Dodd Research Center, University of Connecticut Library. Archives & Special Collections at the Thomas J. The changing borders – think of the page in which the trees take over Max’s bedroom – compel the reader to turn the pages.ĭummy for Where the Wild Things Are (1963), 26:9, The Maurice Sendak Collection. Appearing eight years after the first dummy, this one, square and slightly larger than the first, shows the evolution of the book’s characters and visual rhythm. The wild things do appear in his other surviving book dummy, which is entirely recognizable as an early stage of the finished book we now know. In fact, in 1955 he handily illustrated “ Charlotte and The White Horse,” a children’s book authored by Ruth Krauss, with whom he had a longstanding collaborative relationship.īut Sendak must have decided horses weren’t right for this story, and he took time to let his ideas percolate. So if he wanted to illustrate horses, he probably would have. But Sendak spent his life immersing himself in a variety of art styles, from romantic painters William Blake and Domenico Tiepolo to American cartoonist Winsor McCay.
In interviews, Sendak claimed that, when revising the story, he gave up on horses because he couldn’t draw them. Dummy for ‘Where the Wild Horses Are’ (1955), 26:9, The Maurice Sendak Collection.
0 kommentar(er)
