Nature in Art

From School Library Journal
Grade 3-6-- The ingredients for each two-page ``chapter'' include one or two reproductions of artifacts from the world's museums; several paragraphs commenting on them in some way; a : few lines of instructions for making something related to the reproductions (e.g. a potato print in the essay on block prints); and, most frequently, illustrations of some examples of things made by one of three staff artists. Sometimes insipid questions are also included, e.g. ``Can you see the huge pile of crayfish ready to eat sic?'' If the reproductions were larger, some basis for appreciative study might be claimed. Or if considerably more detailed instructions were included there might be a case made for the books as ``how-to's.'' Or if the handful of artists' biographies (not a single woman in the lot) were longer than 70 or so words, there might be reason to consider these of some historical value. As is, each volume is a hodgepodge of pictures chosen for no apparent reasons with comments focused on the stories behind the pictures or information to be exploited for the eventual activities. The page designs, while crowded, do not confuse; the reproductions, however, are a bit muddy. Overall, the superficiality of the texts and the impression that the significance of art is to provide inspiration for children's thing-making make these books of questionable value. --Kenneth Marantz, Art Education Department, Ohio State University, ColumbusCopyright 1992 Reed Business Information, Inc.

From Kirkus Reviews
One of four initial entries in the ``Millbrook Arts Library,'' a visually attractive series that combines reproductions of art from a wide variety of sources with a simple commentary designed to introduce many styles, materials, and subjects and to start young people on their own artistic endeavors. Here, nature provides not only subjects for realistic paintings but a source of textures, patterns, and designs for more imaginative styles, and even materials such as pigments. Peppin's text is brief and somewhat condescending, with textbook- style questions addressed to the reader. Captions could have been more complete--why not label the cochineal and vermilion? Which is which? And dates for the art would help put it in context. (Dates for the artists appear in the index, but few children will happen on them there.) The suggested projects are well integrated, but many will find the sample artwork dauntingly professional. Best are the splendid connections drawn among well- chosen works of art from many cultures and eras. Other volumes issued simultaneously are Peppin's People in Art and Places in Art, and Helen Williams's Stories in Art. The latter--with its substantial detail concerning content, iconography, and mood (plus an informative double spread on restoration)--is the strongest in a somewhat uneven but generally commendable series. Brief biographies of selected artists; index. (Nonfiction. 8-12) -- Copyright ©1992, Kirkus Associates, LP. All rights reserved.

Card catalog description
Examines how various artists depict different parts of nature in their work and describes some of the techniques used.


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Gr 3-6-- The ingredients for each two-page ``chapter'' include one or two reproductions of artifacts from the world's museums; several paragraphs commenting on them in some way; a : few lines of instructions for making something related to the reproductions (e.g. a potato print in the essay on block prints); and, most frequently, illustrations of some examples of things made by one of three staff artists. Sometimes insipid questions are also included, e.g. ``Can you see the huge pile of crayfish ready to eat sic?'' If the reproductions were larger, some basis for appreciative study might be claimed. Or if considerably more detailed instructions were included there might be a case made for the books as ``how-to's.'' Or if the handful of artists' biographies (not a single woman in the lot) were longer than 70 or so words, there might be reason to consider these of some historical value. As is, each volume is a hodgepodge of pictures chosen for no apparent reasons with comments focused on the stories behind the pictures or information to be exploited for the eventual activities. The page designs, while crowded, do not confuse; the reproductions, however, are a bit muddy. Overall, the superficiality of the texts and the impression that the significance of art is to provide inspiration for children's thing-making make these books of questionable value. --Kenneth Marantz, Art Education Department, Ohio State University, Columbus


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