Brain Pickings

Posts Tagged ‘art’

16 MAY, 2012

Little Bird: A Beautifully Minimalist Story of Belonging Lost and Found by Swiss Illustrator Albertine

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“There are no greater treasures than the little things.”

Children’s picture books — the best of them, at least — have this magical quality of speaking to young hearts with expressive simplicity, but also engaging grown-up minds with subtle reflections on the human condition. Such is the case of Little Bird (public library) by Swiss author-illustrator duo Germano Zullo and Albertine, published by the wonderful Enchanted Lion Books. Illustrated in Albertine’s signature style of soft, colorful minimalism, this little gem is like a beautiful silent film, only in vibrant hues and on paper.

It tells the tender story of a big-hearted man who halts his truck at a cliff’s edge. Unable to go any further, he opens the back door of his truck and a flock of birds spills out into the air, leaving behind a tiny, timid black bird. Surprised and delighted by the little loyalist, the man befriends the bird.

The two have lunch together and, eventually, the man tries to encourage the bird to fly off and join the others by attempting a comic demonstration of flight himself.

The humorous situation deepens the tenderness between the two creatures and soon the bird departs, the man drives away, and the story seems to end — but! — just as the truck trails off into the distance, we see the little black bird come back after it, followed by his colorful friends in a lyrical moment of belonging lost and found. “The small things are treasures,” writes Zullo. “True treasures.”

There are no greater treasures than the little things.

The entire story unfolds with few words and primary colors, but mesmerizes with its evocative honesty and gentle sophistication, inviting readers of all ages to look again and again as we rediscover our inner child’s gift for finding infinite beauty and curiosity in the little things.

A lovely quote from an e. e. cummings poem graces the first page:

may my heart always be open to little
birds who are the secrets of living

Korean designer Young-jun Kim created this charming animation based on the book:

UPDATE: Sadly, the Swiss publisher of the book (not Enchanted Lion Books, the U.S. publisher) has had the video removed. Remix culture still fares poorly in the old world…

Little Bird was originally written in French and translated by my brilliant friend Claudia Zoe Bedrick of Enchanted Lion Books.

Images courtesy of Enchanted Lion Books / Albertine

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15 MAY, 2012

I Saw a Peacock with a Fiery Tail: 17th-Century British “Trick” Poetry Meets Die-Cut Indian Folk Art

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Exquisite storytelling as exquisite artifact.

Rarely do I get this excited about the release of a book, but then again rarely does “book” fail to capture the artifactual whimsy and singular storytelling genius of a printed work so completely. From the team at Tara Books, who for the past 17 years have been giving voice to marginalized art and literature through a commune of artists, writers, and designers collaborating on remarkable handmade books, comes I Saw a Peacock with a Fiery Tail — a die-cut masterpiece two years in the making, based on a 17th-century British “trick” poem and illustrated in the signature Indian folk art style of the Gond tribe by Indian artist Ramsingh Urveti, who brought us the magnificent The Night Life of Trees.

Each line of the “trick verse” builds upon the previous one, flowing into a kind of rhythmic redundancy embodied in the physical structure of the book as each repeating line is printed only once, but appears on two pages by peeking through exquisitely die-cut holes that play on the stark black-and-white illustrations. Thus, if read page by page the way one would read a traditional book, the poem sounds spellbindingly surreal — but if read through the die-cuts, a beautiful and crisp story comes together.

Not unlike Jonathan Safran Foer’s Tree of Codes, a book once dubbed “unmakeable” by bookbinders, this project required a remarkable level of ingenuity to make the conceptual structure of the poem fit the physicality of the book as a storytelling artifact. Over on the Tara Books blog, Japanese-Brazilian RISD designer Jonathan Yamakami, responsible for the book design, recounts the challenges and the Eureka! moment:

From the very beginning the main challenge to me was: how do we create a book that presents both readings without actually printing the poem twice? A lot of different solutions were considered. I think [Tara Books founder] Gita Wolf was the one who hinted at the direction of die-cutting although was still open to other possibilities. Using transparent paper and printing with two colours was another suggestion, but there was an issue of cost and, more importantly, it just seemed too complex for a poem that was in itself so simple. After all, once you crack the puzzle that it holds, you can’t help but wonder how you could have missed it to begin with.

I Saw a Peacock with a Fiery Tail is unlike any book you’ve ever held in your hands and in your heart, and outcharms even the most impressive die-cut books of the past decade.

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14 MAY, 2012

René Magritte’s Little-Known Art Deco Sheet Music Covers from the 1920s

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From wallpaper to Golconda by way of Art Deco.

Belgian Surrealist artist René Magritte may have carved his place in art history as a master of mind-bending, advertising-influenced imagery at the intersection of aesthetics and philosophy, but he also had a little-known early commercial career like other subsequently famous artists, including Warhol. Young Magritte made rent by working as a draughtsman at a wallpaper factory and designing graphic ephemera, among which were some 40 sheet music covers he produced in the 1920s, nearly two decades before Alex Steinweiss invented the album cover as we know it today.

'Marche des Snobs,' sheet music cover (1924). 13 3/4x10 1/2 inches, 35x26 3/4 cm. J. Buyst, Brussels

'Arlita / Chanson Lumineuse,' sheet music cover (c. 1925). 13 1/4x10 1/2 inches, 33 1/2x26 3/4 cm.

'Mes Rêves,' sheet music cover. 1926. 13 1/2x10 1/2 inches, 34 1/4x26 3/4 cm. Éditions Musicales de l'Art Belge, Brussels.

'Le Tango des Aveux,' sheet music cover (1926), 13 3/4x10 1/2 inches, 35x26 3/4 cm. Éditions Musicales de l'Art Belge, Brussels.

Nuits D'Adie/Fox - Trot. Sheet music cover (1925), 13 3/4x10 1/4 inches, 35x26 cm. Éditions Musicales de l'Art Belge, Brussels.

'Un Rien … (Nothing),' sheet music cover (1925). 13 3/4x10 3/4 inches, 35x27 1/4 cm. Éditions Musicales de l'Art Belge, Brussels.

For more on the delightfully obscure nooks of art history, see Secret Lives of Great Artists: What Your Teachers Never Told You About Master Painters and Sculptors.

Hyperallergic

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