Kiefer+(1995)

Kaifer, B.Z. (1995). The Potential of Picture books (pp. 115-142). Englewood, NJ: Merrill. Chapter 6 on “Style in Picture books: A Theory of Criticism” discusses the value of picture books in a reader’s life. The theory enables us to realize the potential, beauty, art, and the transcending quality a picture book provides to its readers. A picture book is not only a work of art, ihas didactic purpose of educating and entertaining, but it also helps readers transcend from ignorance to knowledge. The chief objective of this art form that involves both illustration and text is to facilitate the co-construction of meaning. Given the lay man’s understanding that a picture book is for children or juvenile readers, it is important to deconstruct the myths surrounding picture books and understand the relationship between the reader’s age and ability to make sense of the illustrations and text and vice versa in a picture book. Picture books help artists to recreate the culture and represent the people using semiotics. Technology has transformed the way we look at archeological depictions such as cave paintings in a different light. With the appearance of such art in books these days, picture books seem to inform the readers through images rather than mere text. These books juxtapose two different code systems – visual and verbal. According to Sadler (1992, quotes in kaifer, 1995), picture books focus on children’s literature and such books are analyzed to help people transcend a text and not just examine art. Objections to using picture books in literature have been to do with the stylistic aspects involved in creating a picture book. These aspects include Impressionism, Expressionism, and Surrealism. This use of different styles alludes to the fact that illustrations and painting go hand in hand. Hence, children trained to read illustrations may be able to extrapolate the knowledge/skill to read painting later on in life (Kaifer, 1995). “The Mountains of Tibet” by Gerstein uses circles to signify the eternal quality of life. In order for the reader to make sense of the shape in this particular picture book, he/she needs to understand the philosophical importance of a circle in the Tibetan culture because a circle may just be a geometrical share in other cultures. The Mandala (specialized circular designs created using color sand) in the Tibetan culture represents the cosmic relationship between man and nature. It also represents the inner and outside forces that influence man. Hence, it becomes the obligation of the illustrator or the script writer to include a note about the significance of the principles of art used for a specific purpose like the circle in Gerstein’s book. Kiefer discusses Gerstein’s //The Mountains of Tibet// to help us understand the historical and cultural conventions that Novitz discusses in the article. In this picture book, the artist uses circles to signify permanence. I am from the eastern part of the world, so I am familiar with this convention that is rooted deeply in the religious and cultural value system as conveyed in Hinduism and later in Buddhism. For a reader, who is new to this symbol as portrayed in other religious and cultural contexts, the circle is just a geometrical shape. Kiefer also brings up Christian symbols that are alien to readers of other religions like mine! Hence, it becomes the obligation of the illustrator to provide the reader with a context so the symbols are appropriately/authentically decoded by readers. Text comes in handy for this objective, yet illustrations juxtaposed with illustrations are the engaging way to help readers decipher the meaning. Technical choices in book production include cover, choice of typeface, point-of-view, and pictorial content. Novitz suggests that a variety of conventions of art are used to convey meaning; whereas Moebius and Golden draw on their inferences from semiotics. Moebius believes that Illustration enhances the text and if the text is read alone, meaning is not lost. The reader comprehends the meaning using the illustrations. On the other hand, Golden is of the impression that, illustrations embellish the meaning, so for meaning-making, illustration is crucial. The reader loses information if illustration is ignored. Nodelman (1988) argues about the mismatch that exists in picture books. The relationship between illustrations and text is paradoxical because these two modalities do not complement each other. The aesthetic nature of picture books Kiefer relies on Eisner’s concept of aesthetic representation, where the reader experiences joy and emotional transcendence through the artistic representation of the text. While pictures are visual and uses elements of art, text is verbal and uses linguistic features. Pictures engage cross culturally and these are not place bound/specific. A text engages intellectually, but these are place specific. The semantic and syntactic composition style is common for both picture and text. Style in art is classified into three categories – pictorial, artistic, and personal. The pictorial is a universal depiction with renaissance like or new perspectives. Resemble impressionistic style that is impulsive and not though through. The artistic is fluid, but not universal. Examples of this kind are renaissance versus mannerism and religious/classical versus Dutch genre paintings. The personal style encompasses idiosyncratic elements such as Michelangelo and Raphael or Monet’s paintings. Style is applied for both pictures and text. Hence style is a technique used for expression irrespective of the medium. Evaluating picture books Marantz (19770) claims that picture books enable readers to transcend space. This is the chief objective of art, were readers co-construct meaning using both the text and pictures. Given the general understanding that picture books are for children, it is important to keep the child’s age and ability to make sense of the pictures in a book. Kiefer provides us with a theory to understand picture books and the didactic value these books have in our lives. This theory based on art and aesthetics is just a beginning of a discussion of how a picture book is a specialized genre that uses artistic and aesthetic elements. These books are also culturally relevant and a product of several people working with one goal – to engage readers both intellectually and emotionally.
 * The Elements of Principles of Art**
 * Historical and Cultural Conventions**
 * Style in Art**

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