by K'Tut Tantri
Thumbs up.
I picked this book up at a second hand store, while just quickly perusing the shelves and randomly grabbing books with covers or titles that looked interesting. I'm glad I did. Although I read this book several months ago, I didn't take the time to write about it immediately, so I'll have to try to reconstruct all the thoughts I had at that time.
K'tut Tantri as she came to be known, was born in Scotland, of Manx (from the Isle of Man) parentage. She moved with her mother after the first World War to Hollywood, California, where she eventually ended up writing for British publications about various facets of the film industry. But K'tut describes herself as having too much of the Manx in her to really fit in, in America. She was an artist and a dreamer.
After seeing a film set in Bali, she decided that is where she was meant to be. She packed up and moved there in a somewhat haphazard fashion, with little money or preparation.
The book describes her life there, from her first interactions with the Dutch colonial government; to her stumbling upon the palace of the Rajah and coming to secure the close friendship of the Rajah's son, Anak Agung Nura; her stint as a hotel operator; her imprisonment at the hands of the Japanese during World War II; and her time as a freedom fighter for the Indonesians.
I found her account fascinating. I learned much about the history of Indonesia. I was appalled at the treatment of the Indonesian peoples by the Dutch during the colonial era, and especially in the immediate aftermath of World War II, when Indonesians were seeking their freedom.
The book would be a useful tie-in when teaching about imperialism or for a southeast Asian supplement to a World War II unit. The content is appropriate for any age; I think the writing itself could be readily enjoyed by a capable junior high aged reader.
I've read a little more about K'tut Tantri since reading this book. Although the book is presented as non-fiction, historians and anthropologists would find her account a reflection of the artistic and dreamy personality embodied in K'tut. It's filled with a good bit of truth, but also, disappointingly, contains a fantasy element. I found this obituary interesting.
Showing posts with label art. Show all posts
Showing posts with label art. Show all posts
Monday, June 13, 2011
Tuesday, September 14, 2010
Bridget's Beret
by Tom Lichtenheld
Thumbs Up.
Bridget is an artist. But she has lost her beret and along with it, her inspiration and, she things, her abilities. When the younger girls coax her to help with the sign for her lemonade stand, Bridget is newly inspired and regains her confidence.
The part I found most fun was Bridget's interpretations of classic works of art in her lemonade stand advertisements. The author includes a section in the back on famous works of art.
Thumbs Up.
Bridget is an artist. But she has lost her beret and along with it, her inspiration and, she things, her abilities. When the younger girls coax her to help with the sign for her lemonade stand, Bridget is newly inspired and regains her confidence.
The part I found most fun was Bridget's interpretations of classic works of art in her lemonade stand advertisements. The author includes a section in the back on famous works of art.
Monday, September 6, 2010
Death in a Prairie House: Frank Lloyd Wright and the Taliesin Murders
by William R. Drennen
Thumbs up.
University of Wisconsin Baraboo/Sauk County professor emeritus, William Drennen traces the story of Frank Lloyd Wright. After a brief introduction, he backs up to family histories, tracing those of Wright's parents and grandparents.
Drennen shows the strange and unusual relationship under which Wright, the most favored son, lived with his frighteningly possessive mother. He tells of the religious and philosophical meld of Unitarian/Universalist and Transcendental/Emersonian philosophies deeply held in Wright's familial background.
Wright's father was an artistic and self-indulgent sort with apparently no financial management skills or common sense. His family often lacked basic necessities while whims were indulged.
Drennen tells of Wright's early design successes.
We are told of his love for his first wife, Kitty, and their family, and how his entire design scheme at that time was an extension of that love, and an expression of family unity. His idea of a prairie house included specific mechanisms designed intentionally to center around a happy family experience.
And then he went wacko. Drennan spends some time spelling out the connection between Wright's religious/philosophical background and his seemingly sudden shift in world view. If a person's religion is not based upon a specific Scripture, what is there to hold one firm?
After designing a house for a Mr. Edwin Cheney, Wright continued to spend increasing amounts of time with Cheney's wife, Mamah.
Mamah was an early feminist. She and her husband Edwin had two children, but she did not see it as particularly her job to raise them. Her primary fulfillment as a woman was to free herself from traditional female roles which she thought of as chains. In order to be emotionally honest, she had to do only, exactly what she wanted to do at all times.
After a couple of years during which Wright seems to have been unsure of which path he wanted to follow, he threw in his lot with Mamah. Wright seems to have become convinced of this superiority of emotional honesty and the virtue of living according to one's true desires.
Wright built Mamah the ultimate prairie house. Taliesin, outside of Spring Green, WI, has been described as the culmination of all Wright's design ideas; the sum of what he had been trying to portray with his prairie style.
And then suddenly it was all gone. Mamah was dead, along with six others, and the living quarters of Taliesin burned down at the hand of a madman. Although the murderer was known right away, there has been much speculation surrounding the incident and many questions the answers to which no one will never know.
Wright continued to work after this time, but his designs, according to Drennen, were of a much different sort. Less beauty, less life. And much fewer in number. The tragic events seemed also to have spelled the end of Wright's genius.
Wright rebuilt Taliesin, the living quarters burned once again at a later time. He rebuilt again. Although Wright built on the same sites and even using the remaining structures each time, both rebuilds were less great than the original.
Death in a Prairie House is well told. Drennen includes a thorough bibliography. He tells readers when he is guessing, and what others have asserted and surmised regarding Wright's life, his personality, and the circumstances of the Taliesin murders.
I have lived in Madison, WI, and also in Oak Park, IL, both stomping grounds of Wright. Many of the places mentioned were familiar. I was glad to know more about this 20th century great.
The book made we want to learn more about Frank Lloyd Wright and his designs, and also about transcendentalism and universalism and how they affected 20th century worldviews.
While reading this book, I was often reminded of a theory a good friend once proposed. She said that all masters or geniuses (as in those who are "way above normal" great at what they do) are a little bit crazy. If true, Frank Lloyd Wright is no exception.
Thumbs up.
University of Wisconsin Baraboo/Sauk County professor emeritus, William Drennen traces the story of Frank Lloyd Wright. After a brief introduction, he backs up to family histories, tracing those of Wright's parents and grandparents.
Drennen shows the strange and unusual relationship under which Wright, the most favored son, lived with his frighteningly possessive mother. He tells of the religious and philosophical meld of Unitarian/Universalist and Transcendental/Emersonian philosophies deeply held in Wright's familial background.
Wright's father was an artistic and self-indulgent sort with apparently no financial management skills or common sense. His family often lacked basic necessities while whims were indulged.
Drennen tells of Wright's early design successes.
We are told of his love for his first wife, Kitty, and their family, and how his entire design scheme at that time was an extension of that love, and an expression of family unity. His idea of a prairie house included specific mechanisms designed intentionally to center around a happy family experience.
And then he went wacko. Drennan spends some time spelling out the connection between Wright's religious/philosophical background and his seemingly sudden shift in world view. If a person's religion is not based upon a specific Scripture, what is there to hold one firm?
After designing a house for a Mr. Edwin Cheney, Wright continued to spend increasing amounts of time with Cheney's wife, Mamah.
Mamah was an early feminist. She and her husband Edwin had two children, but she did not see it as particularly her job to raise them. Her primary fulfillment as a woman was to free herself from traditional female roles which she thought of as chains. In order to be emotionally honest, she had to do only, exactly what she wanted to do at all times.
After a couple of years during which Wright seems to have been unsure of which path he wanted to follow, he threw in his lot with Mamah. Wright seems to have become convinced of this superiority of emotional honesty and the virtue of living according to one's true desires.
Wright built Mamah the ultimate prairie house. Taliesin, outside of Spring Green, WI, has been described as the culmination of all Wright's design ideas; the sum of what he had been trying to portray with his prairie style.
And then suddenly it was all gone. Mamah was dead, along with six others, and the living quarters of Taliesin burned down at the hand of a madman. Although the murderer was known right away, there has been much speculation surrounding the incident and many questions the answers to which no one will never know.
Wright continued to work after this time, but his designs, according to Drennen, were of a much different sort. Less beauty, less life. And much fewer in number. The tragic events seemed also to have spelled the end of Wright's genius.
Wright rebuilt Taliesin, the living quarters burned once again at a later time. He rebuilt again. Although Wright built on the same sites and even using the remaining structures each time, both rebuilds were less great than the original.
Death in a Prairie House is well told. Drennen includes a thorough bibliography. He tells readers when he is guessing, and what others have asserted and surmised regarding Wright's life, his personality, and the circumstances of the Taliesin murders.
I have lived in Madison, WI, and also in Oak Park, IL, both stomping grounds of Wright. Many of the places mentioned were familiar. I was glad to know more about this 20th century great.
The book made we want to learn more about Frank Lloyd Wright and his designs, and also about transcendentalism and universalism and how they affected 20th century worldviews.
While reading this book, I was often reminded of a theory a good friend once proposed. She said that all masters or geniuses (as in those who are "way above normal" great at what they do) are a little bit crazy. If true, Frank Lloyd Wright is no exception.
Friday, July 2, 2010
Painting the American Heartland in Watercolor
By Diane Phalen, North Light Books, Cincinnati, Ohio 1997.
Thumbs up. There is a great deal in this book on setting and composition. In the first section P focuses on tools, paints, and some basic methods: including various uses of papers, erasers, palette knife, and nail file, types of washes, glazing, dry brushing, blotting, spattering and several other techniques that are considered by some to be outside the sphere of "genuine" watercolor.
The next section of the book is a set of fourteen painting projects with palate, technique, and steps that the reader is to work through to develope better skills at watercolor and composing scenes of Americana.
The artist's style seems too comic book like for me, but the methods and discussions she presents are very useful.
Yes, I'll try to get this one for my library too.
Thumbs up. There is a great deal in this book on setting and composition. In the first section P focuses on tools, paints, and some basic methods: including various uses of papers, erasers, palette knife, and nail file, types of washes, glazing, dry brushing, blotting, spattering and several other techniques that are considered by some to be outside the sphere of "genuine" watercolor.
The next section of the book is a set of fourteen painting projects with palate, technique, and steps that the reader is to work through to develope better skills at watercolor and composing scenes of Americana.
The artist's style seems too comic book like for me, but the methods and discussions she presents are very useful.
Yes, I'll try to get this one for my library too.
Capture the Charm of Your Hometown in Watercolor: Frank Loudin with Marcia Spees
Capture the Charm of Your Hometown in Watercolor: Frank Loudin with Marcia Spees; North Light Books, Cincinnati, Ohio 1998.
Two Thumbs Up!
Loudin presents six chapters on methods, tools, materials, composition, and presentation. His main emphasis throughout the book is to use the techniques he presents to tell a story with composition of elements in the watercolor.
Some of Loudin's work is available at his website. For good examples of what he demonstrates in this book consider "Gloria Minutia," "Piston Ring," "Katydid." While these works are not in the book, Loudin teaches the composition and techniques that will help aspiring watercolor artists to emulate them in creating their own works based on their own compositions.
L's introduction focuses on developing a story and accumulating photos, sketches, and other image scraps to use in a composition. L turns to techniques such as foregrounding, clutter, texture, and materials.
The first chapter is a very well illustrated discussion of creating the story, the nature of perspective and how to use perspective, using scale to create depth, how overlays can refine the composition: using tracing paper for elements in the overlays to identify the best placing in the composition; how mood is created through color values and color both with the whole composition or with elements like the sky.
L then presents three variations of a specific composition, summer, autumn, winter and takes the reader through an illustrated step-by-step building another variation of the composition. Through the guide L gives clear advice on techniques and special issues like landscapes, flowers and shrubs, puddles, vehicle tracks; pavement, road and ground texture. L then provides suggestions on other views for different compositions using other artist's works and different media.
This not all of what is in just the first chapter. The presentation and rate of information is well paced and makes great sense.
There are still five more chapters full of good information. Each chapter builds upon the previous with a wealth of advice and direction in building skills. The authors more than satisfy the title of the book.
I definitely want to add this to my library.
Two Thumbs Up!
Loudin presents six chapters on methods, tools, materials, composition, and presentation. His main emphasis throughout the book is to use the techniques he presents to tell a story with composition of elements in the watercolor.
Some of Loudin's work is available at his website. For good examples of what he demonstrates in this book consider "Gloria Minutia," "Piston Ring," "Katydid." While these works are not in the book, Loudin teaches the composition and techniques that will help aspiring watercolor artists to emulate them in creating their own works based on their own compositions.
L's introduction focuses on developing a story and accumulating photos, sketches, and other image scraps to use in a composition. L turns to techniques such as foregrounding, clutter, texture, and materials.
The first chapter is a very well illustrated discussion of creating the story, the nature of perspective and how to use perspective, using scale to create depth, how overlays can refine the composition: using tracing paper for elements in the overlays to identify the best placing in the composition; how mood is created through color values and color both with the whole composition or with elements like the sky.
L then presents three variations of a specific composition, summer, autumn, winter and takes the reader through an illustrated step-by-step building another variation of the composition. Through the guide L gives clear advice on techniques and special issues like landscapes, flowers and shrubs, puddles, vehicle tracks; pavement, road and ground texture. L then provides suggestions on other views for different compositions using other artist's works and different media.
This not all of what is in just the first chapter. The presentation and rate of information is well paced and makes great sense.
There are still five more chapters full of good information. Each chapter builds upon the previous with a wealth of advice and direction in building skills. The authors more than satisfy the title of the book.
I definitely want to add this to my library.
Tuesday, May 11, 2010
The Careful Use of Compliments
by Alexander McCall Smith
Thumbs Up.
Until the other day, I had been under the mistaken idea that the Isabel Dalhousie series was to have only three books. I suppose this was a surmise on my part based on the neatly finished feeling at the end of the third book. But I quickly grabbed this the forth installment when I saw it. And I look forward to picking up the fifth and sixth books in the series.
For those who are unfamiliar with Isabel Dalhousie, she is the the editor of the fictional Review of Applied Ethics. She lives in Edinburgh and is independently wealthy. She is now mother to Charlie, who in this book is a few months old. In each book, Isabel ends up investigating/prying into some mystery. The difference between investigating and prying into is a fine line when viewed through the lenses of an expert on ethical matters. And this crux gives Isabel much food for her musings.
Although these books are mysteries, the focus is more on the ethical and social implications of the various circumstances Isabel ponders. I find them excellent material for re-examining my own worldview and they challenge me to internally defend my own stance on various contemporary social and political issues.
The characters are very likable; their personalities are well developed. The plots are always compelling.
The series is also very culturally rich. Isabel and her friends frequent the opera and orchestra; they discuss poetry and works of art. Although I didn't take the time to do so this time, the books often inspire me to read up on some of the composers or musical works, literary figures or artists who are mentioned.
In The Careful Use of Compliments, Isabel investigates the authenticity of some paintings that have recently come into the market. She nearly loses her job and faces an ethically tough decision regarding that potential loss.
Although Isabel knows that children do better in two parent homes, she still will not marry Jamie, which does not sit well with me. I just want to reach in there an twist their conversations to allow each of their true feelings to be addressed. Because she a woman who is so ethically upright, Isabel is loth to let Jamie know how she feels for fear of making him feel trapped into marrying her. This is just one example of how her reasoned ethical stances often lead to contradictory ends.
In The Careful Use of Compliments, Isabel and Jamie travel to the Isle of Jura in the Inner Hebrides. And yes, thanks to Mr. McCall Smith's vivid descriptions I now have yet another vacation spot to dream about. The author makes the landscape come alive for his readers.
It has been a couple of years since I have read one of these books, but in this one Isabel seems to spend more time than in the previous books examining the ideas of big government and social programs, inherited wealth and wealth in general. George Orwell and his writing of 1984 play a role in this title, as do the disparity of financial background between Isabel and Jamie, and also Isabel's grandfather's money from the oil industry.
Although I don't always come to the same conclusions as Isabel, I always enjoy reading about her and her exploits. And yes, exploit is not a word Isabel would like me to use regarding her investigations. She always operates from an ethically well-thought argument. She holds herself to very high standards within her rational humanist worldview. She would most certainly never intentionally exploit anyone.
Thumbs Up.
Until the other day, I had been under the mistaken idea that the Isabel Dalhousie series was to have only three books. I suppose this was a surmise on my part based on the neatly finished feeling at the end of the third book. But I quickly grabbed this the forth installment when I saw it. And I look forward to picking up the fifth and sixth books in the series.
For those who are unfamiliar with Isabel Dalhousie, she is the the editor of the fictional Review of Applied Ethics. She lives in Edinburgh and is independently wealthy. She is now mother to Charlie, who in this book is a few months old. In each book, Isabel ends up investigating/prying into some mystery. The difference between investigating and prying into is a fine line when viewed through the lenses of an expert on ethical matters. And this crux gives Isabel much food for her musings.
Although these books are mysteries, the focus is more on the ethical and social implications of the various circumstances Isabel ponders. I find them excellent material for re-examining my own worldview and they challenge me to internally defend my own stance on various contemporary social and political issues.
The characters are very likable; their personalities are well developed. The plots are always compelling.
The series is also very culturally rich. Isabel and her friends frequent the opera and orchestra; they discuss poetry and works of art. Although I didn't take the time to do so this time, the books often inspire me to read up on some of the composers or musical works, literary figures or artists who are mentioned.
In The Careful Use of Compliments, Isabel investigates the authenticity of some paintings that have recently come into the market. She nearly loses her job and faces an ethically tough decision regarding that potential loss.
Although Isabel knows that children do better in two parent homes, she still will not marry Jamie, which does not sit well with me. I just want to reach in there an twist their conversations to allow each of their true feelings to be addressed. Because she a woman who is so ethically upright, Isabel is loth to let Jamie know how she feels for fear of making him feel trapped into marrying her. This is just one example of how her reasoned ethical stances often lead to contradictory ends.
In The Careful Use of Compliments, Isabel and Jamie travel to the Isle of Jura in the Inner Hebrides. And yes, thanks to Mr. McCall Smith's vivid descriptions I now have yet another vacation spot to dream about. The author makes the landscape come alive for his readers.
It has been a couple of years since I have read one of these books, but in this one Isabel seems to spend more time than in the previous books examining the ideas of big government and social programs, inherited wealth and wealth in general. George Orwell and his writing of 1984 play a role in this title, as do the disparity of financial background between Isabel and Jamie, and also Isabel's grandfather's money from the oil industry.
Although I don't always come to the same conclusions as Isabel, I always enjoy reading about her and her exploits. And yes, exploit is not a word Isabel would like me to use regarding her investigations. She always operates from an ethically well-thought argument. She holds herself to very high standards within her rational humanist worldview. She would most certainly never intentionally exploit anyone.
Friday, May 7, 2010
The Complete Watercolor Course
Thumbs mostly down.
The Complete Watercolor Course: A comprehensive, easy-to-follow guide to watercolor. By John Raynes, North Light Books 2004.
The title of this work is misleading. I was looking for a thorough catalog of watercolor painting techniques, materials, tools, and examples. But Raynes does not present a complete or comprehensive survey of watercolor techniques. Instead, Raynes focuses on his preferred method of layering washes from lightest to darkest pigments using transparent paints.
Raynes' definition of watercolor would exclude the frescoes of Giotto and many other artists through the ages, including the Lasceaux cave paintings.
The first section of the book focuses on the materials: paints, palates, surfaces, brushes, drawing tools, and other accessories. Raynes includes a brief page on opaque watercolor paints and his reasons for thinking that they are not genuine watercolors.
The following sections lay out the basics of the layered wash, focusing on tonal values and color mixing theory, composition, line and wash; with a look at masks and resists, and four pages on the use of opaque pigments as mixed media.
The rest of the book is divided into short discussions on particular subject matter: still lifes, flowers, animals, skies, landscapes, seascapes, buildings, people, and using photographs.
There are two pages on just a few techniques that are not consistent with the Raynes' preferred layered wash technique with a four page work through example on using them.
The last section focuses on methods for fixing mistakes.
Raynes provides exercises for almost all of the topics he presents. I wasn't satisfied with the examples. And perhaps my dissatisfaction is a matter of personal preference. My preference has less to do with the method and technique Raynes was presenting and more to do with his own personal style in painting. While the author holds Turner as an example he fails to mention Durer, Bol, Abbey, Berryman or many other significant artists in his brief history of watercolor.
So the book fails me on two counts: it is not complete and comprehensive-neither technically or historically, nor do I find the exercises painted by the author attractive. I want to have help on more technique that can help me paint both realism and in the style of the French Impressionists. That's just my personal preference. But Raynes' style reminds me less of Cezanne and more of coarse architectural design watercolor.
The Complete Watercolor Course: A comprehensive, easy-to-follow guide to watercolor. By John Raynes, North Light Books 2004.
The title of this work is misleading. I was looking for a thorough catalog of watercolor painting techniques, materials, tools, and examples. But Raynes does not present a complete or comprehensive survey of watercolor techniques. Instead, Raynes focuses on his preferred method of layering washes from lightest to darkest pigments using transparent paints.
Raynes' definition of watercolor would exclude the frescoes of Giotto and many other artists through the ages, including the Lasceaux cave paintings.
The first section of the book focuses on the materials: paints, palates, surfaces, brushes, drawing tools, and other accessories. Raynes includes a brief page on opaque watercolor paints and his reasons for thinking that they are not genuine watercolors.
The following sections lay out the basics of the layered wash, focusing on tonal values and color mixing theory, composition, line and wash; with a look at masks and resists, and four pages on the use of opaque pigments as mixed media.
The rest of the book is divided into short discussions on particular subject matter: still lifes, flowers, animals, skies, landscapes, seascapes, buildings, people, and using photographs.
There are two pages on just a few techniques that are not consistent with the Raynes' preferred layered wash technique with a four page work through example on using them.
The last section focuses on methods for fixing mistakes.
Raynes provides exercises for almost all of the topics he presents. I wasn't satisfied with the examples. And perhaps my dissatisfaction is a matter of personal preference. My preference has less to do with the method and technique Raynes was presenting and more to do with his own personal style in painting. While the author holds Turner as an example he fails to mention Durer, Bol, Abbey, Berryman or many other significant artists in his brief history of watercolor.So the book fails me on two counts: it is not complete and comprehensive-neither technically or historically, nor do I find the exercises painted by the author attractive. I want to have help on more technique that can help me paint both realism and in the style of the French Impressionists. That's just my personal preference. But Raynes' style reminds me less of Cezanne and more of coarse architectural design watercolor.
Saturday, April 24, 2010
The Man Who Loved Books Too Much: the True Story of a Thief, a Detective, and a World of Literary Obsession
by Allison Hoover Bartlett
Thumbs Up.
After many hours of interviews and research, Ms. Bartlett narrates the stories of book thief, John Charles Gilkey, and rare book seller, Ken Sanders, whose perseverance tracked Gilkey down. Throughout, this tale is a celebration of books and book lovers. Ms. Bartlett describes various kinds of book aficionados and seeks to discover what makes someone who loves books and collecting them, cross the line into thievery.
A reader will learn about the history of collecting books, some of the premier venues for finding rare books, and a little of the terminology of the hobby. It's a great read for anyone who loves books, rare or common.
I could just about smell and feel the books Ms Barlett describes. I'd love to see, for instance, an example of fore-edge painting, in which the gilt edge, when fanned just slightly opened, shows a painting of a scene from the book. Occasionally, this process is done twice, so that when fanned the other way, an alternate scene is portrayed.
I could picture easily the wooden fronts and backs and the various leather and linen covers. I could imagine the aisles of such books in the shops Ms Bartlett highlighted. Mmmm.
The book is filled with the personal stories of books sellers and books. The author draws the reader along on the main two courses, that of Gilkey's world of book theft and Sander's drive to discover the thief.
But Ms Bartlett also meanders into frequent anecdotes showing how both a love of books and the stories within books themselves have effected people throughout time. The book pleases on many levels.
Thumbs Up.
After many hours of interviews and research, Ms. Bartlett narrates the stories of book thief, John Charles Gilkey, and rare book seller, Ken Sanders, whose perseverance tracked Gilkey down. Throughout, this tale is a celebration of books and book lovers. Ms. Bartlett describes various kinds of book aficionados and seeks to discover what makes someone who loves books and collecting them, cross the line into thievery.
A reader will learn about the history of collecting books, some of the premier venues for finding rare books, and a little of the terminology of the hobby. It's a great read for anyone who loves books, rare or common.
I could just about smell and feel the books Ms Barlett describes. I'd love to see, for instance, an example of fore-edge painting, in which the gilt edge, when fanned just slightly opened, shows a painting of a scene from the book. Occasionally, this process is done twice, so that when fanned the other way, an alternate scene is portrayed.
I could picture easily the wooden fronts and backs and the various leather and linen covers. I could imagine the aisles of such books in the shops Ms Bartlett highlighted. Mmmm.
The book is filled with the personal stories of books sellers and books. The author draws the reader along on the main two courses, that of Gilkey's world of book theft and Sander's drive to discover the thief.
But Ms Bartlett also meanders into frequent anecdotes showing how both a love of books and the stories within books themselves have effected people throughout time. The book pleases on many levels.
Friday, February 19, 2010
1001 Children's Books You Must Read Before You Grow Up
Edited by Julia Eccleshare. Preface and frontispiece artwork by Quentin Blake.
Thumbs Up.
This is such a great book. Many thanks to my librarian for recommending it. I generally would not read a book with a title such as this. I know there are any number of books out there with reading recommendations for families. But personally, I just don't need the guilt that might come with perusing such lists. "Oh, no, I haven't gotten to this one. Or this one. Look here's another..."
But this book is a pleasure from beginning to end. There is way too much material to enjoy in a mere three week library loan time. But an indulgent pleasure none the less.
The book is arranged by age range. F0r each title, it lists title, author, illustrator and other publisher information and a brief review of the book. Reviewers also note any awards the books have received and might include a note on any special significance the book had, such as it's literary, artistic, or social import. Often a well known quote is included. For many titles is also included a little box with further books in the series, other books by the author, or titles of similar style and genre.
I especially like that most books are portrayed with their original cover, many of whose titles therefore appear in the original in foreign language. On the picture, then, Little Brown Bear shows Petit Ours Brun est grognon. Not really earth shattering, but fun to see.
My kids of all ages have enjoyed paging through it. They sit two or three together and point out all the ones they know and talk about the ones they don't. For the several who don't read independently, this is based solely on the cover images.
I would say one drawback might be that the book is heavy and although hard covered, the spine is very flexible. I am not sure how well it would hold up to constant use by little hands. It just feels like it might not hold up to the wear and tear.
I had no idea there were so many wonderful children's books in the world and will certainly be requesting some of them. I will also eventually try to purchase my own copy of this, because I would like to mark off the books we've read and have a resource to consult when I want to request another title or two. But until then, the book is available at my library. I know where to find it. I just have to share.
Thumbs Up.
This is such a great book. Many thanks to my librarian for recommending it. I generally would not read a book with a title such as this. I know there are any number of books out there with reading recommendations for families. But personally, I just don't need the guilt that might come with perusing such lists. "Oh, no, I haven't gotten to this one. Or this one. Look here's another..."
But this book is a pleasure from beginning to end. There is way too much material to enjoy in a mere three week library loan time. But an indulgent pleasure none the less.
The book is arranged by age range. F0r each title, it lists title, author, illustrator and other publisher information and a brief review of the book. Reviewers also note any awards the books have received and might include a note on any special significance the book had, such as it's literary, artistic, or social import. Often a well known quote is included. For many titles is also included a little box with further books in the series, other books by the author, or titles of similar style and genre.
I especially like that most books are portrayed with their original cover, many of whose titles therefore appear in the original in foreign language. On the picture, then, Little Brown Bear shows Petit Ours Brun est grognon. Not really earth shattering, but fun to see.
My kids of all ages have enjoyed paging through it. They sit two or three together and point out all the ones they know and talk about the ones they don't. For the several who don't read independently, this is based solely on the cover images.
I would say one drawback might be that the book is heavy and although hard covered, the spine is very flexible. I am not sure how well it would hold up to constant use by little hands. It just feels like it might not hold up to the wear and tear.
I had no idea there were so many wonderful children's books in the world and will certainly be requesting some of them. I will also eventually try to purchase my own copy of this, because I would like to mark off the books we've read and have a resource to consult when I want to request another title or two. But until then, the book is available at my library. I know where to find it. I just have to share.
Tuesday, December 1, 2009
Swing: A Scanimation Picture Book
by Rufus Butler Seder
Thumbs Up.
This is an awesome book. Each page spread revolves around a certain sports action, such as kicking a soccer ball or shooting a basket. The pages are animated with a part of the page the slides behind the opposite page with the page turning motion. (I am sure there is some name for this, but I can't figure out the correct google search to figure it out.)
The text asks a question about the featured activity and includes onomatopoeic words to add to the experience.
But the highlight is really the animation. These are just really cool. The batter on the cover cut out really swings. And the ball comes directly toward the reader. Duck!
My kids of all ages have been very intrigues by this book and it has entertained all of us repetitively.
Thumbs Up.
This is an awesome book. Each page spread revolves around a certain sports action, such as kicking a soccer ball or shooting a basket. The pages are animated with a part of the page the slides behind the opposite page with the page turning motion. (I am sure there is some name for this, but I can't figure out the correct google search to figure it out.)
The text asks a question about the featured activity and includes onomatopoeic words to add to the experience.
But the highlight is really the animation. These are just really cool. The batter on the cover cut out really swings. And the ball comes directly toward the reader. Duck!
My kids of all ages have been very intrigues by this book and it has entertained all of us repetitively.
Tuesday, November 24, 2009
You Can't Take a Balloon into...
The Metropolitan Museum
The National Gallery
The Museum of Fine Arts
by Jaqueline Preiss Weitzman and Robin Preiss Glasser
Thumbs up.
I really liked this set of three wordless picture books. In each, there is a brother and sister and the grandparents touring a famous museum in an important American city. The girl brings a balloon along each time and has to leave it outside with a different someone in each book. The balloon gets away and floats around the city visiting famous landmarks. Meanwhile the children and grandparents are inside viewing famous works of art. But all ends well as the balloon finds its way back to the museum each time, just in time for the family to come out.
The Metropolitan Museum is in New York City, the National Gallery is in Washington, DC, and the Museum of Fine Arts is in Boston. The author/illustrator team really hit their stride with the second book. The second and third include a map of the city with the route the balloon is traveling and all the famous landmarks. All three include notes at the end on the works of art viewed by the family. But the second and third also include notes on famous people who somehow end up with cameo appearances around town in the illustrations. In the second and third, Ms Glasser also manages to have the people in the balloon chase imitate whatever is going on in the art work being viewed back at the museum.
Theses really are a treat to look at. Although the reviews on Amazon rate them for ages K-3, K-4, and K- 5, respectively I "read" one of them to my kids the first night we had them from the library and I had all ages on the floor surrounding the book. I would have enjoyed spending much longer to look at them, and still hope to get a chance, in order to absorb all the historical figures popping into the pictures. I think the bigger kids have had them in their bedrooms going over them.
Other children's picture book connoisseurs may recognize the illustrations by Robin Preiss Glasser. She did the illustrations for the historical picture books by Lynne Cheney, such as A is for America and A is for Abigail. She also does the Fancy Nancy books, of which we are great fans.
The National Gallery
The Museum of Fine Arts
by Jaqueline Preiss Weitzman and Robin Preiss Glasser
Thumbs up.
I really liked this set of three wordless picture books. In each, there is a brother and sister and the grandparents touring a famous museum in an important American city. The girl brings a balloon along each time and has to leave it outside with a different someone in each book. The balloon gets away and floats around the city visiting famous landmarks. Meanwhile the children and grandparents are inside viewing famous works of art. But all ends well as the balloon finds its way back to the museum each time, just in time for the family to come out.
The Metropolitan Museum is in New York City, the National Gallery is in Washington, DC, and the Museum of Fine Arts is in Boston. The author/illustrator team really hit their stride with the second book. The second and third include a map of the city with the route the balloon is traveling and all the famous landmarks. All three include notes at the end on the works of art viewed by the family. But the second and third also include notes on famous people who somehow end up with cameo appearances around town in the illustrations. In the second and third, Ms Glasser also manages to have the people in the balloon chase imitate whatever is going on in the art work being viewed back at the museum.
Theses really are a treat to look at. Although the reviews on Amazon rate them for ages K-3, K-4, and K- 5, respectively I "read" one of them to my kids the first night we had them from the library and I had all ages on the floor surrounding the book. I would have enjoyed spending much longer to look at them, and still hope to get a chance, in order to absorb all the historical figures popping into the pictures. I think the bigger kids have had them in their bedrooms going over them.
Other children's picture book connoisseurs may recognize the illustrations by Robin Preiss Glasser. She did the illustrations for the historical picture books by Lynne Cheney, such as A is for America and A is for Abigail. She also does the Fancy Nancy books, of which we are great fans.
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