DRAGONFLIES OF GLASS: The Story of Clara Driscoll and the Tiffany Girls

Born into the mid-nineteenth century, Clara Driscoll's grew into a family of secure means during an era in which women painting nature was a respected pastime. Clara honed her talent and examined the fragile beauty of nature in her back garden, but eventually followed her calling by attending art school in New York City with her sister. That respectable pursuit led her to the attention of Mr. Louis Comfort Tiffany, already a highly 

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BOOKS FOR YOUNG READERS

successful business owner and innovator in the  world of ART glass. The sisters were hired to work in the design department (only single women were allowed to work in public businesses at that time).

DRAGONFLIES of GLASS: The Story of Clara Driscoll and the Tiffany Girls is the nonfiction biographic profile of a lesser-credited artist whose iconic designs are among the most famous (and priceless) of all Tiffany glass objects. Clara led a team of women whose designs involved inspiration, sketches, refinement, and many stages of cutting, assembly, and monitoring throughout their creation. Written by Susan Goldman Rubin and illustrated  by Susanna Chapman, this account rises to a very high bar of capturing a complex life and exquisite illustration on the page.

The tools they used  were many, but the ultimate media were uniquely colored and textured sheets of glass. These works of glass art sheets both nspired and limited the ultimate results. From window panes to lamp shades, ranging from massive to diminutive, masterpieces were designed by "Tiffany Girls" under Clara's supervision and guided by her talent and leadership skills.

Abstractions and colorful patterns produced by the glass workers (all men) were impressive, but Clara developed original designs to use them, drawing her images from nature similar to the works she first created in her garden. Her most inspired lamp design featured dragonflies on a mosaic pedestal base. It was immediately requested by customers, but Mr. Tiffany also recognized it as worthy of wider recognition. Until that time, the only name assigned to any Tiffany works was "TIFFANY". But, in the case, this rare and original lamp was entered in an international design competition, and CLARA DRISCOLL was the name added to the Tiffany brand for the design.

If that sounds like I gave Clara's story away, think again. This account takes many twists and turns, and that only references the main text. Throughout the spreads there are also fine-print quotations from Clara and her family members, passages excerpted from more recently discovered troves of letters written throughout her career and life. With family spread across many states, the members used "round robin" letters. One sibling would write and send their news on to the next, who would read and add on, then send to another member until all had read the news and updates. In modern times it was like having a group text spread over many months. generations of descendants saved these letters, and their contents are superb examples of primary sources. These personal notes and Clara's non-artist life story spread throughout her sprawling family. The illustrator created a bottom-of-the-page visual scroll that lends humanity and emotional heft to the remarkably talented woman being portrayed. Back matter clarifies this and more details, including places Clara's work is displayed, photos from her life, and other resources to learn more.

For adult readers, Susan Vreeland has written a very comprehensive and well-researched work that shares even more about Clara, despite its fiction genre:  CLARA AND MR. TIFFANY (Random House, 2012). You can read an excerpt of that novel on Vreeland's website, HERE.

An Overdue Accounting: DAVE THE POTTER: Artist, Poet, Slave

 Some things are not given full credit because of ignorance. Others are not credited because of  oversight. Still others are intentional misrepresentations or denials. In this case, I haven't shared my love of this particular picture book, now fifteen years old. Reasons for that include that I didn't launch this  blog until a few years later. Just find and ask those who dealt with me in person before that launch and you will find many among them to whom I praised this glorious book. Though I struggle with naming favorites among the many books I love, this one would appear on my list of highly recommended picture books.

LITTLE, BROWN:
Books for Young Readers, 2010

DAVE THE POTTER: Artist, Poet, Slave is written by Laban Carrick Hill and illustrated by the incomparable Bryan Collier. It is a lyrical narrative and richly illustrated account of a documented man. One documentation of him would be on the property listings of the man who enslaved him.  David Drake, though he was not accounted for with the dignity of a full name in those listings. His pottery creations were notably desirable, in size and artistry and quality. So much so, in fact that his skill and art gave him a bit of protection for a bold choice. He  risked signing many of his works and inscribed lines of poetry in some, opening him to possible severe punishments for proof of his ability to read and write.

In fact, this Caldecott-honored book is only one of several that were published since this one drawing more contemporary attention to the fact that Dave's work was taken from him, in the sense that his labor and its products were as much "property" as he was of the man who claimed to own Dave.

This long-time favorite of mine (THERE, I said it. This is a FAVORITE!) was called to mind by a recent NPR report about a Boston museum returning their two stoneware jars created by Dave to his descendants. A brief (only four minutes) account of the gathering and celebration of DAVE and of identifying his family continuity can be heard on this NPR Morning Edition piece. I hope you will LISTEN, then consider reading this gorgeous book about a remarkable human. His voice and talent were not given credit during his lifetime, but they can be now. Don't overlook DAVE yet again. 

Following Dreams: TO SEE AN OWL

The picture books i feature here are among those I consider the best of the best. THere's no denying that my choices are highly subjective, despite reflecting years of objective comparison among other offerings for readers. A big factor in my subjective choices is subject matter, whether fiction or nonfiction, informational or inspiring. Or any combination of the above. As regular readers here might have noted, and I openly admit, books about birds get a head start on my heart. Though I seek to feature books with wide appeal, in recent weeks I wrote about THE CRANE AND THE KEEPER (HERE), and THE BLUE JAYS THAT GREW A FOREST (HERE). Both are nonfiction with accounts that intrigue and entertain. 

RANDOM HOUSE STUDIO, 2023

It's about time I give a round of applause to a picture book that flies in the face of categorization. There's no doubt it is informative, and it is as uplifting as a whoosh of bird flight. TO SEE AN OWL is written and illustrated by award-winning creator Matthew Cordell. That cover alone suggests the ironic parallels within this story, the push and pull of an avid and curious admirer of owls (she's the one on the right) and an elusive, evasive great horned owl. Their eyes tell the story, in a sense, suggesting that the expertise of each (the sought and the seeker) rely on careful and intentional observation in their pursuit of what they most want.

This lovely offering of facts about owls couches the scientific information within the story of a girl with a lifelong dream. It's clear that her mother is in large part responsible for this girl's obsession since infancy, through shared books and encouragement of her interest and art. It's no wonder that even when less-than-enthused, her mother  tirelessly trudges along on many  sojourns to spot an owl. I've mentioned Jane Yolen's powerful OWL MOON in prior posts about books featuring this not-rare obsession, as in this post. Many of those who attempt to produce owl-pursuit picture books share a visual aesthetic with OWL MOON, and that's to be expected. After all, owls are sought in the the dark, in wooded areas, and more than occasionally in snow-covered times. That's when the ringing WHOOO resonates most clearly, floating above a moon-luminous, blue-lit snowy field or path. The art is often watery-washed and magical in tone, simply because such an eventual meeting is, indeed, quite magical and unforgettable.

Cordell's style and technique emphasizes line art, as the cover reveals. Color serves the story but often leans toward the subdued natural tones seen here. That technique underscores the storytelling in this restrained but heartfelt account of a devoted and determined young girl whose teacher turns out to also be a birder. One who affirms that spotting an owl is magical.

That connection is a bond that increases the girl's knowledge, skills, and intentionality in her pursuits. When the time comes to share her report, she has not yet seen an owl, despite her increased expertise. But her field map and accurate recordings of other sightings leads to a comment from her teacher that sparks hope. And the ultimate moment of meeting (really? that's a spoiler? No, it had to happen.) is powerful and direct, uplifting and gratifying, but not in the usual 'dreamy" way.

This is what I loved most about this book.This realistic, earnest character who recognizes magic without special effects. I continue to refer to "the girl", even though she is central to the story. The first person narration allows readers to find themselves seeing what she sees, feeling what she feels, dreaming along with her of a lifelong goal. One that doesn't win a prize or prove a point, but allows her to satisfy her dream. From the pre-title page art and text to the final page turn, the subtle art, the warmth of adult support and faith, the drive to learn and discover combine to produce a fully satisfying conclusion. 

If you read this one and come away without at least an urge to go owl-spotting, leave a comment and explain, please. Perhaps, instead, you followed the dream-pursuit journey to the place in your heart that will take you on an entirely different journey, but with no less dedication to making your dream come true. That's magical. The magic of picture books for any age.

 

CHOOCH HELPED: Piling On with the Praise

LEVINE QUERIDO, 2024

This recommendation will be brief but utterly sincere. CHOOCH HELPED, written  by Andrea L. Rogers and illustrated by Rebecca Lee Kunz, is not only the 2025 Caldecott Medal Winner, it has been praised by the most noted reviewers, including stars from KIRKUS, SCHOOL LIBRARY JOURNAL, HORN BOOK, and a feature interview on NPR. 

It's pretty obvious that this book has no need for my support, and yet it is just too darn good to ignore. It offers so many things that matter, perhaps even more in our current social climate than ever. The universal quality of the story confirms it will become a modern classic: 

Older sister Sissy finds two-year-old brother Chooch to be unfairly indulged, especially when his well-intentioned helping inevitably makes things worse. 

When writers decide to tell a story, they are urged to look for something original. Once again, this is obviously NOT the first time that an annoying sibling story has made it onto the pages of a picture book. But the things that elevate this version of that familiar relationship are unique, organically incorporated, resonant with anyone and everyone, opening a door to a culture that reflects an age-old story within the little-told context of contemporary Cherokee life. It serves those for whom this is unfamiliar as well s those whose lives are so rarely presented  in the broader culture. 

 

From opening end pages to closing, within each and every integrated detail (dress ribbons, color choices, butterfly-bird-flower images, and daily tasks within scenes, the simplicity and specificity reveal so much about their lives, and our own. Throughout the text various Cherokee words are used (with subtext-pronunciation) allow readers to proceed smoothly through the story. 

Within that immersive experience, the richest moments, to me, involved Sissy yelling at Chooch, then having her parents yell at her that yelling was wrong! Wow, that's a universal experience. The resolves, between parents and Sissy, between Sissy and Chooch, are heartwarming and realistic. In fact, it's a fine mentor text for anyone hoping to take a universal story and make it distinctive and original. Memorable. Valuable over time. Priceless.

Back matter provides a page of simple directions for making an air-dried pinch pot, a page of glossary and Cherokee Syllabary examples, both author note and artist note, and page design backgrounds throughout that could become a case study for Cherokee art, symbols, and history. 

I said this would be brief. Not so much,  it seems. I also said it is sincere, and it is, utterly. My praise for this book is without limits, indeed. I hope that you'll check it out, share it, spend time with it, and talk about it with others. 

Featuring Fabulous NonFiction Titles from PHAIDON

Publishers sometimes offer an early view of new titles. When a publisher has produced reliably terrific titles in the past, my hopes are high. That's the case with four new offerings from PHAIDON PRESS (and Phaidon Kids) whose books I've reviewed HERE, HERE, HERE, and HERE. In each case the subject matter of those books was an iconic visual artist, from BANKSY to  dot-maestra Yayoi Kusama and more. Theirs are not the only picture books I've featured whose subjects are artists or art itself. But they especially impressed me with the ways in which they produced kid-friendly narrative, images, format, and quality that brought "high art" and artists' lives into the hands and hearts of the very young.

The list of new titles, though, is not about art and artists. Rather, they reflect a group of books focused on various aspects of our observable world. I explored those files eagerly and found them to be well-produced, with contents offering significant kid-appeal. I provide only a brief look at each below, but each merits your close examination. All provide the high quality production values of format, paper finish, vibrant colors and crisp images I've come to expect, with well-organized and appealing content organization. Each though, is quite distinct from the others.

PHAIDON PRESS, 2025

Up first is Superpowered Plants:Meet the Smartest, Strongest, and Sneakiest Plants is written by Soledad Romero Mariño and illustrated by Sonia Pulido. The introduction presents the premise that plant adaptations have made many "super" in their capacity to not only survive but thrive in wide-ranging conditions. Such an academic concept comes to life through vivid illustrations and page design throughout, which is better shown than explained (below). The choice of plants ranges around the world, and the traits/adaptaions featured rarely overlap, making each plant a new adventure to explore. Young readers (and their adults) will recognize many of these and become acquainted with some entirely new plant varieties. I expect many audiences may be eager for a trip to a local botanical gardens after adding this book, and will also be drawn to examine plants right outside their doors with new insights and attention. It's a bright and appealing offering.

Interior images, SUPER PLANTS, PHAIDON

Interior images, SUPER PLANTS, PHAIDON

 

From Baobab trees to prickly pairs to Titan Arum (the corpse plant) and more, you can see in the samples pages pictured above that key elements are 

highlig

PHAIDON PRESS, 2025

hted not only in text but with effective graphic design. The overall format includes a full text introduction, a colorful table of contents, and end pages that array the icon-emoji style circle images that occur throughout each spread and featured plant. Overall, kids will have fun and learn loads about individual plants, while gaining understanding of the processes of adaptation.

Next up is NATURE'S TINY CHAMPIONS: The Big Book of Little Creatures Doing Mighty Things, written by Ben Lerwill, illustrated by Nic Jones. Ranging from the familiar (honeybees and dung beetles) to eye-opening surprises (chocolate midge and water bear), each double spread is a well-designed presentation of visually informative and intriguing images with narrative and spot text, labels, and inserts that provide further information to be accessed at first reading or dipped into on re-reads of investigations later.

Again, the quality of design and content offers something for any age, but kids will pore over and tell others about their discoveries.

Interior spreads, NATURE'S TINY CREATURES, PHAIDON 2025

PHAIDON PRESS, 2025

A third upcoming title is about adaptations of another of Earth's natural inhabitants, humans! GET DRESSED! A historical Guessing Game For Fashion Lovers is written by Katy Canales and illustrated by Erin Vanessa. In this title each set of  spreads reveals a time period and locale in society (notably including global cultures). As in the books above, m the information is transmitted through a rich blend and balance of text (naraative, spot, and captioned) with illustrations (full scenes, insets, and icons/symbols). 

The patterns of each culture allow readers to extend individual elements of society and its roles across time and geography, revealing the universality of humanity. 

Interior Images, GET DRESSED! PHAIDON

None of these new titles is locked into a single structure or format, but al have been designed to suit the material and capture the audience effectively. These are not simple encyclopedic displays, but tell big-picture stories about how patterns of nature (including human nature) can be inferred and sometimes directly observed by those who take the time to slow down, notice, compare, and consider closely. I hope you'll do the same with these exciting new nonfiction picture books.

STILL LIFE: A Study in Quiet... and Artful Adventure

"Twas the night before Christmas and all; through the house, not a creature was stirring, not even a mouse."

Greenwillow Books, 2024

Wanna bet?
 

On this EVE of Christmas, Hannukah, and Kwanzaa, on these dark days of winter solstice, I seek "peace" and "stillness" in rare moments of calm and  deep reflection. STILL LIFE, written by Alex London and illustrated by Paul O. Zelinsky riffs on that theme and does so with insight and humor, for every age. Both are award-winning creators of works for young minds and eyes, and both have contributed those talents to this work of art, about works of art. And about LIFE, still or otherwise.

Big picture first, since the cover suggests an up-close perspective. It raises BIG questions, too. There is a painter involved, front and center, and a still life artwork.(For a full version of the intended masterpiece, check the back jacket cover.)

The front of the jacket cover indicates a potentially mischievous dragon who "enters the picture", breaking the frame, hinting at all sorts of imagined adventures that might ensue. In this case, dragon's "second point of view" emerges within the art. In real life, that "other" point of view is the audience. Once the artist declares "done", all control of the art is lost, and we make of it what we will. That interactivity of creation by the artist and creativity from the viewer takes on a special twist when the "other" emerges from within the painting. 

Much of the fascination for reader/viewers will lie in close examination of each page-turn variation within the painting as a distinctly alternative "not-at-all-still" story unfolds in contrasting cartoonish, bold-lined style involving characters we recognize from other picture book tales. You can guess, can't you? A princess, a dragon, mice, and more? The text, though, carries its weight by also setting up contrasting expectations:

"The candle does not flicker, glow, or drip.

There is a knife and a spoon, but no one to use them.

The coins in the purse will stay where they are."

That's an open invitation to examine these aspects closely, markers for pending change. When viewing actual still life art, I tend toward such details, wondering in what ways, for what reasons the artist assembled the objects to model for the work. What story did they have in mind about the people behind the places/times in which the display would have occurred? That state of inquiry is both deeply peaceful and imaginative. And it parallels the unfolding of this book. 

Not a spoiler, but some advice... 

Adults who share this with children might tend to examine the "still life" art most carefully, but lap-audiences and other young minds are going to quickly catch the unexpected shifts and appearances in the background of the easeled art. Somehow, mice, obviously stirring creatures,  appear and  make their way from outside the art to inside it, and thus the action/adventure is launched. 

I wondered about the magical creative thinking here: were the mice interacting with the actual modeled scene, with evidence of their actions somehow appearing within the art itself? But the actual illustrator, as always, provides subtle and delightful clues to that answer. Check the spreads for evidence that the "life" characters within the "still life" art are interacting on images painted on canvas. In fact, the adventure also breaks the frame of presumed expectations. It is the princess who runs to the rescue, and the note calling for help is not as simple as classical assumptions might suggest.

The surrealism and magical genre juxtapositions with classical images will have readers begging, "read it again!'. Perusing the overall visual complexity and detail, both evident and obscure, could occupy a quiet afternoon. Such examination will yield satisfying discoveries while, most likely, leaving many more specifics to find in the next encounter. Among those close-looks could be a side-by-side comparison of the before-and-after images using the back jacket and the final two spreads. 

I recommend this highly, as holiday gifts and throughout the year. Anyone who has ever enjoyed a "Where's Wally" title will dive into this with glee. Please urge them to read and savor the full story, first and foremost. More than that, fans of Zelinsky's other works will treasure the blend of elements of his classical mastery (Rapunzel, Rumplestiltskin), lively and complex cartoonish creations (Z Is For Moose), and his wry visual humor throughout, most especially when blending classical and comic styles, including speech bubbles (Awful Ogre's Awful Day). For more of my reflections on picture books by Zelinsky, type his name in the search box and sit back to enjoy!

BONUS INFO....

***Beneath the jacket cover, the hard case front and back (under the paper jacket) presents a visual tale of this lively and lovely book, one that reminds both artist and audience that art is in the eye and talent of the artist, but also the eye and imagination of the beholder. Finding a way "in" to the art we view allows access to creativity and imagination. It's an opportunity to treasure, as is this book.

Meet FLORINE STETTHEIMER... Artist Ahead of Her Time

Holiday House/NEAL PORTER BOOKS
2024

One artist ahead of her time was Florine Stettheimer, but then many artists are ahead of their times. I found, though, that this particular artist, previously unknown to me (despite my effort to be reasonably informed about artists of the twentieth century), was fascinating. A PARTY FOR FLORINE: FLORINE STETTHEIMER AND ME is the creation of another artist, author/illustrator Yevgenia Nayberg. 

The illustration style and the first person narrator are both an homage to Stettheimer and a reflection  of Nayberg's own artistic style. 

A short note in back reveals that even though an  accomplished and acclaimed artist such as she is, Nayberg found that Florine was a new experience and one she welcomed. 

In the text, a young girl sees a face, an image very much like herself, in a self-portrait by Stettheimer. The girl and the subject in the self-portrait were both artists, and the young observer commits to learning more. That storyline reveals Stettheimer's life story as shared within the remaining narration. 

Florine's life was one of means, one of intellectual pursuits, one surrounded by other remarkable women and intellectual discussions. When women were bound into corsets and equally so by social expectations and even demands, Florine had the luxury of expressing herself freely. She did so in her clothing choices and activities. Her art is expressionist in that there is realism in many elements and colors, but proportion, angle, position, and subject matter all reflect an almost dreamlike quality to her work. 

When I explored Nayberg's body of work, I detected many parallels in style, color, and perspective between their styles. That, too, must have been a bit of a startling recognition to the picture book creator. I particularly enjoyed learning in the author note that this unexpected introduction came to the artist as an adult, but the the story is well-crafted around the emotional journey of a young girl observer, who compares Florine's liberated, self-affirming life to her own young misery on gray rainy days and with nothing "exciting" happening to her. The line was never written but several of the girl's expressions called to mind a refrain any parent will recognize... "I'm bored!"

In fact, though, this narrator comes to realize her own agency, her ability to see the world around her through whatever lens invites creativity and joy and delight. Stettheimer proactively rejected the directives in her expensive art instructions from prestigious institutions and opted to interpret a recto-linear world with curves and tilts and graceful exaggeration. This is evident in examples you can view online. This recognition by the girl of her  own power removes the oppressive rainy filters and ignites joy. 

As much as this might feel like an adult-centric biography, the young narrator's emotional journey makes it well-suited to young readers, too. In fact, very young "artists" often ignore efforts to reproduce what they "see" on a page in favor of colorful, movement-infused, joyful art. Perhaps Florine's seemingly sophisticated talent was really her openness to expressing the world without rules, as children so often do. 

I urge you to take a look at this lovely new offering to meet Florine for yourselves. Please note that front and back endpapers reproduce the four pieces from her CATHEDRAL OF NEW YORK series, one she was working on until a few weeks before her death. The contagious joy they reveal invite you to join her at the party that was her life.

THE BOY WHO DREW BIRDS: A Story of John James Audubon

 I've been a lover, observer, and advocate of birds for as long as I can recall. I've always loved and appreciated the beauty and grace of their bodies, movements, and songs, assuming (wrongly) that they were part of everyone's lives and always would be. I've mentioned this in prior posts, HERE, HERE, HERE, HERE, HERE, and HERE. (Okay, there are more, but I've been doing this for a long time. Just type BIRDS in the search bar in the right menu and you'll find them.)

That's why Audubon has been a source of ambivalence for me. He's the John James Audubon who's the subject of this new picture book, and also the fellow whose art and field guides are iconic references for beginners through experts. His art is beyond critique from scientists and casual birders alike. His observational accuracy is consistent from depicting the creatures themselves to the extensive details he observed, recorded, and reported involving behavior, habitats, songs, nesting/eggs, and global patterns of migration. Plusses, every one of them.

But I learned early that he blended his truly "natural" observations in the wild with vast amounts of "specimen collection", then preserving and mounting creatures, posing them in the actions and settings he had observed earlier. This approach did, in fact, provide previously unavailable information to the broader public, inspiring hobbies of interest and scientific study. Even so, I was appalled about the deaths his study had caused. It was not until recent years that I also became aware of his lifelong slaveholding practices, which were conveniently never mentioned or assumed. Now, even official organizations are renaming their identities, not to erase him or deny his contributions but to honor the study and conservation of birds, including his role in the process, without retaining his name in their titles.

Houghton Mifflin Company, 2004

THE BOY WHO DREW BIRDS: A Story of John James Audubon is written by Jacqueline Davies and illustrated Melissa Sweet. This is not a new book, and it garnered awards and "best of" designations in many categories. That's not unusual for books by either of its creators, but this one certainly merits our attention even a few decades later.  A combination of factors called it to mind to share now: my new residence/office space allows me to observe my feeder space many more hours of the day, Audubon's public status continues to shift, and undeniable changes in climate are affecting patterns for bird migration and survival. This last factor means some of what Audubon recorded will, or already has, changed and newer resources are the most reliable.There are ever-growing numbers of hobby-birders of all ages and backgrounds relying on Audubon resources for their study. They remain reliable starting points. 

The straightforward but eloquent text reveals that young Audubon was raised in England by a bird/nature-loving father. In early adulthood, still called a boy, he was sent to live in America. He was obviously from a family of means, allowed to live without working by that benefit and the labor of enslaved people. That was not mentioned in the text, published in 2004. John James Audubon disdained school but immersed himself in nature, noticing, collecting, and sketching everything in his new environment. The text follows him  through those early years in which he developed his art and observational skills. His questions, field study, patience, and gentle experiments helped to answer centuries-old debates about patterns of migration and "wintering" of the millions of small birds on both continents. His simple experiment with banding baby phoebes (then known as peewees) provided irrefutable answers.

The illustrations are equally researched and rendered in a mix of collage simulation, sketches and painting. The assemblages are also informative in the relationships and labeling among objects included. The results on the page expand the informational content and also bring to life the thoroughness and depth of commitment of this man who grew to be the ultimate resource for everything involving birds. His status in that regard is solid, and remains breathtaking in many cases. The same can be said for the details of content of text and images. Author and illustrator notes are also helpful. It is a picture book that merits many close looks and rereads, and a fine example of alerting older readers to ways in which content changes over time by referencing the publication date and current concerns. It's an awareness that should be shared with young readers regarding nonfiction content and also publication dates in every subject area.

My own ambivalence about the man is unchanged, but I appreciate his obsession with nature, and birds in particular. His guides remain near my window and are a welcome gift to new birders. This picture book could be the start of a lifelong interest for young ones interested in art, nature, and especially birds!

March 31, but You Haven't Heard the Last of Women in History

 On these final two days of March I am reviewing nonfiction picture books about women in history- in the ARTS! Louise Borgeois was the subject of a post about rebel artists in the twentieth century in THIS POST, and AMY CHENEY BEACH is the subject of the picture book reviewed below. They are distinctly different books in writing and illustrations styles, even in intended audiences and purposes, and yet they are similar in an important way. Both celebrate women whose lives extended across many decades of unique and brilliant creativity and excellence in artistic fields. Certainly those who study visual art are highly informed about the art and impact of Bourgeois, and those who study classical music composition know the works of Amy Cheney Beach. Even so, neither is well known (if known at all) by the general public. WOMEN'S HISTORY MONTH ebbs away with ongoing attention to famous women leaders, often in fields of science, technology,  mathematics, etc. Artistic leaders of their time matter as much or more to history and culture.. Please share their picture books and other resources all year long.

Calkins Creek, 2023
Astra Publishing

PITCH PERFECT AND PERSISTENT: The Musical Debut of Amy Cheney Beach is written by Caitlin DeLems and illustrated by Alison Jay. What do you call a one-year-old girl who hums, perfectly and on pitch, forty-four different familiar tunes? A two-year-old who confidently sings out an anthem from start to finish, every word accurate, every note on pitch?

A child who identifies notes and chords by color and emotion?

Most would call her a prodigy, a phenom, at least a  gifted child who should be nurtured and allowed to create.

Not Amy's mother.

Mrs. Cheney was a music teacher who's piano playing was the source of Amy's repertoire, but the family's strong religious beliefs required that no one, especially children, should call attention to themselves. Despite the safe and simple life depicted on the page, despite a sense that the mother's denial of access to a keyboard was from loving concern, despite illustrations with rounded figures and soft edges and tones, despite a charming rustic setting, my heart ached for Amy. Those soothing elements do allow readers to recognize that rules and restrictions of a social/cultural preset can be stifling, but are pointless against a child with a singing heart and soaring spirit. A double-page spread makes it clear how childlike and self-directed Amy was, with nursery rhyme characters dancing across musical bars that suggest the alternative melodies she imagined for those familiar tunes, swirling through her mind and voice like the swallows who dip and flow across the skies.

This deeply and thoroughly researched biography unfolds in chronological order but ascends and dips across Amy's life, revealing opportunities and accolades followed by denials and departures imposed by family and conventions. Eventually a compromise within marriage to an older man allows her a range of activity through which she can pursue her deepest love- musical composition.

The groundbreaking, startling devotion of her life, and source of her ultimate acclaim, was classical composition. That talent, skill, and art is challenging in any time or situation, but it was unheard of for a WOMAN to compose serious music. Amy's work, in fact, developed fully orchestrated symphonies and beyond. After her husband died she was left independent with the means to travel and control her own life. Her immeasurable talent expanded even further, including  travel, performances, and appearances, leading to world renown within the realm of music. 

I found Amy to be as compelling to read about as she was compelled to produce and create music. That's saying a lot. Back matter in these nonfiction picture book biographies is often impressive and informative. This is no exception, but is every bit as impressive in the author's acknowledgement of the many experts who advised or otherwise assured that this seemingly simple picture book rises to a level of scholarly resource, from the main text and from the bibliography provided.

The ability for anyone, but especially for girls and women, to develop and sustain a vision of themselves, their inner resources, and their unique perspectives beyond the moats and gates and walls of cultural norms is necessary and requires intentional effort. Books like this one,  and this one, elevate "out of the box" thinking and self-determination beyond role models to beacons of hope and guiding lights.

LOUISE BOURGEOIS Made Giant Spiders and Wasn't Sorry

Here we are at the end of another "THEME MONTH": WOMEN'S HISTORY MONTH. My ongoing concern (rant?) about Theme Months is that the topics merit attention ALL YEAR LONG, year after year. Dedicating a month is worthy but risks ignoring the topic for eleven months of the year.

I also worry that the subjects dealt with often focus on familiar figures rather than using the theme to explore and expand lesser known or even untold stories. I began this month with reviews of two such women. If you missed that post, please click on the link and learn more about the inventor of dishwashers and a mathematician whose work made widespread electrification infrastructure possible (and safe).  Throughout the month I've included some "themed" posts and many that were far afield of the theme, because I intend to continue showcasing outstanding books about women throughout the year. 

Yet here we are with two days left in this month dedicated to sharing Women's History.  I will bookend my March posts with this review and one tomorrow, each of which astounded and informed me about women leaders in their fields who were entirely new to me.

Phaidon, 2023

LOUISE BOURGEOIS Made Giant Spiders and Wasn't Sorry is the latest in a series of picture books about groundbreaking artists by Fausto Gilberti. This title is one of Gilbert's series MY FIRST REBEL ARTIST picture books, from Phaidon For Kids. I reviewed some earlier titles HERE, HERE, and HERE. These share the title lines ...and Wasn't Sorry. For anyone who has drawn outside the lines, intentionally, for those who have looked at familiar things in new ways, and (perhaps especially) those who have never imagined such a rebel approach was possible, these books are as important as they are appealing.

In each earlier case I had been familiar with the artists and their works before reading. In the case of Bourgeois and her giant spiders, I knew of her massive but fragile-looking sculptures but not about much of her other body of work. I had never investigated the artist.                

Louise Bourgeois was born into a talented and loving family, in a rural setting filled with animals who seemed like people to Louise. She was NOT afraid of spiders. These illustrations portray her using stark black-line, silhouette-style images on white background. This allows readers to see her as  a very "spidery" girl, quite literally on one spread. Facts about the way her mother affectionately tickled her head (as if with little spider-leg fingers) and wove/repaired priceless tapestries with uncanny talent made me think this factual tale could inspire a magical one in which a spider is turned to a human and spawns a girl-child who lives in pursuit of finding her true identity. 

And yet this book and the others in the series are firmly anchored in factual content, revealed in both text and images that spin webs of fascination and fondness. Louise's early and ongoing trademark in creating visual art featured two- and three-dimensional pieces that exaggerated/distorted/reoriented reality. She experienced some attention throughout her life, but now her works are treasured among museums across the globe. Even so, at the grand age of 87 she chose to sculpt a spider. An enormous construction of metal and marble that stood many stories tall. A first creation of its kind with the suitable title of MAMAN (French for mother). This, the largest of her many spider sculptures, was duplicated in bronze six times. Those extraordinary spiders demand an outdoor space, and they stand outside the entryways of major art museums.                                        

Louise pursued the artistry of her parents at an early age, learning their techniques, adapting and exploring new applications, and continuing to innovate until the end of her life. In the last years of her work, Louise created woven art out of old clothing and linens. Her success did not arrive early, but her imagination and creativity led to objects and art that astound, producing an impressive body of work that eventually gained attention in sold-out exhibitions. 

The books in this series are a tribute to the artistry and design skills of the author/illustrator, Gilberti. From cover to cover, from end pages to interiors, each incorporates examples of the featured artists best known and some lesser known works, but also reveals the human stories and relationships that had inspired (or created mysteries about) their iconic works. Older readers will find mentor text and intriguing details within the text and back matter, while even youngest audiences will thrill at spotting the tiny (and not so tiny) appearances of spiders throughout the pages. Each of the titles in this series sparks an impulse to "try that", to put hands onto media nd see what might emerge. 

Just as other well-known and hidden figures in women's history are likely to encourage investigation into studies and careers in fields typically controlled/dominated by males, this woman in (art) history deserves our attention during March and throughout the year. And that sentence is intended for adult readers, too!  

"Cancel Culture" in the World of ART: MARCEL's MASTERPIECE

 The JEWISH MUSEUM OF MILWAUKEE is currently showcasing an exhibit that will never be seen again after it closes. Pieces have been collected/borrowed from local/regional private  owners and will be returned to those folks at the end of the exhibit. If the dangerous and widely used contemporary phrase, CANCEL CULTURE, bothers or confuses you in the least, I urge you to visit this exhibit while it stands to learn from what has happened in the past. 

Globally, a disruptive art movement was intentionally named the nonsense word DADA, This movement originated in Europe but affected artists across the world in the years 1916-1923, wrapping its challenging ideas around the chaos and fears of WWI and the Pandemic of 1917-1919. It poses the question "WHAT IS ART?" and usually involves intentionally non-representational collages using entirely real pop cultures images, news, and other elements. In isolation, each element could tell an individual story, but together the art offers new interpretations when arranged and displayed contrary to expectations. 

The disruption of norms that Dadaism intended and achieved was the antithesis of the emerging Nazi political and cultural power block in Germany and beyond. Dadaism invites rethinking traditional art, assumptions, and depictions while demanding individual thought. That was viewed as threatening to the uniformity and compliance necessary for a successful Third Reich. Thus, all Dada art, modern art, impressionism were actively condemned as "DEGENERATE ART". The works themselves and their creators were challenged as enemies of the people. Cancel culture taken to the ultimate, sometimes murderous, extreme.

Why does this information matter in a blog about pictures books? Because my premise in launching and continuing this blog is that many picture books serve to inform, challenge, and entertain all ages. In this case, a biographic/profile picture book that was among the nominees for Cybils Awards in nonfiction is an extraordinary example of such a picture book that kids will love and also provides older readers with history and food for thought.

Henry Holt & Company, 2022

MARCEL'S MASTERPIECE: How a Toilet Shaped the History of Art is written and illustrated by Jeff Mack.It's the story of how a young Marcel Duchamp set out to challenge the way art was defined, viewed, discussed, and evaluated. Mack explores both Marcel's life and Dadaism itself using the characteristic collage style of much of Dada art, combining hostage-note-style text clips with drawings, photo clips, and more. Those who embrace messages shaved into hair may be surprised to know that Marcel launched that approach with a star shaved into the back of his head a century ago.

This story features his attempt to bring Dada discussions to America, scouring New York City for a TOILET. Eventually he recognized the perfect piece for his next project in the "toilet store" (yes, you read that right). A particular URINAL offered just the object he desired. He examined it, considered it, and ultimately turned it upside down, signed it R.Mutt 1917, and labeled it FOUNTAIN.

The language within Mack's text is flush with humorous puns, and Marcel's cartoon-style face is perpetually upbeat and lighthearted. He found a clever way to display his FOUNTAIN in a "Fancy Art Show", which spawned criticism and canceling (surrounding it by a screen, trying to keep it out of the news). The more it was denied a place, the more it sparked conversation and heated debates. It was eventually thrown out as trash. Yet Marcel was thrilled with the results, because it led people to think about, talk about, have opinions about ART. Dadaism continues to do that today.

In a few pages following the story of this event in New York City, Mack describes more of Duchamp's choices, art pieces, and the impact of Dadaism on the art world and on people across time. Duchamp's choices involved performance art, like dressing as an alter ego to provoke changed behaviors in those he encountered. The extent to which he and others accomplished their goal continues today, when those (you?) who view art exhibits know you are free to have varied opinions, to even insist that certain pieces are or are not ART. His central question was: WHO GETS TO DECIDE WHAT IS ART?  with the corollary: "Anything is ART if an artists says it is."

As noted in the introduction above, such radically individual insights could undermine the guided and regimented mindsets that eventually formed the foundation of NAZI-ism in the 1930s to the end of WWII. It was this unquestioning approach to every bureaucratic and political decision that girded decisions leading to mass murders and concentration camps, the Holocaust. The Nazi government's anti-DEGENERATIVE ART  movement years before that was a propaganda training ground for turning the German population into practices of compliance and commitment to single-mindedness. 

You may not make it to the exhibit (although I hope those who can will do so), but everyone can enjoy this colorful, informative,  and appealing picture book. I urge you to share it with kids and adults and witness for yourself the variety and intensity of reactions it evokes. Then ask yourselves if such differences and debates aren't more valuable than the most expensive art. Aren't we all a richer community by airing our opinions civilly than we are by demanding exclusion and conformity? Hold that thought, and share that thinking when fearful members of your own community attempt to demand social or governmental uniformity and censorship of anything that reflects differences.

IN EVERY LIFE: A Picture Book that Is Worth the Wait

I'm among countless folks in proclaiming my admiration for the creations of MARLA FRAZEE. I'll nudge my way to the front of that crowd, if necessary, to add my opinion that her work is among the most inspiring and heartwarming of any contemporary artist, whether she is illustrating the work of others (as in ALL THE WORLD), or creating her own stories (as in THE FARMER AND THE CLOWN and its companion titles). These are only some of her many works that deserved and won multiple awards. In other words, she sets a high bar for excellence in each creation.This latest work surpasses that standard.

Beach Lane Books, 2023

After prerelease raves caught my attention, I had to wait through a lengthy "hold" line at my library, but it was finally my turn. Now that I've had my hands and eyes and ears on IN EVERY LIFE, written and illustrated by this enormously talented woman, it was worth the wait. 

Some of those advance raves included starred reviews from SCHOOL LIBRARY JOURNAL ("The combination of the spiritual words and the prosaic moments alternating with grand panoramas bestows a magnitude to the minutiae of the everyday."), PUBLISHERS WEEKLY ("A rich trove of moving images lets Frazee range over an expansive constellation of human experiences, offering fodder to explore and discuss."), and KIRKUS REVIEWS ("This lyrical blessing of a picture book belongs on every shelf.").

Frazee's self-imposed high bar becomes clear in a background note on the dedication page (to her first grandchild). In it, Frazee relates that although the gist of the text is rooted in a Jewish blessing, she first heard it in an Episcopal church in 1998. With the immediate thought that this would make a fine picture book, she struggled to find her way into the text and images to fully capture the power of the emotions and relationships she had felt. In an interview with Roger Sutton of THE HORN BOOK (HERE) she expands on that quarter-of-a-century process, her struggles and insights and revisions that eventually led to this remarkable work of art. 

Ultimately, she took a distinctly bold approach, especially for a seasoned picture book creator. She chose to avoid the expected compelling page turn in favor of an oversized production featuring both the call and response phrasing of each statement on the two sides of a double page spread. This allows the artist to provide nine-to-ten vignettes below the statement in the full text. This approach also invites readers to spend time examining and entering each small story, each experience and relationship pictured. The rich range of characters, settings, relationships, and emotional implications allows anyone and everyone to find themselves within at least some of the situations, and also expand their awareness and empathy for some that are outside personal experiences. When eyes and hearts are fully satisfied on a given spread, the page turn reveals a wordless, edge-to-edge scene in which the characters recede into the foreground within an awe-inspiring view that celebrates the wider world, especially nature. Although the stated target ages are 3-6 years, this is a book for all ages, offering blessings of every kind to anyone who identifies as human. 

The luminous cover is from an interior spread, with each sequence using tones ranging from glowing to intense to reflect the life pattern that is expressed in that text. The opening statement is a natural beginning:

"In every birth... there is a blessing."

The final statement is a natural coda, not about death but about the greatest of truths:

"In every life  ...  blessed is the love."

The opening and closing art mirror swirls of energy and life, with the initial page an amorphous, glowingly galactic suggestion of possibility, and the final page reflecting similar colors with spiraling blossoms, symbols of life. IN EVERY LIFE is a genuine pleasure to hold, read, explore, and share. 

I'm someone who is a fan of many things even though I am reluctant to name favorites among them, including picture books in general. That is also true among a single author's or artist's work, since each shines within its own constellation of qualities. In the case of Frazee, though, I've long held the thought that ALL THE WORLD would, forever, be her crowning  achievement. Perhaps, though, especially over repeated readings of this wonder, she has created a contender for that status.

Don't let another day pass without making every effort to take a look at this book in person. I'll be returning my library copy soon to shorten the hold line, but only because I intend to purchase copies for myself and as gifts.

DOT, DOT, POLKA DOT: Board Book with Layers of Colorful Fun!

Who doesn't love polka dots?  I can't be alone in finding that dotted fabrics, walls, boots, and BOOKS make me smile. Artists like Yayoi Kusama have made polka dots their signature motif, reviewed HERE. A recent board book offering is a delightfully appealing introduction to polka dots and other patterns for the youngest audiences, but is equally appealing to this NOT youngest reader!

POPW! Kids Books, 2023

DOT, DOT, POLKA DOT is a colorful, sturdy board book written and illustrated by graphic designer Morissa Rubin. She explores, page turn by turn, familiar and global/cultural patterns of nature and fabrics with lively text, bold images, and an edge accumulation of swatches that foreshadows a gratifying ending. The opening/title turn that features dots is followed by efficient and enticing text and image-rich examples of stripes, plaid, calico, argyle, kente cloth, kawung fruit, gingham, uroko triangles, paisleys, molas, and tie-dyes. 

This is a feast for the eyes and ears, sparking curiosity and providing vocabulary to recognize and label the many patterns that are human-made as well as identifying those in our lived environment. There are just enough hints within the minimal text to suggest ways that little (or bigger) hands might make patterns using stamps, bits, even collage techniques to make this a must-have addition for those teaching/leading art and craft groups of any age. 

Each pattern is represented by a small square fabric swatch, which caught my eye immediately, since I'm a lifelong fan of quilts. (This is evident in prior posts celebrating quilts  HERE, HERE, and HERE.))These swatches accumulate along one edge of each double spread, reminding me of ways in which quilters scatter, shift, and adjust their layouts, savoring the interactions of color and pattern with an eye to making the whole greater than the sum of the parts. "Separate pieces come together" is the next-to-last turn in which thread begins to attach one swatch to the next on a background featuring many of the patterns introduced. The final spread celebrates them all when the line-drawn character is tucked under a patchwork quilt, topped by a snuggling calico cat, with polka-dotted boots and hat safely stowed nearby. 

I particularly appreciated the global/cultural inclusion and celebration of patterns, as well as the richly robust vocabulary. This book is likely to find fans throughout the day and at bedtime, providing young ears with repetitive familiarity and context for words to describe their own worlds. While many board books are worthy sources for developing language and concepts related to color and shape, this is a rich source that embeds endless opportunities for such language. it's a treasure chest of entertainment and development for families, libraries, early childhood groups, and those seeking support for English language learning and/or speech/language development. It is even a great choice for dedicated (or beginning) quilters who could well display it as a table-top book of sorts or share with younger family members. Other ideas? Please share them in comments. It has been a while since I lost myself for hours in the fabric aisles, but this book just might lead me back there soon!

(Side note: Board books can be glorious yet constructed in such a way that they are soon damaged by the little hands that clutch them. POW Books seems aware of this and produced a durable physical book that should survive many readings and explorations, which this book invites.)

A copy of this book was provided by the publisher with no promise of a review.