By Joanna Carey
Illustrated by Eric Carle

Includes:
"A Visit to Eric Carle's Studio" by Joanna Carey.
21 Illustrations, 32 pages
"This exhibition represents the culmination of Eric and Barbara Carle's vision to launch a museum celebrating the art of the picture book. But it also constitutes the inaugural of the first of many exhibits devoted to Eric's work. Whatever the display of work by guest artists, the visitor will almost always be assured of seeing some aspect of Eric's creative genius. This is a legacy that will endure for generations to come. To Eric and Barbara we owe an inexpressible debt of gratitude." - from "Acknowledgments" by H. Nichols B. Clark, Founding Director of The Carle Museum

By Maurice Sendak, Leonard S. Marcus
Illustrated by Maurice Sendak

Includes: "A Conversation with Maurice Sendak" conducted by Leonard S. Marcus.
28 Illustrations, 32 pages.


From "Introduction," by H. Nichols B. Clark:
"It is fitting that the work of Maurice Sendak comprises the inaugural exhibit of The Eric Carle Museum of Picture Book Art. While an acknowledged master of the genre, his creative talent extends well beyond the picture book. Sendak has garnered high esteem in the realm of costume and set design for opera...As we honor picture book art and demonstrate its substance and sophistication, Sendak's industrious career permits us to look at the material from a broad art-historical vantage point. We have chosen to view his work through the lens of interior scenes and landscapes."

By Jane Bayard Curley
Illustrated by Nancy Ekholm Burkert

"A Deep and Delicate Vision" by Jane Bayard Curley.
Catalog Design by Rita Marshall.
24 Illustrations, Paper, 32 pages.
1,000 copies, First Edition.

From "Acknowledgments," by H. Nichols B. Clark:
"Because Nancy Ekholm Burkert's work is so thoughtful and deliberate, she is not a prolific artist. Whether creating an easel painting, a print, or an illustration for a book, Nancy brings to her task the highest aesthetic measure. No detail is too insignificant to warrant intense scrutiny, and her exacting standards reflect the meticulous research she brings to any endeavor. One need only survey the research materials and preliminary drawings she assembled in producing Valentine & Orson to fully appreciate the methodical regimen to which she adheres. As Jane Curley points out in her thoughtful essay, Nancy scours the full spectrum of art history to infuse the requisite image with the appropriate resonance."

By Ann Beneduce
Illustrated by Misumasa Anno

"Adventures in Imagination" by Ann Beneduce.
Catalog Design by Rita Marshall.
24 Illustrations, Paper, 32 pages.
1,000 copies, First Edition.

From "Acknowledgments," by H. Nichols B. Clark:
"The Eric Carle Museum of Picture Book Art is honored to host the first major exhibition of Mitsumasa Anno in America. Anno's art is an intriguing interplay of Western and Asian aesthetic principles. In works for such books as Topsy-Turvies and Upside-Downers or his independent art, one encounters myriad art-historical references ranging from M.C. Escher and Jacob van Ruisdael to Leonardo da Vinci. In The Tale of the Heike, of course, Anno pays homage to the venerable tradition of Japanese scroll painting. Anno is omnivorous in his visual appetite, yet there is always a subtlety and grace-and, yes, wit-embedded in his work."

By Eric Carle, Frances Foster
Illustrated by Leo Lionni

"An Appreciation" by Eric Carle.
"Remembering Leo Lionni" by Frances Foster.
Catalog Design by Rita Marshall.
32 Illustrations, Paper, 32 pages.
1,000 copies, First Edition.

From "Acknowledgments," by H. Nichols B. Clark:
"Among my first decisions as director was to pursue an exhibition of Leo Lionni's work. This was before I understood how much Lionni meant to Eric Carle. I had long been captivated by the elegant design, magical draftsmanship, and universal messages of his children's books. Happily, we are able to offer a glimpse into his other equally distinguished creative outlets: his drawing and sculpture. From art director for Fortune magazine to exhibiting with Surrealists such as Joan Mir and André Masson, Lionni achieved the pinnacle of whatever he pursued."

By Michael Patrick Hearn
Illustrated by Eduard Krimmer, Dmitrii Mitrokhin, Sergei Chekhonin, Vera Ermolaeva, Olga and Galena Chichagova, Ivan Bilibin, Georgii Narbut, El Lissitzky, Vladimir Tatlin, Vladimir Tambi, Vladimir Lebedev, Natan Altman, Aleksei Pakhomov, Alexandre Benois

"The Picture Book Revolution" by Michael Patrick Hearn.
Catalog Design by Rita Marshall.
32 Ilustrations, Paper, 32 pages.
1,000 copies, First Edition.

From "Acknowledgments," by H. Nichols B. Clark:
"We are privileged to host the exhibition of this extraordinary material, surveying Russian children's book illustration from the very end of the nineteenth century to the outbreak of World War II. It is all the more appropriate, since one of the central figures, Vladimir Lebedev, was so influential to Eric Carle's training as a graphic designer. In Russian terms, the exhibition covers the last years of rule under the tsars to the zenith of Stalin's ruthless power. As guest curator Michael Patrick Hearn observes, the beginning of this era marked a turning point in Russian cultural history when books and art began to be created and produced indigenously. Mindful of international currents, Russian book design embraced foreign sources while bringing its own aesthetic into play."

By Jane Bayard Curley, Jeanne Steig, Joanna Cotler
Illustrated by William Steig

"A Life of Creative Energy" by Jane Bayard Curley.
"What My Husband Saw" by Jeanne Steig.
"The Last Interview with Bill Steig" by Joanna Cotler.
Catalog Design by Rita Marshall.
32 Illustrations, Paper, 48 pages.
1,000 copies, First Edition.

From "Acknowledgments," by H. Nichols B. Clark:
"One of my personal mandates for this fledgling institution has been to try and honor the senior and distinguished talents of picture book art during their lifetime. When I first approached Holly McGhee, William Steig's literary agent, about giving him an exhibition, she delicately raised the question of Bill's mortality - he was a mere ninety-four at the time. I responded that his advanced age made it all the more urgent; I felt very strongly that Steig should be recognized for his remarkable body of work while he was still alive, and that if fate intervened, at least he would have been cognizant of this recognition. And so it came to pass - the exhibition, indeed, stands as a memorial tribute. But how lucky we were to have had him for such a long and productive career! The fact that he did not embark on children's books until the age of sixty-one gives us all hope for keeping our own career paths vibrant. And it is espscially meaningful that we can also show a selection of Jeanne Steig's delightfully whimsical sculptures as a three-dimensional adjunct to her husbands work. They were a wonderful team in so many ways."

By Peter Neumeyer
Illustrated by Margot Zemach, Kaethe Zemach

"The Zemach Legacy" by Peter Zeumeyer.
Catalog Design by Rita Marshall.
24 Illustrations, Paper, 32 pages.
1,000 copies, First Edition.

From "Acknowledgments," by H. Nichols B. Clark:
"When I first encountered the work of Margot Zemach - specifically the drawing for Duffy and the Devil: A Cornish Tale - I marveled at the vibrant combination of line and color that was redolent of the 18th-century caricaturist Thomas Rowlandson. Zemach's work also reverberates with the work of such American contemporaries as Maurice Sendak and William Steig, and the fluctuating line weight of her pencil recalls the draftsmanship of Howard Pyle at his most energetic. Throughout, Zemach's art is informed by an irrepressible wit."

By Jane Bayard Curley
Illustrated by Chris Van Allsburg

23 Illustrations, 32 pages.

"Van Allsburg combines a keen appreciation for the mysteries of life with a sense of beauty. In his universe, entire dramas can be intuited from a single, striking image. His illustrations are infused with quiet intensity, a deep psychological space that only the rarest artists achieve. But that is what Chris Van Allsburg is: one of the most accomplished picture book artists of his generation." - from "Through A Glass, Darkly" by Jane Bayard Curley, Guest Curator.

By Leonard S. Marcus
Illustrated by Clement Hurd, Leonard Weisgard, Esphyr Slobodkina, Wanda Gag, Jean Charlot, Garth Williams, Barbara Cooney, Marc Simont, Ylla

"The Picture Book Made New" by Leonard S. Marcus.
Catalog Design by Rita Marshall.
25 Illustrations, Paper, 32 pages.
1,000 copies, First Edition.

From "Acknowledgments," by H. Nichols B. Clark:
"Margaret Wise Brown launched her writing career at a time when a rejection of the fanciful and romantic in children's literature was reinforced by a belief that the genre should reflect a new reality embodied in the ascendant urban and industrial society of America. Consequently, a significant aspect of Brown's literary output was grounded in the "here and now," and she gravitated to artists who shard similar modernist tendencies. To be sure, many of her stories were rooted in the imaginary, and a good fit between narrative and image was always paramount."

By Nikki Giovanni, Darwin Henderson
Illustrated by Ashley Bryan

"When Rainbows Laugh" by Nikki Giovanni.
"Painting, Poetry and Puppetry" by Darwin Henderson.
Catalog Design by Rita Marshall.
20 Illustrations, Paper, 32 pages.
1,000 copies, First Edition.

From "Acknowledgments," by H. Nichols B. Clark:
"Anyone who has met Ashley Bryan will attest that their day has been immeasurably brightened by this encounter. He has touched young and old in so many ways, and his ability to get audiences to chant, stomp, and sing poetry is truly legendary. Ashley's art is the embodiment of a gesamkunstwerk - where the image, the word, and the music of the word all come to the fore."

By Nancy Willard
Illustrated by Alice and Martin Provensen

"The Well-Tempered Book" by Nancy Willard.
Catalog Design by Rita Marshall.
23 Illustrations, Paper, 32 pages.
1,000 copies, First Edition.

From "Acknowledgments" by H. Nichols B. Clark.
"We are delighted to present the exhibition, Picturing the World: The Art of Alice and Martin Provensen, and we recognize that much of what is on view constitutes a seamless collaboration between Alice and her late husband Martin. During a project, they passed works back and forth, so that their hands are virtually inseparable. Since Martin's death in 1987, Alice has continued to create wonderful books. They cover a broad spectrum of subject matter, crossing time and space. Her independent books retain the affinity for a flow and sequence of image both she and Martin learned in the animation studios during the 1940s. Of equal importance, their books forged an ongoing passion for untutored naive art - from Edward Hicks to Douanier Rousseau - that reflect the simple, rural life the Provensens embraced in the 1950s."

By Lolly Robinson
Illustrated by Beatrix Potter

"Rabbits and Roots" by Lolly Robinson.
15 Illustrations and Photographs, Paper, 16 pages.

From "Acknowledgements" by H. Nichols B. Clark:
"The Eric Carle Museum of Picture Book Art had barely opened its doors when the Beatrix Potter Society invited us to host their Twenty-fifth Anniversary meeting. We were delighted and not a little honored by this overture. In conjunction with the conference, we proposed organizing a small exhibition of works by Potter, and the Society enthusiastically embraced this idea."

By Truusje Vrooland-Löb
Illustrated by Fiep Westendorp, Dick Bruna, Max Velthuijs, Friso Henstra, Jan Jutte, Sylvia Weve, Ceseli Josephus Jitta, Yvonne Jagtenberg, Hans de Beer, Dieter and Ingrid Schubert, Thé Tjong-Khing, Annemarie Van Haeringen, Philip Hopman

"Baker's Dozen: A Delectable Offering of Dutch Illustration" by Truusje Vrooland-Löb.
Catalog design by Rita Marshall.
19 Illustrations, Paper, 32 pages.
1,000 copies, First Edition.

From "Acknowledgments" by H. Nichols B. Clark:
"Dutch art - especially the Golden Age of Rembrandt and Vermeer - has held great appeal to Americans since the early 19th century. Americans, like the 17th century Dutch, were concerned with forging a national identity. Landscape, portraiture, genre, and still-life helped achieve this goal visually. Each of these artistic objectives was steeped in narrative, and viewers became attuned to reading stories visually."

"Along the Yellow Brick Road: The Changing Look of Oz" by Michael Patrick Hearn
Catalog Design by Rita Marshall
18 illustrations, Paper, 32 pages
1,000 copies, First Edition

From "Acknowledgments" by H. Nichols B. Clark:
"2006 marks the 150th anniversary of L. Frank Baum's birth. To celebrate this milestone, The Eric Carle Museum has organized an exhibition of art from the Oz books. Although beloved for his series of Oz books, he is most famous for the first, The Wonderful Wizard of Oz (1900). As the centerpiece of the exhibition, it offers interpretations from W.W. Denslow's illustrations for the first edition down to recent times. As well as those of Denslow, works by his successor John R. Neill anchor the early examples while more recent interpretations include Barry Moser, Charles Santore, Lisbeth Zwerger, Robert Sabuda, Trina Schart Hyman, Chris Van Allsburg, Paul Zelinsky, and Eric Carle."

By Joanna Carey
Illustrated by Quentin Blake

"An Urge to Draw" by Joanna Carey.
Catalog design by Rita Marshall.
23 Illustrations, Paper, 32 pages.
1,000 copies, First Edition.

From "Acknowledgments" by H. Nichols B. Clark:
"We are delighted to present Quentin Blake: The Theater of the Page, a selection of work from the career of this distinguished artist. In Great Britain, Blake is a national treasure; in America, he is best known for his devishly exquisite illustrations for Roald Dahl's children's books. But there is so much more, and this exhibition, while concentrating on his children's book illustration, hopes to heighten awareness of Blake's broad range of talent."

By Samuel C. Morse
Illustrated by Allen Say

Allen Say: Between Two Cultures by Samuel C.Morse, Guest Curator
Catalog design by Rita Marshall
21 illustrations, Paper, 32 pages
1,000 copies, First Edition

From Acknowledgments by H. Nichols B. Clark: "To honor Allen Say's 70th birthday, the Eric Carle Museum of Picture Book Art has organized a major retrospective of his career. His illustrations for books comprise the bulk of the exhibition, but it also contains examples of his commercial photography and oil painting to underscore the full measure of his creative talent, as well as a unifying aesthetic."

By Tony DiTerlizzi and Jim Bisell, Guest Curator
Illustrated by Tony DiTerlizzi

Spiderwick: From Page to Screen
The Eric Carle Museum of Picture Book Art, September 22, 2007 - January 27, 2008
24 pages
"Belief is Suspended; Magic Ensues" by Jim Bissell
"Igniting the Imagination" by Tony DiTerlizzi

"This showcase highlights the powerful force of imagination. From old fairy tales illuminated by the likes of Arthur Rackham to the endless retellings of stories like the one Holly [Black] and I have spun, this force continues with the multitude of artists that made this film. They have sketched, sculpted, constructed, rendered, sewed, photographed and breathed life into the very same creatures that have entertained and enchanted us for centuries. I'd like to think that this collection of work just might inspire the next generation of fantastical creators. I know the 13-year-old in me can't wait to see what's next." - Tony DiTerlizzi, "Igniting the Imagination"

By Leonard S. Marcus, Jane Bayard Curley, and Maroline Ward, Guest Curators

Children Should Be Seen: The Image of the Child in American Picture-Book Art
114 pages, 83 illustrations
Catalog design by Rita Marshall
1,000 copies, First Edition

From "Acknowledgments" by H. Nichols B. Clark, Director:
"Children Should be Seen brings together eighty-three works of original illustration art by eighty-four artists in a comprehensive survey of the best American picture-book art for the years 1997-2007. The exhibition is organized around the theme of the changing image of the child in the American picture book and thus in contemporary American culture. A major goal of the exhibition is to prompt lively discussion on the tone and texture and very quality of life of the present generation of American children, and to consider the role that illustrated books can play in a culture that is increasingly saturated with post-industrial-age new media."

Selected as an honorable mention in the Exhibition Catalogs division of the AAM Museum Publications Design Competition for Children Should Be Seen: The Image of the Child in American Picture Book Art, designed by Rita Marshall. (http://www.aam-us.org)

By Michael Patrick Hearn
Illustrated by Arnold Lobel

Seeking a State of Grace: The Art of Arnold Lobel
March 15, 2008 - June 17, 2008
Catalog design by Rita Marshall.
21 illustrations, Paper, 32 pages.
1,000 copies, First Edition, Printed in Italy.

From "a little world at the end of my pencil:" The Visual and Verbal Art of Arnold Lobel by Michael Patrick Hearn, Guest Curator.
"'To be making books for children allows me the freedom and pleasures of being an adult, and at the same time I can always partake in a kind of childlike wonder,' [Lobel] explained. 'To be making books for children is to be in a sort of state of grace.'"

By Kendra Daniel, Virginia O' Hara
Illustrated by Kay Neilson, Jessie Willcox Smith, Edmund Dulac, William Heath Robinson, Charles Altamont Doyle, Kate Greenaway, Margaret Tarrant, Dorothy Lathrop, Beatrix Potter, John R. Neill, Ludwig Bemelmans, A.A. Milne, W.W. Denslow and many, many more

Preface by James H. Duff, Director of Brandywine River Museum and H. Nichols B. Clark, Founding Director of The Eric Carle Museum of Picture Book Art.
"A Collector's Perspective" by Kendra Daniel
"Flights into Fantasy: The Kendra and Allan Daniel Collection of Children's Illustration" by Virginia O'Hara
Catalog Design by Rita Marshall, photography by Helga.
59 full color illustrations.
Paper, 80 pages, First Edition.

From "Preface" by James H. Duff and H. Nichols B. Clark:
"Imagination and craft are defining characteristics of important art and valued by collectors of art in any form. In focusing their collection on images of fantasy for children, the Daniels have gathered highly imaginative works by many of the best illustrators who worked during an extraordinarily rich period in art and publishing."

By Lolly Robinson and Zora Charles

Over Rainbows and Down Rabbit Holes: The Art of Children's Books
Santa Barbara Museum of Art: March 15 - June 15, 2008
The Eric Carle Museum of Art: November 11, 2008 - March 8, 2009
Catalog design by Rita Marshall.
64 pages, 46 illustrations. First Edition, Printed in Italy.
Tumbling into Wonderland by Zora Charles
Travels Through Time and Genre by Lolly Robinson, Guest Curator

From Tumbling into Wonderland by Zora Charles
"Literacy should not only include the ability to translate squiggles into letters and words, it should connect us to a universe larger than the one we inhabit, to our shared humanity and to the natural world. And nothing does that better than a well-crafted picture book."

Illustrated by Virginia Lee Burton

Those Telling Lines: The Art of Virginia Lee Burton
March 24 - June 21, 2009

From "A Centenary Tribute" by Barbara Elleman, Guest Curator
"On this centenary of her birth, Burton's techniques and style have earned her a secure place in children's literature. 'Those telling lines' she created still bring alive a sturdy steam shovel, a snowplow called to duty, a cable car ready to take on the steepest street, a legendary archer prepared to do battle, and a little house happy again in a hillside full of flowers. Together they personify the joy and love of life that were so much a part of Virginia Lee Burton and which she has given so abundantly to children through her books."

32 pages with black & white and color illustrations.

By Barbara Elleman
Illustrated by Tomie dePaola

From "Theater on the Page" by Barbara Elleman, Guest Curator:

"As we celebrate Tomie's 75th birthday, we look forward to many more years of inventive stories filled with heart motifs and other symbols readers have come to expect and enjoy. His innovative mind and restless energy will undoubtedly go on supplying new and attention-grabbing ways to continually lend vitality to his books. The backdrops he devises, the characters he costumes, and the stories he tells will entrance readers for generations to come, and they will be swept away onto stages rich with story and artistic delight. Happy Birthday, Tomie!"

By Leonard S. Marcus

How Golden Books Won Children's Hearts, Changed Publishing Forever, and Became an American Icon Along the Way

Golden Legacy is a lively, never-before-told history of a company, its line of books, the groundbreaking writer and artists who created them, and the cultural landscape that surrounded them.

Illustrated by Antonio Frasconi

Into the Wood: Antonio Frasconi's Art for Children March 16 - June 13, 2010

From "An Appreciation of Antonio Frasconi" by Jane Curley, Guest Curator:
"Frasconi's gift to the children of the world is immense. His is a truly original vision. A lifetime spent walking his chosen path - going into the wood, seeing and saying - endows his work with staying power. Like all great art, Frasconi's grows and becomes deeper with time."

32 pages with color illustrations.

Lisbeth Zwerger: The World of Imagination
117 pages of full-color illustrations. Featuring an introduction by Eric Carle and essays by Willy Puchner and Lisbeth Zwerger.

From the Exhibition:
Monsters and Miracles: A Journey through Jewish Picture Books

Skirball Cultural Center, Los Angeles, CA:
April 8 - August 1, 2010

The Eric Carle Museum, Amherst, MA:
October 15 - January 23, 2011

40 pages, full color. Includes essays: "The World of Etienne Delessert" by David Macaulay, "Why Grow Up?" by Etienne Delessert and "Interview with Etienne Delessert" by Emmanuelle Martinat-Dupre.

Exhibition catalog for Tomi Ungerer: Chronicler of the Absurd, The Eric Carle Museum of Picture Book Art, June 18 - October 9, 2011.

32 pages, full color. Includes essay "Tomi Underer: Chronicler of the Absurd" by Michael Patrick Hearn, Guest Curator:
"Perhaps no other contemporary graphic artist has inspired the same passions as has Tomi Ungerer. One either loves his work or hates it. There is no middle ground." - Michael Patrick Hearn

Exhibition catalog for Growing Every Which Way But Up: The Children's Book Art of Jules Feiffer, The Eric Carle Museum of Picture Book Art, October 25, 2011 - January 22, 2012.

40 pages, full color. From the essay "Growing Every Which Way But Up: The Children's Book Art of Jules Feiffer" by Leonard S. Marcus, Guest Curator:
"In the children's books, Feiffer turns the tables on the older generation, foregrounding his child characters' emotional experiences and shunting the grownups to the sidelines. In these stories, childhood is not so much a matter of growing up (in the conventional sense of the phrase) as it is a question of growing in one's own individual direction."

By Claudia J. Nahson

Coinciding with The Snowy Day's 50th anniversary, this publication features more than 75 illustrations alongside essays by Claudia J. Nahson and Maurice Berger, who discuss Keats's Jewish background, his advocacy of civil rights, his inventive art, and his wide-ranging influence.

80 color and 3 black-and-white illustrations. 92 pages.