Not a complete biography of a painter but a noteworthy study of his most famous genre.
A handsome exploration of an artist’s love affair with ballet.
Rubin returns to a much-loved topic almost two decades after her earlier Degas and the Dance (2002). She describes the artist’s preference for painting in a studio as opposed to his fellow impressionists, who loved the outdoor light. How he observed the ballerinas of the Paris Opera Ballet and how he posed them are carefully explained. Rubin also pays particular attention to the various media that Degas employed, from oils to pastels to chalk. She includes information about his failing eyesight and the sculptures he created late in life. A profusion of reproductions, many full-page and all full-color (except when the originals are not), showcases the beautiful attention to detail that Degas cared about so deeply. His dancers are caught in the moment as they adjust their costumes, rehearse, or execute a step, and thoughtful captioning provides helpful interpretation. While ballet lovers will enjoy this glimpse into a 19th-century world (one painting includes Jules Perrot, a noted choreographer), art students will learn much from the exploration of techniques that Degas employed. The inclusion of two glossaries, of art terms and of ballet terms, highlights the book’s balance.
Not a complete biography of a painter but a noteworthy study of his most famous genre. (author’s note, notes, where to see artworks by Degas, bibliography) (Biography. 9-12)Pub Date: April 16, 2019
ISBN: 978-1-4197-2843-3
Page Count: 64
Publisher: Abrams
Review Posted Online: Feb. 5, 2019
Kirkus Reviews Issue: March 1, 2019
A stereotype about people with disabilities is shattered by this introduction to a dance company known as Dancing Wheels, a group composed of “sit down” and “stand-up” dancers. The story begins with Mary Fletcher-Verdi, born with spina bifida, a condition that causes weakness in the legs and spine. Mary always wanted to dance, and, encouraged by a family who focused on what she could do rather than what she couldn’t, she studied the art and eventually formed a mixed company, some who dance on their legs, and some who dance in wheelchairs. What she accomplished can be seen in this photo journal of the group’s dance workshop in which beginners and experienced dancers study and rehearse. Along the way, McMahon (One Belfast Boy, 1999, etc.) intersperses the history of the group, some details about the dancers, their families, and the rehearsal process that leads up to the final performance. Three children are featured, Jenny a wheelchair dancer, Devin, her stand-up partner, and Sabatino, the young son of Mary’s partner. The focus on these youngsters gives the reader a sense of their personalities and their lives with their families. Godt’s (Listen for the Bus, not reviewed, etc.) color photographs detail every aspect of the story and show the dancers at home and in rehearsal, interacting with each other, having fun, and finally performaning. They convey the dancer’s sense of joy as well as the commitment to the dance as an art form felt by the adult directors and teachers. An excellent book for helping children and adults expand their understanding about the abilities of the “disabled.” (Nonfiction. 7-12)
Pub Date: Sept. 1, 2000
ISBN: 0-395-88889-1
Page Count: 48
Publisher: Houghton Mifflin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2000
BOOK REVIEW
BOOK REVIEW
In no particular order and using no set criteria for his selections, veteran sportscaster Berman pays tribute to an arbitrary gallery of baseball stars—all familiar names and, except for the Yankees’ Alex Rodriguez, retired from play for decades. Repeatedly taking the stance that statistics are just numbers but then reeling off batting averages, home-run totals, wins (for pitchers) and other data as evidence of greatness, he offers career highlights in a folksy narrative surrounded by photos, side comments and baseball-card–style notes in side boxes. Readers had best come to this with some prior knowledge, since he casually drops terms like “slugging percentage,” “dead ball era” and “barnstorming” without explanation and also presents a notably superficial picture of baseball’s history—placing the sport’s “first half-century” almost entirely in the 1900s, for instance, and condescendingly noting that Jackie Robinson’s skill led Branch Rickey to decide that he “was worthy of becoming the first black player to play in the majors.” The awesome feats of Ruth, Mantle, the Gibsons Bob and Josh, Hank Aaron, Ty Cobb and the rest are always worth a recap—but this one’s strictly minor league. (Nonfiction. 10-12)
Pub Date: Sept. 7, 2010
ISBN: 978-1-4022-3886-4
Page Count: 138
Publisher: Sourcebooks Jabberwocky
Review Posted Online: Aug. 2, 2010
Kirkus Reviews Issue: Aug. 1, 2010
BOOK REVIEW
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