Bursting with color and panache, Hopman’s double portrait of Givenchy and Hepburn lovingly captures one of the 20th...
A lavishly illustrated window into how fashion drew Audrey Hepburn and Hubert de Givenchy together.
In this Dutch import, Hopman explores the fabulously symbiotic relationship of Belgian-born movie star Audrey Hepburn and French couturier Hubert de Givenchy. These gifted contemporaries first met in the early 1950s, when Hepburn sought out Givenchy, desperate for more attractive costumes for her second film, Sabrina. Hopman here glosses their similarly privileged European upbringings, focusing instead on how Givenchy’s white-hot aesthetic, which was setting Paris ablaze, appealed to Hepburn’s sense of style and contributed to the spare elegance that helped make her into a 20th-century fashion icon. Hopman showcases the lifelong relationship that blossomed between the two artists, with De Clercq-Foley’s serviceable translation revealing that Audrey “always wore Hubert’s clothes. Even when she baked chocolate cake.” Though the type layout in the book’s opening pages makes the initial parallel narratives of these budding superstars somewhat hard to follow, Hopman’s vivid, richly detailed mixed-media illustrations render the text almost superfluous. Givenchy’s signature designs, including a hot-pink, double-page spread of Hepburn’s ubiquitous Breakfast at Tiffany’s black dress, leap from Hopman’s page with verve and humor.
Bursting with color and panache, Hopman’s double portrait of Givenchy and Hepburn lovingly captures one of the 20th century’s most beautiful friendships. (Picture book/biography. 4-8)Pub Date: Jan. 2, 2018
ISBN: 978-0-7358-4314-1
Page Count: 32
Publisher: NorthSouth
Review Posted Online: Sept. 30, 2017
Kirkus Reviews Issue: Oct. 15, 2017
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Bridges Goes to School, but here the sensibility is more personal, and the sometimes-shocking historical photos have been replaced by uplifting painted scenes.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
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
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