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Format: Hardcover
ISBN-10: 0060248831
ISBN-13: 9780060248833
Nov 1995
Publisher: Harpercollins Childrens Books
Grade:
From 1 to 2
Language: English |
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Synopsis
Text and colorful oil paintings depict the life of a tree through the seasons of the year.
| Size | | Height: | 10.5 in | | Width: | 8.5 in | | Thickness: | 0.5 in | | Weight: | 13.6 oz |
Industry Reviews
Science and art appreciation join forces in this unusual variation on the theme of changing seasons. Accomplished oil paintings in a high romantic style show a single tree and its surroundings in transition in deep winter or at the peak of autumn, for example. Quasi-surrealistic scenes of clouds, birds and stars filling bare winter branches challenge the reader to imagine the tree interacting with the sky and its inhabitants, and to ponder the liberties representational artists may take. Accompanying text lightly points out incremental changes in atmosphere and their effects, and each image is paired also with a question or two directly addressing the reader (``Why does this painting make you feel sad? Is the tree dying?''; ``How does this painting capture the stillness of a snowy day?''). Written by Candace Christiansen, a chemistry teacher as well as a children's author, the questions and their answers (included in an illustrated epilogue) give a mildly scientific cast to basic lessons in understanding art. A modest introduction, but neither art nor science really blooms. Ages 5-9. (Sept.)
Bernstein
Gr 1-3 In his familiar lyrical style, Locker depicts the same tree throughout the seasons, but with a startling visual effect that will make readers sit up and take notice. After its leaves have dropped, the tree's bare branches are ``clothed'' in the same shape by being limned against clouds, holes in clouds, different skies, and even a flock of birds. The effect is as lovely as anything the artist has ever done. Each painting faces a brief appreciative caption printed in slightly enlarged type, plus a question designed to elicit responses to what viewers see (and further discussion in an appendix). However, some of the questions are leading (``Why does this painting make you feel sad?''), and the prose is less than careful: ``By the end of the day many leaves began to fall, first one and then another.'' Text and pictures do not always correlate either; despite reference to ``the weight of the heavy snow,'' the tree opposite ``Snows [sic] fell'' shows only a dusting. Though appealing in several ways Locker adds analytical comments about color and composition that are particularly illuminating the writing here is not up to the standard set by the art. John Peters, New York Public Library
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