A deserved celebration of a famous Tewa potter who elevated her craft to fine art.
Born around 1887, Maria Martinez became one of the greatest Native artists of all time.
This story of a young girl from San Ildefonso Pueblo, near Santa Fe, New Mexico, celebrates the strong sense of culture and identity the Tewa people have maintained through the centuries. Intrigued by her people’s traditions, young Maria would rather fashion clay pots than play with straw dolls, but every time she makes one, it breaks apart while drying in the sun. Seeing her niece’s dedication, her aunt teaches Maria how to mix the clay with volcanic ash and water before coiling it between her hands to bake in an open fire. What evolves from these lessons is a young child’s sense of pride in her cultural history as well as the rediscovery of a technique long forgotten by her people. From New York to San Francisco, Maria becomes famous for her signature pottery style, making her name synonymous with excellence and value in the pottery world. Aphelandra, who has Oneida heritage, paints with the hues of the Rio Grande’s turquoise waters, orange pottery fires, pink sandstone sunsets, and the obsidian black clay of Maria’s pots; the result is earthy and elemental, containing the spirit of the New Mexican landscape. The characters are depicted in their traditional Tewa clothing and hairstyles, encompassing multiple generations of the artists’ family in a way that strikes upon the legacy she both received and left behind.
A deserved celebration of a famous Tewa potter who elevated her craft to fine art. (biographical note, historical note, authors’ note, sources) (Picture book/biography. 4-8)Pub Date: April 1, 2021
ISBN: 978-0-8075-7599-4
Page Count: 32
Publisher: Whitman
Review Posted Online: Feb. 8, 2021
Kirkus Reviews Issue: March 1, 2021
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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