Publishers Weekly
06/03/2019
Constructed from a manuscript and sketches found by the author’s widow, this lively excursion into the world of art explores the artist’s vision by focusing on works that take the horse as their subject. An affable talking horse leads a diverse crowd of children and adults through the galleries. “What an artist tells us about horses and how they tell us is different for every artist,” it says. The fictional museum contains photographic reproductions of horse artwork from many ages and world traditions, among them works by Hokusai, Navajo rug weavers, Pollack, and Velázquez. Some artists are interested in horses’ form, others in their outlines, and others in their speed or strength. Australian artist Joyner (The Pink Hat) salutes Seuss’s style without attempting to duplicate it (although beloved Seuss characters sometimes sneak onstage). The book holds value both as a way to begin conversations about art (“Look it over. Think it over. Talk it over.”), and for its vision of artists as people—even untrained creators, like Seuss—who see things in their own unique ways. Detailed information about each artist and work of art is included. Ages 7–up. (Sept.)
From the Publisher
Excellent for a first visit to an art museum and as jumping-off point for young artists seeking creative style.” —Booklist, Starred Review
“A galloping marvel—enlightening and entertaining.”—Kirkus Reviews
“[A] lively excursion into the world of art.”—Publishers Weekly
School Library Journal
10/11/2019
Gr 2–4-In the early 1950s, Theodor Geisel (aka Dr. Seuss) produced a manuscript and sketches for an unfinished work entitled Horse Museum. That material formed the basis of this new, completed edition. Seuss wasn't a horse fan, nor is illustrator Joyner. Yet, the book's 33 excellently reproduced horse "exhibits," created by artists from different countries and historical periods, employ various art media and techniques. This isn't a chronological survey, though artworks created in ancient times through the modern era are shown. This "museum" helps readers understand how various artists saw the same object—a horse—and interpreted it differently, e.g., in terms of line, color, speed, or emotion. The writing is simple and clear; the tone is conversational. Artworks by mostly American and Western European white men are included, with a smattering of works by women, and a few by Asian and Middle Eastern men. A painting by one African American man is on view as is a Navajo pictorial blanket. The illustrations feature greater diversity: Museum visitors include persons of various skin and hair colors, ages, sizes, body shapes, and physical abilities. VERDICT While not a necessary purchase, this title will appeal to Seuss fans and scholars. Recommended for large public libraries and schools where budgets permit. Use to stimulate students' creations of horses or other animals in any media. -Carol Goldman, formerly at Queens Library, NY
Kirkus Reviews
2019-06-10
A succinct introduction to art history via a Seussian museum of equine art.
This posthumously published text recently discovered in Ted Geisel's studio uses horse-focused art pieces to provide historical context to artistic movements. Showing art ranging from the Lascaux cave paintings to an untitled 1994 sculpture by Deborah Butterfield, Joyner's playful illustrations surround the curated photographs of art pieces. By using horses as the departing point in the artistic journey, Seuss and Joyner are able to introduce diverse perspectives, artifacts, and media, including Harnessed Horse from the northern Wei dynasty, a Navajo pictorial blanket titled Oh, My Beautiful Horses, and photographs by Eadweard Muybridge. Questions to readers prompt thought about the artistic concepts introduced, aided by a cast of diverse museumgoers who demonstrate the art terms in action. Joyner further engages readers by illustrating both general cultural and Seussian references. Glimpses of the Cat in the Hat are seen throughout the book; he poses as a silent observer, genially guarding Seuss' legacy. For art enthusiasts, some illustrations become an inside joke, as references to artists such as Alexander Calder, Salvador Dalí, Marina Abramovic, and René Magritte make appearances. Thorough backmatter contains notes on each art piece referenced along with a study of the manuscript's history and Seuss' artistic style. Absent, probably unsurprisingly, is any acknowledgment of the Cat's antecedents in minstrelsy and Seuss' other racist work, but prominent among the museumgoers are black- and Asian-presenting characters as well as a girl wearing hijab and a child who uses a wheelchair.
A galloping marvel—enlightening and entertaining. (Informational picture book. 6-10)
