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Editorial Reviews
From Publishers Weekly
Part faux diary, part scrapbook, this charming volume teeters between picture book and novel. Through the 1892 "journal" of young Charlotte Glidden, daughter of a fictitious Boston painter, Knight (Bon App?tit, Bertie) uncovers the inner workings of an artist's colony that sprang up near Claude Monet's home in France. Charlotte's enthusiastic, detailed reports emulate the more leisurely pace of 19th-century daily life in Giverny, and her perceptions of French culture and customs, art and artists give readers the distinct feeling of looking over her shoulder. Knight adroitly pins the substance of her tale to 16 Impressionist paintings, some of which are attributed to characters in the book. For instance, Charlotte describes her friend Edith Perry sitting for a portrait her mother is painting, and the painter turns out to be Lilla Cabot Perry. Similarly, Theodore Robinson's The Wedding March appears in Charlotte's diary entry about the marriage of Suzanne Monet to American artist Theodore Butler. Knight also works in paintings by other Impressionists who don't appear in the narrative but who did spend time at Giverny, such as an unusually informal painting by John Singer Sargent, Carnation, Lily, Lily, Rose. Sweet (Leaving Vietnam) adds to the visual mix with a whimsical patchwork of sprightly watercolors and small-scale collages made from scraps of fabric, stamps, period photographs, a mini-picture glossary of French words and the like. Closing with a brief description of each painting and biography of each artist, this is a most appealing art history lesson. Ages 6-10.
Copyright 2000 Reed Business Information, Inc.
From School Library Journal
Grade 4-7-Similar in theme and style to Christina Bj?rk's Linnea in Monet's Garden (R & S Bks, 1987), this story depicts the period of a young American girl's life spent with her family in the French countryside in the early 1890s. Presented in a journal/scrapbook format, the narrative describes Charlotte's family's arrival in Giverny, where her father plans to paint, and the ambience of the bucolic community where Monet reigns as an impressive, if somewhat remote, artistic master. The passing of the seasons is recounted through a series of social, domestic, creative, and pastoral pastimes. Despite her enjoyment of Giverny's agreeable diversions, Charlotte is mildly homesick until she learns that her best friend and her family will be joining them soon. Thus, the only real tension in the story is facilely resolved. All of the entries are amply illustrated with fine-art reproductions; historical photographs; and whimsical, na?ve watercolors. The craftsmanship of the bookmaking lends the impression of a real journal with its binding and typeface. A list of credits identifying the famous paintings and artists is included. However, while attractive, the narrative lacks verve and fails to place the story in its adequate historical perspective. Impressionism and Monet's place in this pivotal artistic movement are not adequately addressed here. While this pretty book may be useful as supplemental material, it is ultimately derivative and lackluster.
Rosalyn Pierini, San Luis Obispo City-County Library, CA
Copyright 2000 Reed Business Information, Inc.
See all Editorial Reviews
Part faux diary, part scrapbook, this charming volume teeters between picture book and novel. Through the 1892 "journal" of young Charlotte Glidden, daughter of a fictitious Boston painter, Knight (Bon App?tit, Bertie) uncovers the inner workings of an artist's colony that sprang up near Claude Monet's home in France. Charlotte's enthusiastic, detailed reports emulate the more leisurely pace of 19th-century daily life in Giverny, and her perceptions of French culture and customs, art and artists give readers the distinct feeling of looking over her shoulder. Knight adroitly pins the substance of her tale to 16 Impressionist paintings, some of which are attributed to characters in the book. For instance, Charlotte describes her friend Edith Perry sitting for a portrait her mother is painting, and the painter turns out to be Lilla Cabot Perry. Similarly, Theodore Robinson's The Wedding March appears in Charlotte's diary entry about the marriage of Suzanne Monet to American artist Theodore Butler. Knight also works in paintings by other Impressionists who don't appear in the narrative but who did spend time at Giverny, such as an unusually informal painting by John Singer Sargent, Carnation, Lily, Lily, Rose. Sweet (Leaving Vietnam) adds to the visual mix with a whimsical patchwork of sprightly watercolors and small-scale collages made from scraps of fabric, stamps, period photographs, a mini-picture glossary of French words and the like. Closing with a brief description of each painting and biography of each artist, this is a most appealing art history lesson. Ages 6-10.
Copyright 2000 Reed Business Information, Inc.
From School Library Journal
Grade 4-7-Similar in theme and style to Christina Bj?rk's Linnea in Monet's Garden (R & S Bks, 1987), this story depicts the period of a young American girl's life spent with her family in the French countryside in the early 1890s. Presented in a journal/scrapbook format, the narrative describes Charlotte's family's arrival in Giverny, where her father plans to paint, and the ambience of the bucolic community where Monet reigns as an impressive, if somewhat remote, artistic master. The passing of the seasons is recounted through a series of social, domestic, creative, and pastoral pastimes. Despite her enjoyment of Giverny's agreeable diversions, Charlotte is mildly homesick until she learns that her best friend and her family will be joining them soon. Thus, the only real tension in the story is facilely resolved. All of the entries are amply illustrated with fine-art reproductions; historical photographs; and whimsical, na?ve watercolors. The craftsmanship of the bookmaking lends the impression of a real journal with its binding and typeface. A list of credits identifying the famous paintings and artists is included. However, while attractive, the narrative lacks verve and fails to place the story in its adequate historical perspective. Impressionism and Monet's place in this pivotal artistic movement are not adequately addressed here. While this pretty book may be useful as supplemental material, it is ultimately derivative and lackluster.
Rosalyn Pierini, San Luis Obispo City-County Library, CA
Copyright 2000 Reed Business Information, Inc.
See all Editorial Reviews
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