From School Library Journal
Kindergarten-Grade 5–Ghiuselev captures all of Alice's adventures in one sophisticated painting, which was done in gouache on wood panel and is reproduced on the book's cover. This is the only place where the picture is presented in its entirety, and it will be concealed by the dust jacket, which features another image. The unabridged text is illustrated with details of this larger painting, supplemented by additional monochromatic sketches. The artist's blend of unusual perspectives and strangely interconnected walkways and buildings seems reminiscent of the style of M. C. Escher. The artwork is the color of old parchment, and the beige and brown tones are highlighted with muted touches of blue and green. While many of the views reproduce beautifully and their bigger size invites a closer inspection of numerous details, some of the scenes seem a bit grainy and slightly out of focus. Still, the art is evocative, and the layout is appealing and carefully balanced. Not a first purchase for most collections, but an intriguing addition for Alice addicts.
–Joy Fleishhacker, School Library Journal Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
Gr. 5-12. Ghiuselev, like many illustrators before him, has responded to the siren song of a certain English schoolgirl and her trip down the rabbit hole. Like his
Pinocchio (2002), this interpretation showcases his painterly style, mixing full-color scenes with vignettes reminiscent of the burnt sienna drawings in an old master's sketchbook. The twist is that every full-color illustration hails from one
painting, reproduced on the cover, that incorporates most of the major episodes into one Escher-inspired dreamscape. Parlaying a single painting into enough artwork for Carroll's unabridged text presents obvious challenges. Readers may be bothered by the frequent repetition and sometimes awkward manipulation of key visuals, and the page design seems more focused on decorative effects than a strong correspondence between text and art. Nonetheless, Ghiuselev's ambitious vision and startling perspectives--such as a dramatic overhead view of the Mad Hatter's tea party--will delight children's literature enthusiasts and aspiring fine artists alike. Younger Alice fans, however, may prefer the more straightforward renditions by Helen Oxenbury or Lizbeth Zwerger (both 1999).
Jennifer MattsonCopyright © American Library Association. All rights reserved
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