Animals Are Us: Anthropomorphism in Children’s Literature; Celebrating the Peter J. Solomon Collection
Why do we tell stories to children through and about animals? Are there reasons why we shouldn’t? Animals Are Us invites explores these questions and more through influential historic examples of anthropomorphism in dialogue with contemporary books drawn from the collection of Peter J. Solomon (Harvard College Class of 1960, MBA 1963) and the holdings of Houghton Library. The exhibition invites you to engage critically with animal anthropomorphism, and delight in the artfulness of this enduring literary genre.
Catalog of an exhibition on view at Houghton Library, Harvard University, September 1, 2021 - January 7, 2022.
Why do we tell stories to children through and about animals? Are there reasons why we shouldn’t? Animals Are Us invites explores these questions and more through influential historic examples of anthropomorphism in dialogue with contemporary books drawn from the collection of Peter J. Solomon (Harvard College Class of 1960, MBA 1963) and the holdings of Houghton Library. The exhibition invites you to engage critically with animal anthropomorphism, and delight in the artfulness of this enduring literary genre.
Catalog of an exhibition on view at Houghton Library, Harvard University, September 1, 2021 - January 7, 2022.
60 Maurice Sendak (American, 1928–2012, illustrator) Study for poster Reading Is Fun-damental, ca. 1979 Graphite on paper, 66 x 53 cm Loan from Peter J. Solomon In his poster art for the nonprofit Reading is Fundamental, which works to put books into the hands of the underserved, Sendak enjoyed creating visual impact through the marriage of typography and image. In his iconic book Where the Wild Things Are, Sendak depicts Max reading in his wolf suit while theWild Things (inspired by Sendak’s own family members) exhibit a less informed approach to literature. Zoomorphism and anthropomorphism converge to dominate the visual narrative. 104
61 Lewis Carroll [Charles Dodgson] (British, 1832–1898, author) Robert Sabuda (American, born 1965, paper engineer and illustrator) Alice’s Adventures in Wonderland New York: Little Simon, 2003 26 x 22 cm Houghton Library, Typ 2070.03.7636 Gift of W. H. Bond, 2004 Robert Sabuda’s vulnerable, intricately constructed pop-up books are intended more for adults than children. Sabuda credits the volvelle, one of the earliest known paper formats with movable parts, and Cinderella by the Czech artist Wojtech Kustaba as formative influences. Like his other adaptations, notably The Wonderful Wizard of Oz, Sabuda’s Alice is a tour de force. By bringing Tenniel’s illustrations into the third dimension, he reinforces their sense of life, making the anthropomorphic aspect even more convincing. 105
- Page 68 and 69: 22 Beatrix Potter (British, 1866-19
- Page 70 and 71: 24 Charles Addams (American, 1912-1
- Page 72 and 73: 60
- Page 74 and 75: 26 Thomas Bewick (British, 1753-182
- Page 76 and 77: 28 Edward Lear (British, 1812-1888,
- Page 78 and 79: 30 Lulu Delacre (American, born 195
- Page 80 and 81: 32 Innosanto Nagara (Indonesian, bo
- Page 82 and 83: 33 Joel Chandler Harris (American,
- Page 84 and 85: 35 Julius Lester (American, 1939-20
- Page 86 and 87: 37 E. B. White (American, 1899-1985
- Page 88 and 89: 39 Dr. Seuss [Theodor Geisel] (Amer
- Page 90 and 91: 40 Photograph of Beatrix Potter as
- Page 92 and 93: 42 Beatrix Potter (British, 1866-19
- Page 94 and 95: 44 Wanda Gág (American, 1893-1946,
- Page 96 and 97: 46 Ashley Bryan (American, born 192
- Page 98 and 99: 48 Garth Williams (American, 1912-1
- Page 100 and 101: 49A Silver pocket watch belonging t
- Page 102 and 103: 49C Lewis Carroll [Charles Dodgson]
- Page 104 and 105: 50 L. Frank Baum (American, 1856-19
- Page 106 and 107: 52 Munro Leaf (American, 1905-1976,
- Page 108 and 109: 54 Nancy Ekholm Burkert (American,
- Page 110 and 111: 98
- Page 112 and 113: 56 Park Benjamin Jr. (American, 182
- Page 115: 58 Beatrix Potter (British, 1866-19
- Page 120 and 121: 62 David Wiesner (American, born 19
- Page 122 and 123: 63 Unknown creator The Royal Game o
- Page 124 and 125: 110
- Page 126 and 127: 65 Maurice Sendak (American, 1928-2
- Page 128 and 129: 67 Julie Flett (Cree-Métis, born 1
- Page 130 and 131: 116
- Page 132 and 133: Page 67: Illustration from CDB! by
- Page 134 and 135: Bryan, Ashley, 25, 84 Burkert, Nanc
- Page 136 and 137: Lac La Croix First Nation, 113. See
- Page 138: 3, 12-13, 18, 24-25, 35, 39, 43, 63
- Page 142: ISBN 9780981885872 90000 > 9 780981
60<br />
Maurice Sendak (American, 1928–2012, illustrator)<br />
Study for poster Read<strong>in</strong>g Is Fun-damental, ca. 1979<br />
Graphite on paper, 66 x 53 cm<br />
Loan from <strong>Peter</strong> J. <strong>Solomon</strong><br />
In his poster art for <strong>the</strong> nonprofit Read<strong>in</strong>g is Fundamental,<br />
which works to put books <strong>in</strong>to <strong>the</strong> hands of <strong>the</strong><br />
underserved, Sendak enjoyed creat<strong>in</strong>g visual impact through<br />
<strong>the</strong> marriage of typography and image. In his iconic book<br />
Where <strong>the</strong> Wild Th<strong>in</strong>gs <strong>Are</strong>, Sendak depicts Max read<strong>in</strong>g <strong>in</strong><br />
his wolf suit while <strong>the</strong>Wild Th<strong>in</strong>gs (<strong>in</strong>spired by Sendak’s<br />
own family members) exhibit a less <strong>in</strong>formed approach to<br />
literature. Zoomorphism and anthropomorphism converge<br />
to dom<strong>in</strong>ate <strong>the</strong> visual narrative.<br />
104
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