Artist to Artist

The title says it all in this anthology of inspirational letters written by 23 contemporary children’s-book illustrators to future artists. A multicultural group with amazingly diverse artistic styles, the featured illustrators are some of the best-known and celebrated in the genre, including Mitsumasa Anno, Quentin Blake, Nancy Ekholm Burkert, Eric Carle, Tomie de Paola, Steve Kellogg, Leo Lionni, Petra Mathers, Barry Moser, Jerry Pinkney, Alice Provensen, Maurice Sendak, Chris Van Allsburg, Genady Spirin, Rosemary Wells and Paul O. Zelinksy. Their diversity shines in the text of their letters, in which they share childhood stories, sources of inspiration, views on art, details of how they work and advice on becoming an artist. Opposite each illustrator’s letter, a nifty fold-out page presents a montage of “images, art, works-in-progress, photographs of studios and work spaces as well as each artist’s wonderful self-portrait.” Robert Sabuda and Matthew Reinhart’s collaborative self-portrait appropriately resides in one of their pop-ups. Fun to read and view, this anthology is a treasure trove of creative insight and inspiration. Perfect for libraries, art teachers, budding artists and fans of children’s-book illustration. —Kirkus, starred review

This anthology celebrates and elucidates contemporary picture-book art, particularly that which has been exhibited at the Eric Carle Museum. An introduction (and entry) is penned by Carle himself; an afterword from the museum director highlights the institution’s mission of nurturing young artists. Ashley Bryan, Quentin Blake, Leo Lionni, Alice Provensen, and Gennady Spirin are among the contributors, whose comments are formatted as signed letters, illustrated with childhood photographs. The missives speak of early stirrings of creativity, struggles with school, the importance of mentors, the joy of living a passion. Each artist includes glorious self-portraits and a gatefold page that reveals a marvelous array of sketches, color mixes, and studio scenes. All readers will find something that piques curiosity or provides insight: a page from Tomie dePaola’s first picture book (1965); Jerry Pinkney’s cowboy model and horse substitute; Paul Zelinsky’s sequential panels depicting the Renaissance-inspired technique used for Rapunzel and his portrait. While there is some overlap with Pat Cummings’s “Talking with Artists” series (S & S), there are no framing questions, so the illustrators ruminate freely. Sendak writes about finding “a space in the text so that the pictures can do the work.” Sabuda (whose portrait is a pop-up) envisions a “dance across the page.” Brief biographies and bibliographies conclude the title. A selective work, by nature, results in omissions, and there are some surprising absences. Yet, the end result is a gorgeous, browsable gallery of international treasures, with a behind-the-scenes tour led by the generous and gifted creators themselves. —School Library Journal

I’ve loved picture books since childhood, with early favorites including the illustrations of Beatrix Potter and N. C. Wyeth. Animal stories have always been irresistible to me. As an enthusiastic young artist, I even made preschool plans to make drawing my lifelong career. I used to create stories and illustrate them for my younger sisters, Patti and Martha. We called this activity “Telling Stories on Paper.” I’d sit between them with paper and a pencil, telling tales and sketching illustrations, passing them back and forth. I enjoyed these sessions immensely, often continuing until my sisters grew restless or were buried under paper.

I continued drawing through school and later attended the Rhode Island School of Design, majoring in illustration. I was particularly drawn to the few projects that involved creating picture books. A fellowship allowed me to spend my senior year studying in Florence, Italy, an exciting and enriching period that continues to inspire my work.

Upon returning to the United States, I pursued graduate studies and taught at American University. Simultaneously, I began submitting picture book ideas to publishers. The first acceptances were thrilling, marking the moment I could “tell stories on paper” full-time to a larger audience. I relished the challenge of creating these early books, guiding them through the publishing process, and seeing them enter the lives of readers. Twenty-five years and nearly ninety books later, I still find every aspect of this work absorbing and enjoyable.

During my picture book career, I’ve lived in an old farmhouse in Connecticut with my wife, Helen. We raised six stepchildren there, to whom most of my books are dedicated. Our home has also been shared with numerous dogs and cats, including Pinkerton, a harlequin Great Dane whose puppyhood antics inspired “Pinkerton, Behave!” The heroine of the sequel, “A Rose for Pinkerton,” was our senior cat, Secondhand Rose, an independent and wild-spirited feline who devoted her long life to teasing everyone, including Pinkerton.

The ideas for my other books stem from various sources, but many are rooted in feelings and images from my own childhood. I strive to blend illustrations and words so that each book is a feast for the eye and ear, aiming to make the reader’s experience enjoyable and encourage a lifelong appreciation for pictures, words, and books.

Steven Kellogg discusses the art of the picture book.

The picture book is an art form designed for children, but I believe it can be appreciated by all ages. It is part of a long tradition of illustrated books and manuscripts, representing a synthesis of literature and the visual arts, where the relationship between word and image is paramount. I am fascinated by how picture books borrow and combine elements from other art forms for striking effects. The turning of a page, for example, allows the illustrator to use surprise to advance the story’s narrative and create movement.

This item is eligible for free returns within 30 days of delivery. See our returns policy for further details.