An evocative look at one woman’s gift for channeling her love of nature into art.
The female artist behind Louis Comfort Tiffany’s iconic lamps went unacknowledged for years.
Until Clara Driscoll’s letters to her family were found, no one knew that she was responsible for these creations. After studying art and design, Clara moved from her Ohio farm to New York City and was hired by glassmaker Louis Comfort Tiffany to work on his stained glass windows. He liked her “flair for glass” and put her in charge of the “Tiffany Girls,” a workshop of women artists, to whom she sometimes read nature poetry. She began designing lamps inspired by butterflies, flowers, and eventually dragonflies, with their lacy wings illuminated by lamplight. Louis liked the dragonfly lamp so much that he sent it to the World’s Fair in Paris, where it won a bronze medal. Clara was meticulous in her study of nature, “even pinning flowers upside down to discover how they fell,” which led to her famous wisteria lamp, with its “two thousand petals cascading from branches.” Paschkis’ folk-style illustrations powerfully evoke the puzzlelike shapes of Tiffany windows, with vibrant colors set inside thick black lines. A helpful author’s note details Clara’s artistic process for each lamp, which included making five designs (beginning with a watercolor rendition), carving the design into a wooden mold, and then cutting the pieces into glass.
An evocative look at one woman’s gift for channeling her love of nature into art. (more information on Tiffany lamps, a note about Clara’s letters, bibliography, sources for quotes) (Picture-book biography. 4-8)Pub Date: June 24, 2025
ISBN: 9781682636091
Page Count: 32
Publisher: Peachtree
Review Posted Online: today
Kirkus Reviews Issue: April 15, 2025
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A supplemental rather than introductory book on the great artist.
Frida Kahlo’s strong affection for and identification with animals form the lens through which readers view her life and work in this picture-book biography.
Each two-page spread introduces one or more of her pets, comparing her characteristics to theirs and adding biographical details. Confusingly for young readers, the beginning pages reference pets she owned as an adult, yet the illustrations and events referred to come from earlier in her life. Bonito the parrot perches in a tree overlooking young Frida and her family in her childhood home and pops up again later, just before the first mention of Diego Rivera. Granizo, the fawn, another pet from her adult years, is pictured beside a young Frida and her father along with a description of “her life as a little girl.” The author’s note adds important details about Kahlo’s life and her significance as an artist, as well as recommending specific paintings that feature her beloved animals. Expressive acrylic paintings expertly evoke Kahlo’s style and color palette. While young animal lovers will identify with her attachment to her pets and may enjoy learning about the Aztec origins of her Xolo dogs and the meaning of turkeys in ancient Mexico, the book may be of most interest to those who already have an interest in Kahlo’s life.
A supplemental rather than introductory book on the great artist. (Picture book/biography. 4-8)Pub Date: Sept. 5, 2017
ISBN: 978-0-7358-4269-4
Page Count: 40
Publisher: NorthSouth
Review Posted Online: June 18, 2017
Kirkus Reviews Issue: July 1, 2017
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A unique angle on a watershed moment in the civil rights era.
The New Orleans school child who famously broke the color line in 1960 while surrounded by federal marshals describes the early days of her experience from a 6-year-old’s perspective.
Bridges told her tale to younger children in 2009’s Ruby Bridges Goes to School, but here the sensibility is more personal, and the sometimes-shocking historical photos have been replaced by uplifting painted scenes. “I didn’t find out what being ‘the first’ really meant until the day I arrived at this new school,” she writes. Unfrightened by the crowd of “screaming white people” that greets her at the school’s door (she thinks it’s like Mardi Gras) but surprised to find herself the only child in her classroom, and even the entire building, she gradually realizes the significance of her act as (in Smith’s illustration) she compares a small personal photo to the all-White class photos posted on a bulletin board and sees the difference. As she reflects on her new understanding, symbolic scenes first depict other dark-skinned children marching into classes in her wake to friendly greetings from lighter-skinned classmates (“School is just school,” she sensibly concludes, “and kids are just kids”) and finally an image of the bright-eyed icon posed next to a soaring bridge of reconciliation. (This book was reviewed digitally.)
A unique angle on a watershed moment in the civil rights era. (author and illustrator notes, glossary) (Autobiographical picture book. 6-8)Pub Date: Sept. 6, 2022
ISBN: 978-1-338-75388-2
Page Count: 48
Publisher: Orchard/Scholastic
Review Posted Online: June 21, 2022
Kirkus Reviews Issue: July 15, 2022
PERSPECTIVES
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