. With a palette of dusty jewel tones, Holmes’ digitally rendered scratchboard illustrations are bold and intriguing. However, the book’s busy, heavily stylized design frequently dominates the text and hampers the narrative flow, often causing the text and illustrations to feel disjointed. A timeline, artist’s note, author’s note, endnotes, and bibliography are included. Index unseen.
Design flaws aside, a thorough and compelling introduction to Pinkerton’s work. (Informational picture book. 6-9)Pub Date: Nov. 6, 2018
ISBN: 978-1-4197-3064-1
Page Count: 48
Publisher: Abrams
Review Posted Online: Aug. 13, 2018
Kirkus Reviews Issue: Sept. 1, 2018
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