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Chris Van Allsburg
Transcript of Chris Van Allsburg
Doris Christiansen Van Allsburg
and Richard Van Allsburg Enjoyed art in grade school
Did not take art again in junior high or high school
Attended University of Michigan's School of Architecture and Design and majored in Sculpture
Earned a Master's at the Rhode Island School of Design Published 1979 Caldecott Honor Book citation, 1980 LI 831 XI
Resources and Services for Children by
Emporia State University Watch the video for a humorous account of Van Allsburg's admission into art school recounted upon receiving an Honorary Doctorate of Fine Arts from the University of Michita. The Garden of Abdul Gasazi 1980 Caldecott Honor Medal 1983 The
1985 1987 1988 1990 The Wretched Stone
1991 The Widow's Broom 1995 Zathura The Garden of Abdul Gasazi
1979 The Queen of the Falls Lives in Providence, Rhode Island Married Lisa and has two daughters Born June 18, 1949 Younger brother to Karen Grew up around
Grand Rapids, Michigan Caldecott Medal, 1982 Caldecott Medal, 1986 The Garden of Abdul Gasazi Jumanji The Polar Express 1981 The
1984 Bibliography http://www.schooltube.com/video/2e475bda0928851e6cc6/contact-us The Sweetest Fig (1993). Follow the link above to view a 10-minute video adaptation of 2002 A dreamer is one who can only find his way by moonlight, and his punishment is that he sees the dawn before the rest of the world.
-- Oscar Wilde 1992 2011 Cairo Memory Loving May 4, 2006 to February 23, 2013 Lover Boy And I loved the idea of the wild jungle inside the safety of the house – or, what we associate with the safety of the house. So, that was the visual theme I had in mind. In Jumanji, I was interested in what I refer to as kind of a cognitive dissonance – disparate things juxtaposed. And the story for Jumanji grew out of, once again, a visual idea, in the same way that Gasazi grew out of this idea of a boy chasing a small, white dog through a topiary garden. If you think, "Oh, they're really going to like this…" If you ever hear a voice like that in your ear while you're drawing, it's time to put down the pencil, because there should be no "they" at the art table. There should only be one person at the drawing table, and that's you. I think that created a little bit of motivation for me, but I think that actually thinking about your audience is poisonous to the art process – it truly contaminates it. Or if they did, it would be a small number of people. I think when I was doing The Garden of Abdul Gasazi, I had that same feeling; but because I discovered there was an audience for The Garden of Abdul Gasazi, I anticipated there would be one for the next book I wrote. Chris Van Allsburg And in the case of Jumanji, it's the very comforting and secure idea of these domestic interiors. But there's something that doesn't belong there, which is, namely, a python, or a group of wild monkeys. And so even though I realized that I might have a larger audience for Jumanji, I think it created a kind of excitement in me, maybe. But I've always tried to guard against the idea of having an audience have any effect on me as a creator… That's an odd thing, talking about how the idea of a waiting audience might motivate an artist, because certainly that never played a part in my efforts or inspiration in making sculpture – because I wasn't sure anyone would see it. Transcript of a Video Interview Chris Van Allsburg doesn't have a favorite subject to draw. He says, "It's not the thing that's important to me so much as the feeling the picture gives after you've drawn it. I have a favorite mood I like in my art. I like things to be mysterious." Look again at the illustrations for The Stranger. What qualities of the paintings help make the mood of the story mysterious?