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Mad Men & Crazy Critters - Animal Style


Powerful Lines

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L'azienda del campo, 1924, via Chaudron

For my second post dedicated to the Italian artist Duilio Cambellotti, I wanted to focus on his draughtsman's skill
and the beauty of his expressive line work, as shown in his illustrations, sketches, woodcuts, prints and ceramics.
In the near future I am planning to share some of his beautiful illustrations for the Arabian Nights 
and other striking colorful artworks.

illustration for Canzoncine, 1918





illustrations for La siepe di smeraldo, 1920





illustrations for the school textbook Allegretto e Serenella, 1921

Albero e Aquile, 1929

Il Serpente, 1930

Corvi, 1931

Leggende romane, 1935

1935

Leopard Jug


I scanned these two pages from one of my books, but now I can't locate it ...
will update the info as soon as I find it!

Carezzando il gatto, 1946

Wild Cycles

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Toti Scialoja

During next week, Firenze is going to be invaded by the World Cycling Championship.
While we citizens are feeling apprehensive since it's not clear how and if we're going to be able
 to move around and get to work, given that many of the races pass right through the center of the city,
at least the event has pushed the mayor to give us more bike lanes and newly asphalted roads.
I really hope it's going to be an interesting and fun experience for all...  
Happy Cycling!

1903 postcard biking pup wackystuff

Barbara Cooney, Where have you been?, 1952

 Paul Galdone, Anatole, 1957

Károly Reich, The How Many Book, 1972



Jan Kuiper, Vis a Vis, 1962, thanks to Arthur van Kruining










Edward Gorey










Logo Love

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Bulgarian Pavilion, Okinawa Expo 75

With one of my classes, I am about to embark on the annual logo and corporate identity project.
If you're not a graphic designer, logo design may seem deceptively simple, but it's actually
a very challenging and time consuming process which requires strong conceptual, 
communicative and graphic skills. Stefan Kanchev was a master in this field, and 
his 1,600 trademarks are great examples of clarity, ingenuity and elegance in design. 
I especially love how he was able to translate traditional symbols and styles 
of Bulgarian art and folklore into simple and graceful modern icons.
Find many more of his works at this wonderful website!

Bulgarian State Archives

Fishery Burgas

National Museum of History

National Opera Sofia

National Park "Central Balkan"

Union of Bulgarian Composers

WInery Dragalevtsi

"Boyana" Film Studios

"Bulgarreklama" Bulgarian advertisement

"Bulgarsko Vezmo" Bulgarian embroidery


"Nektarcoop" 
"Rodopa" meat production plant

"Style 18"

Whaleriders

Lust for Life

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Illustration, 1930


Giò Ponti was one of the most productive and eclectically creative Italian designers of the 20th century. 
He was born in Milan in 1891, and after serving as a captain in WWI, graduated in architecture in 1921. 
His long career never slowed down until his death in 1979, and his love of design found expression
 in many different arenas, from large-scale architectural projects, including Milan's first skyscraper,
 to the creation of decorative objects, fabric and furniture, to the founding and editing of the innovative
 and still influential Domus magazineThe range of his activities also included industrial design,
 painting, interior decoration, poetry, teaching and lecturing. 

Richard Ginori, 1920s

Ponti designed a vast array of objects in collaboration with some of the best craftsmen of his time,
and animal subjects were explored in different periods, utilizing various media and styles. 
From 1923 to 1930 he was the artistic director of the porcelain manufacturer Richard Ginori,
 and revolutionized the company's output with new product lines featuring simple ceramic forms
 decorated with elegant neo-classical motifs. Under his direction the company won the Grand Prix


Richard Ginori, 1920s

Richard Ginori, ca. 1925


Richard Ginori, 1930

Richard Ginori, 1930s 


Fornasetti chair prototype 

In 1940 Ponti met another eclectic and productive Italian designer, Pietro Fornasetti
and they began a long period of collaboration.

Fornasetti table, 1950


Fornasetti desk, 1950s


Giò Ponti and Paolo De Poli 

During the 1940s Ponti also worked with Paolo De Poli, master copper enamelist, on furniture and decorative panels, 
and in the 1950s the two produced a series of objects and animal sculptures together






Ponti was a prolific draughtsman, and the animal figures first took shape as quick sketches. 
De Poli took these flat forms and turned them into freestanding objects by cutting 
and folding them as if they were made out of paper. 








Giò Ponti and Paolo De Poli, 1950s

Fine much more about Ponti and his work at the official website and archives.








Savage Ancestors

Animal Acrobatics

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Alice Potter, Harry on Ball

Dorothy Lathrop, The Fairy Circus, 1931

Alice and Martin Provensen,The Golden Circus, 1950

Jerzy Flisak, movie poster, 1965


Carlos Marchiori, Sally Go Round the Sun, 1969, 


Bill Charmatz, The Cat's Whiskers, 1969


William Pène du Bois, Bear Circus, 1971




The 1975 Childcraft Anual, thanks to Flamenconut


Nicole Claveloux, Animaux étranges, 1993

Ian Falconer, Olivia saves the Circus
















Animali in Viaggio

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Pia Valentinis


After missing it when it first opened last March at Zoo in Bologna, 
this Saturday I was finally able to see the Animali in Viaggio exhibition 
when it arrived for a short stay at the Babele bookstore in Firenze. 

Antonio Marinoni

I was interested in this show for a good number of reasons: it's inspired by Franco Matticchio's latest book
 Libretto Postale, it's organized by two ladies I really like, the illustrator and blogger Anna Castagnoli
 and Stefania Camilli, publisher of Vànvere Edizioniit's an innovative idea and it features
 lots of lovely animal pictures by many of my favorite Italian illustrators. 
Last but not least, I love mail art...

Daniela Tieni

Francesco Chiacchio

Anna and Stefania came up with the idea of a mail art game while discussing the aptness
of detaching the postcards included in Franco's beautiful book (Anna gave a very good account
 of the creative process behind the project on her blog Le figure dei libri). The final concept involved
 sending one of seven postcards from the book (dog, elephant, cat, penguins, chick, squirrel, crocodile)
to seven different illustrators, who would create a postcard continuing their animal's story
 and then send it to another illustrator, who would in turn do the same, 
resulting in a series of 62 postcards by Italian and Japanese artists.

Claudia Palmarucci

Mauro Evangelista

Beppe Giacobbe

Marina Marcolin

Simone Rea

Maurizio Quarello

Alessandra Vitelli

Sergio Ruzzier

Tiziana Romanin

Satoko Watanabe

Nanoa Katayama

Maya Miyama

I really enjoyed the show and am glad I finally caught up with it, if you want to see it too
its next stops will be in Udine, Tokyo and Barcelona...


An Illustrated Life

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Le Monde A Envers, (Pomme d'Api), 1942

To celebrate my daughter Michelle, who just found out that she's been accepted 
for an Erasmus exchange stay at the Académie Royale des Beaux Arts in Brussels,
today's post is dedicated to Elisabeth Ivanovsky, a very talented and prolific painter 
and illustrator who spent most of her life in Belgium. A big thanks to the administrator 
of Ivanovsky's facebook pagea great resource with photos, books and information.

Et moi de m’encourir (Pomme d'Api), 1945

Elisavieta Andreevna Ivanovskaia was born in 1910 in Moldova, Russia. Her aristocratic family lost their home 
and property during the revolution, before the province where they lived became part of Romania in 1919. 
As a child Elisabeth loved to draw, and at eleven she hand lettered and illustrated a series of ten tales
 written by her older brother Valentin. At 18 she graduated in drawing, painting, printmaking, costume and set design.
 Wanting to become a self sufficient professional artist, she decided to continue her studies in the West,
 and chose the Higher Institute of Decorative Arts (La Cambre) recently established in Brussels
 in the spirit of the Bauhaus. In 1932 she moved to Belgium and began following the courses of book illustration
 with Joris Minne and of theater sets and costumes with the writer and playwright Herman Teirlinck.

Cirkus, 1933 (reprinted in 2010 by éditions MeMo)

While studying Ivanovsky employed her creativity to make ends meet, and in 1933  produced Cirkus
a portfolio of seven watercolor stencils which became her first published work in the West. 
The strong, simple and elegant shapes of these early works show similarities with both 
the Soviet children's books of the time and European Art Deco illustration.






When Ivanovsky graduated in the arts of printing and book illustration in 1934, two members
 of the Board of Examiners, struck by her extraordinary talent, helped her to launch her career: 
the publisher Sikkel commissioned her pictures for the famous Flemish writer Baekelmans Lode, 
while the French novelist and poet Franz Hellens asked her to illustrate one of his books.
 Hellens, whose wife was Russian, invited Ivanovsky to spend the summer at his home in Walloon Brabant.
Thanks to him, she came into contact with the then Belgian literary world and met the French poet
 René Meurant, whom she married. Between 1934 and 1936 Ivanovsky illustrated several titles, including
 Two Russian Tales, Large and SmallLoads of stories, La Mort dans l'Âme, Saint Nicolas
and Story of Bass, Bassina, Boulou



original artworks for Grands et Petits (Large and Small), 1934

character for le Roman de Renard, 1935


 Histoire de Bass, Bassina, Boulou, 1936, written by Franz Hellens







Ivanovsky collaborated with numerous French and Flemish writers.
Bestiaire des Songes, 1943, was produced with her poet husband René Meurant

Pomme d’Api (republished in 2007 as Les très petits by éditions MeMo)

Between 1940 and 1950 Ivanovsky and Meurant also created the very successful series 
of miniature books Pomme d’Api for the Belgian publisher Éditions des Artistes.



Et moi de m’encourir (Pomme d'Api), 1945

Contes du Soleil, 1956

As times changed, Ivanovsky' developed a new illustrative style and techniques, and in the postwar years
 she mainly illustrated tender and humorous books for small childrenFrom 1937 she began a long
 and fruitful collaboration with Marcelle Verité, and these two notable ladies of children's literature
 worked together for nearly fifty years: their last common title, Lili ladybug, was released in 1985.


L'Alphabet de Pierrot, 1963



Tip Tip the Postman, 1968

The 23 albums of the Tip Tip series (1967-70) were Ivanovsky's last collaboration 
with the Belgian publisher Desclée de Brouwer

Ivanovsky's studio in her home in the outskirts of Bruxelles, where she lived from 1946 until her death.
She passed away in 2006, and has since been remembered and celebrated in Moldava, Belgium and France.
 Her bibliography contains 346 original titles published in 23 languages ​​in 26 countries.

A Flutter of Moths

Mad Men & Crazy Critters - Wild on Wheels

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Adolfo Busi for Pirelli, 1910 


Achille Mauzan, 1920 ca, 1926

Mario Broggi, 1922

Tadeusz Gronowski, 1923

Georges Favre, 1924

Charles Loupot, sketch for Bugatti, 1924

Cassandre, 1925


Jean d'Ylen, 1920s

Jean Colin, 1950s

Armando Testa, sketch for Pirelli Stelvio, 1955 

Donald Brun, 1958

Atelier Walter Greminger, 1962 ca, via the Swiss Posters Collection 

D'après Jean Colin, 1970

André François, 1972

Call of the Mountain

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The Swiss graphic designer, painter, and illustrator Alois Carigiet was born in 1902, 
the seventh of eleven children, and grew up in his family's farm in the small village of Trun
In 1911, economic hardship forced the family to move to the canton's capital Chur, 
where his father found employment. This relocation into a more urban environment 
had a strong impact on Carigiet, who later described the move as an "emigration to the low-lands",
 from a "mountain boy's paradise" to a "gloomy apartment on the ground floor in a narrow town alley".
 In 1918 he quit the gymnasium to start an apprenticeship as a decorative designer and draftsman
While learning the techniques of decorative art,Carigiet filled volumes of sketchbooks 
with drawings of rural and urban scenes, farm animals and pets, anatomical studies of the birds
 exhibited at Chur's natural history museum, and caricatures.

1936


In the same year he found work in Zurich with Max Dalang's advertisement agency, where he learned
 the techniques of graphic design. After having won several competitions and gained a reputation, 
Carigiet opened his own graphic studio in Zurich in 1927. He hired some assistants and
 built a very successful practice, creating many posters, murals, illustrations, and magazine covers.
Funny and elegant animal characters were a frequent theme in the ads produced by the studio. 


1938



1940 ca.

While on holiday in his native mountains in 1939, Carigiet was seduced by the vast and unspoiled landscape,
 and the feeling of having found his way back to a long lost paradise. Realizing that this was his home,
he gave up his business in Zurich, and rented a small farm house without electricity or running water, 
the "Hüs am Bach" (house at the stream) in Platenga, where he devoted much of his time
 to observing and drawing the alpine faunaIn 1943 he married the art student Berta Carolina Müller, 
and in the following years the couple gave birth to two daughters and built a house.

1943

1947 

1948

In 1940, Carigiet was asked by the author Selina Chönz to illustrate a children's story 
about a boy's adventurous climb through snow to an abandoned summer hut in order to retrieve
 a large cow bell for the annual Chalandamarz celebrationAfter years of hesitating, Carigiet finally agreed, 
and spent several weeks sketching the scenery and architecture in Chönz's home village Guarda
which he used as a model for the book's village. In 1945 Schellen-Ursli was published in German,
and later it was translated into ten languages, including English.


A Bell for Ursli

Carigiet and Chönz created two sequels featuring Ursli's younger sister Flurina: 
Flurina und das Wildvögelein (Florina and the Wild Bird) in 1952 
and Der grosse Schnee (The Snowstorm) in 1957. 





Flurina und das Wildvöglein

During the 1960s Carigiet illustrated three children's books written by himself
Zottel, Zick und ZwergBirnbaum, Birke, Berberitze, and Maurus und Madleina
In 1966, he was awarded the Swiss youth book prize for Zottel, Zick und Zwerg, 
as well as the inaugural Hans Christian Andersen Medal for children's illustrators.




After moving back to Zurich with his family between 1950 and 1960,
 

 in 1960 Carigiet finally returned to live in the mountains above his home village, 
where he dedicated himself fully to art until his death in 1985. 









The Life Aquatic

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Dear readers, in case you worry, Animalarium and I are still alive. 
Right now my life is quite hectic, but July should be slower paced, 
so expect more posts soon... There are lots of things I'd like to share, 
but will I ever find the time? For now, enjoy the dive!















Albert Robida, Little Hiawatha, 1914






Tomi Ungerer, Emile, 1960







Twenty Thousand Leagues Under the Sea, cover by Krystyna Witkowska, 1954
thanks to 50 Watts





A Matter of Life and Death

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Dear readers, if you're still hanging around, I'd like to inform you that as today I resume 
my Animalarium postings. I feel I owe you an explanation for my long absence, so here it is: I was at a loss for words. 


At the end end June Seba and I were in Sweden, having a wonderful time at the wedding
 of our lovely friends Ingrid and Lorenza, when we received a phone call from one of our daughters
 informing us that or beloved little Chapi had suddenly died. Unseen, mysteriously, just outside our home, 
hit on the head by a big log of wood. The log may have fallen due to that day's small earthquake, 
or maybe Maya pushed it down as they were playing... but these speculations are rather useless, 
and we were simply left to face and accept the hard fact that we had lost our wonderful friend,
 as it had happened just one year before with Emma

our last photo together

Since I really haven't slowed down, with Summer courses, family events and even a great dancing party
 in our garden, but I have often been feeling quite sad and empty inside, and couldn't face the idea
 of writing a blog post, as I wasn't ready to talk about what had happened or to ignore it. 
And I really didn't feel at all like posting pretty pictures of animals, especially cats, 
although I did make an effort to keep the Animalarium facebook page alive.






Maya has been sad too. Chapi had been her best friend and companion since she arrived at our home,
 the two of them playing together for hours to our endless delight. We began to think that
 we should adopt another cat, hoping that magic would happen again and the big rumpus
 could resume. But we weren't quite ready.


Then, about ten days ago, a young female cat appeared in our garden. She was very hungry
 and scared, and we started feeding her and making friends. One of her eyes was 
in bad shape, but otherwise she looked healthy, with a very sweet temperament. 
I noticed that the time spent with this kitty was the most peaceful and serene in my day.
I was hoping that she would hang around, and she did. She still spends most of the time
 out in the garden, but is starting to feel more confident and to come eating inside.


Then, about a week ago, another female cat appeared out of the blue. This was pretty weird,
since during the sixteen years that I've been living here no cats had ever showed up at our door.
This one was very hungry too, but much less frightened – in a very short time, she has installed
herself in our home and looks perfectly at ease lying on the sofaIn all likeliness 
she belonged to someone, and she is either lost or abandoned. We are still looking for 
the owner, but it's quite likely that both of these cats will end up moving in with us.  



What else can I say? I am trying to learn to keep on loving and enjoying life and living creatures,
 without getting so attached that I can't accept the mystery of death, and loss, 
and nature's eternal renewal.
I believe I am ready to start again.











Joyous Carousel

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How ant hurried home, 1967

I discovered the illustrations of Lev Tokmakov a few years ago, 
thanks (unsurprisingly) to 50 Wattsand was recently very pleased to stumble 
upon a large treasury of his children's books on a Russian website. 

 What looks like the Moon, 1961


Tokmakov was a Russian artist born in 1928 who produced lithographs and paintings
 and illustrated almost 300 children's books. His bright, cheerful, witty and graceful illustrations
 graced the pages of books by most of the important authors of Russian children's literature
as well as Gianni Rodari and Astrid Lindgren. He also worked on a large number of Russian folk tales,
and other tales from Italy and China

Boris Zakhoder, School for Baby Birds, poems for children, 1970





Tokmakov taught for many years illustration at the Russian State Children's Library. 
He believed that it's harder to illustrate children's books than books for adults, 
"because you have to use more life force energy". In 1958 he began to collaborate
 with the famous children's magazine Murzilka, and became one of its best artists

Irina Tokmakova, Carousel, poems for children1971 




Moldavian folk songs1987 


About furry and feathered1989 

In his later books, sometimes Tokmakov revisited his subjects using a different technique,
 as you can see from the turtle below. In 2010, the same year he died, he was awarded a special diploma
 for outstanding achievement for his book Amusing walks across Moscow at the Moscow book festival
His works are in the collections of numerous museums, including the State Tretyakov Gallery, 
the Pushkin Museum of Fine Arts and the National Gallery of Bratislava.




As always, I invite my dear Russian readers to correct 
any terribly translated title you find in this post!

Rockin' Raccoons

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Raccoons are one of the things I miss from living in the Californian Sierra foothills
I had never met these animals before moving to the States, and was very amused 
and fascinated by their frequent night visits to our porch to feast on the cat food.
I was especially amazed was the dexterity of their paws, which looked like tiny hands.   
Naturally, our cat was not very happy about this, and hid in the house until they left...


Feodor Rojankovsky, Frog Went A-Courtin, 1955, thanks to Animation Resources

Claude Humbert, Littlest Raccoon, 1961, thanks to Golden Gems


 Arnold Lobel, Red Fox and his Canoe1964, and Brian Wildsmith's Wild Animals, 1967

another lovely raccoon by Brian Wildsmith from What the Moon saw, 1978, 












A Woman's Work

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Beatrix Potter

Dear followers, I apologize once again for the recent lack of posts,
but this semester I taught one more course that usual, and soon realized
that I had to give up some of my leisurely activities, including blogging, 
to be able to stay on track keep focused. My lessons ended yesterday, 
and I am really looking forward to almost a full month of vacation.
Of course, now there's plenty to do around the house...



B. Twardowski (?), 1925




Anatoli Michailovich Eliseev, Story of the stupid mouse

Feodor Rojankovsky, Frog Went a-Courtin', 1955

Barbara Cooney, The Crows of Pearblossom, 1967

Bernard Waber, An Anteater Named Arthur, 1967







Penguin Parade

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Maria Helena Vieira da Silva, KÔ et KÔ, 1933

After these long quiet weeks, expect to see lots more picture-based posts during the holidays,
as I plan to upload a good number of themed image galleries that have been sitting in my hard drive
 too long. Let's start with some of my (and apparently everyone's) favorite birds! 

Marjorie Flack, Willy Nilly,1945

Leonard Weisgard, Penguin's Way, 1962

Charley Harper



Krystyna Wojciechowska, Gdyby…, 1975, via 50 Watts

Dick Bruna


Svjetlan Junakovic, Bienvenue Chez Nous







Diana Sudyka, Island of Adelies


Painting and sculpture by Guido Pigni


In the mood for more? Just follow the link...

Bedtime Stories

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