Design by Maurice Sendak (1928–2012) – and famous for Where the Wild Things Are for a theatre scrim for Mozart's The Magic Flute, 1979–1980. Created watercolor and graphite pencil on paper on board.
© The Maurice Sendak Foundation. The Morgan Library and Museum, Bequest of Maurice Sendak, 2013.104:120. Photo: Janny Chiu.
Despite the fact that I don't write with children in mind, I long ago discovered that they make the best audience. They certainly make the best critics. They are more candid and to the point than professional critics. Of course, almost anybody is. But when children love your book, it's "I love your book, thank you. I want to marry you when I grow up." Or it's "Dear Mr Sendak: I hate your book. Hope you die soon. Cordially."
Maurice Sendak's self-portrait with one of his heroes who
Here is a real passion and understanding of content and audience in these spec pieces. Sendak rendered these in a detailed pen-and-ink style similar to that of the illustrations for Higglety Pigglety Pop! and Little Bear. It hearkens back to epic pastoral imagery seen in etchings by the likes of Rembrandt and Samuel Palmer. If you look closely, you will discover a master at work in the art of subtlety: Notice the heavy crosshatching used to weigh down a world-weary Gandalf contrasted with the open, airy line work that renders the jovial Bilbo. These depictions speak in an artistic conversation that has been ongoing for centuries, yet they are immediate and approachable by the child of today.
Art samples were prepared for Tolkien’s consideration but, unfortunately, due to an error in labelling, the dancing wood-elves were erroneously identified as hobbits. Tolkien, apparently not best-pleased at what he supposed to be the artist's failure to pay adequate attention to the text, refused to approve the commission.
Desperately hoping to resolve the misunderstanding, the publisher arranged a meeting in Oxford between author and artist while Sendak was in the UK for the British publication of Where the Wild Things Are.
