Problems of development of the art of illustrating children’s books (late 18th-early 20th century)

2020 ◽  
pp. 114-121
Author(s):  
E.A. Skorobogacheva ◽  
A.V. Soldatova
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Children's Books ◽  
Children’S Books

FEATURES OF COMPOSITION IN THE ART OF CHILDREN’S BOOKS BY ARTHUR RACKHAM

2020 ◽  
pp. 131-149
Author(s):  
Anna O. Bel'skaya ◽  
Keyword(s):  
20Th Century ◽  
Research Interest ◽  
Early 20Th Century ◽  
Children's Books ◽  
Art Nouveau ◽  
Children’S Books ◽  
Book Design ◽  
Book Illustration ◽  
Medieval Manuscripts

The article studies the book illustration by the English artist Arthur Rackham (1867–1939), the features of his work in the context of time and the experience that can be used in the process of teaching the book design and illustration. Here, research interest is focused on six main techniques that the artist actively used when illustrating in the children’s books in England in the late 19 – early 20th century. The name of A. Rackham and his graphics, are entirely associated with the English Art Nouveau. Having studied the graphic heritage of A. Rackham, on the example of his seven illustrations for children’s books, one can trace how A. Rackham’s creative credo was formed. The artist managed to move away from imitation of the English Victorian style, the Eastern and Western charts, medieval manuscripts and came to his own version of the Neo-Gothic in the art of the English book

Innovative cover design: an exploration of 19th- and early 20th-century publishers’ cloth bindings designs

2013 ◽  
Vol 38 (1) ◽  
pp. 5-11
Author(s):  
Frances Willis
Keyword(s):  
Social History ◽  
20Th Century ◽  
Early 20Th Century ◽  
Book Production ◽  
Children's Books ◽  
Children’S Books ◽  
Victorian Era ◽  
The Times ◽  
Cover Design ◽  
The Relationship

The Victoria and Albert Museum’s Renier Collection of Children’s Books provides a rich resource for research into book production as well as social history. Publishers’ cloth bindings have developed in a visually vibrant way that provides clues to the production dates of the books, as well as encouraging reflections on how they were marketed across the Victorian era and early 20th century. Questions also arise, such as, what was the relationship between the reader and cover? How did the cover designs reflect the times in which they were created? And, how different are our paperback era designs to those of the period when cloth was used?

scholarly journals Materiality in Bruno Munari’s book objects

2019 ◽  
Vol 8 (2) ◽  
pp. 359-379
Author(s):  
Marnie Campagnaro
Keyword(s):  
Children's Literature ◽  
20Th Century ◽  
Children’S Literature ◽  
Children's Books ◽  
Children’S Books ◽  
Construction Paper ◽  
Educational Potential ◽  
Do So

This paper reviews the primacy of materiality in Bruno Munari’s work based on the case study of two of his picturebooks. Bruno Munari was one of 20th-century Italy’s most eclectic figures. Over the course of his lengthy career as an artist and designer, Munari explored the field of materiality in children’s books with exceedingly favourable results. His picturebooks set a precedent in the field of children’s literature, and they are highly valued even today. Children are fascinated by the opportunity to organise the experience of reading more freely thanks to innovative graphic and typographic mechanisms that fully exploit the editorial potential of materials such as paper, construction paper, and cardboard, but also transparent or semi-transparent sheets of acetate film, wood, plastic, sponge, and so on. In this paper, I describe the exclusive relationship that Munari developed over the years with the book as an object in all its various components (text and paratext). To do so, I discuss two of Munari’s significant editorial projects, the picturebook entitled Nella notte buia [In the Dark of the Night] (1956) and I Prelibri [Prebooks] (1980). I analyse the ways in which the Milanese artist succeeded in exploiting all the communicative, aesthetic and educational potential of these books’ material dimension.

scholarly journals LARS SAABYE CHRISTENSEN. THE SIMPLE SYMMETRY OF THE TRIPLE JUMP

2018 ◽  
pp. 73-89
Author(s):  
T. Solovyova
Keyword(s):  
20Th Century ◽  
Historical Background ◽  
Children's Books ◽  
Children’S Books ◽  
Writing Style ◽  
Young Readers ◽  
Contemporary Author ◽  
Or History

The latest addition into Voprosy Literatury’s new section, ‘Only children’s books to read...’, this article by T. Solovyova takes a close look at works by the contemporary author L. S. Christensen, widely popular well beyond his native Norway. Christensen owes his fame to his deep yet unobtrusive psychologism, the ability to present children with a comprehensible picture of the story (or history, as his novels play out in a broad historical concept), as well as the motives and feelings of the characters. Such features of his writing style are displayed in his novels The Half Brother [Halvbroren] (2004), Chasm [Sluk] (2014), and Herman (2017), which combine stories about contemporary teenagers with an expansive historical background, familiarizing young readers with the major facts and tragedies of the 20th century. The critic analyses Christensen’s creative method, looking for mainstream elements typical of modern children’s books, as well as for the author’s unique touches.

scholarly journals Touristic and Chauvinistic Perspectives on the Arctic in the Italian Popular Press Some cases of literary and artistic reception, from the fin-de-siècle to the Fascist era

Nordlit ◽  
2008 ◽  
Vol 12 (1) ◽  
pp. 371
Author(s):  
Margherita D’Ayala Valva
Keyword(s):  
20Th Century ◽  
Fin De Siecle ◽  
The Arctic ◽  
Popular Press ◽  
Children's Books ◽  
Children’S Books ◽  
Political Implications ◽  
Fin De Siècle ◽  
Travel Writings ◽  
Literary Reception

In this paper, I will focus on non-scientific Italian perspectives on the Arctic at the beginning of the 20th century. Based on selected journalistic travel writings and on children's books and their pictorial and photographic illustrations, I will examine some illustrative instances of the Italian perception of the Great North during this era. More specifically, I will focus on the Duke of Abruzzi's Polar Expedition of 1900 and Umberto Nobile's expedition of 1928. These cases are of particular interest in terms of artistic and literary reception, popular imagery, and political implications.

scholarly journals Artistic and stylistic peculiarities of the graphic work of Petro Lapyn, illustrator of the children's books in the first third of the 20th century

2019 ◽  
pp. 193-199
Author(s):  
V. Pitenina
Keyword(s):  
20Th Century ◽  
Fairy Tale ◽  
Children's Books ◽  
Children’S Books ◽  
Artistic Process ◽  
Black And White ◽  
Children's Book ◽  
Publishing Houses ◽  
Characteristic Features ◽  
High Level

The beginning of the 20th century is a period of creative and printing experiments in the Ukrainian art. New generation of Ukrainian books was born in this period. The illustration of the children's books was a significant part of this process. Famous Ukrainian graphic artists, such as H. Narbut, M. Zhuk, O. Sudomora, V. Kononchuk, took part in the creation of a new Ukrainian children's book. Some little-known artists also worked with them, and their creativity was an important part of the artistic process. Petro Lapyn was one of those artists. From 1917 to 1929, he worked with the famous publishing houses, such as Vernyhora, Derzhavne Vydavnytstvo, Proliski, Knyhospilka and Rukh. Children's books, illustrated by P. Lapyn, are kept in the funds of the Pedagogical Museum of Ukraine, the National Library of Ukraine for Children, Ivan Fedorov Book Chamber of Ukraine and private collections. We have found about 30 of his projects. But the information about the artist himself and his life is quite limited. One of the first books he illustrated was the poem of S. Rudanskyi «Vovk, Sobaka ta Kit» («The Wolf, the Dog, and the Cat»), published in black and white in 1918. This early Petro Lapyn's work revealed his artistic outstanding peculiarities: vibrant linear drawing, harmonious combination of text and illustrations, variety of graphic techniques and skills in the representation of characteristic features. The high point of the artist's career is the illustration of «Crows and Owls», I. Franko’s fairy tale, printed in 1926 (Kharkiv, Rukh). It demonstrates the animalistic works of the artist. There are typical structural elements in fairy tale books: vignettes, drop caps. P. Lapyn uses decorative handwritten fonts and silhouette drawings for them. His graphic creations are full of emotions. Specific features of his work are: humour, emotionality, anthropomorphism, careful attitude towards literary material, and consistently high level of drawing.

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