I’ve had this book on my TBR shelf for way too long and should have reviewed it sooner, but I’m so happy to finally be able to share it with you now. The Artist Who Loved Cats grabbed my attention when it arrived via mail because its cover was gorgeous and full of cats. In fact, I recognized one cat in particular, le Chat Noir.
If you’ve ever traveled to France or are a francophile like me, you too may recognize artist Théophile-Alexandre Steinlen’s famed black feline. It’s impossible to miss reproductions of Le Chat Noir images sold at almost every bookseller’s stand either in postcard, purse, keychain, or print form when strolling along the banks of the Seine in Paris. His advertising posters from the late 1800s and early 1900s featuring bicycles, cocoa, and chocolat are also well-known.
Author Susan Bernardo was inspired to write this picture book “during a trip to Paris in 2014” when she stayed in Montmartre “and found a lovely little bronze cat sculpture in an antiques store,” near her AirBnB. As a student in Paris, I lived close to Montmartre and yet never considered the backstory of the prolific artist whose beautiful art decorated our dorm room walls and still remains so popular. I’m delighted Bernardo has created a book to introduce Steinlen’s story to children.
Steinlen seemed destined to draw cats. As a child growing up in Switzerland he sketched them in “every which way.” But, following advice from his father, he began a career in textiles and fabric design. Eventually, the artist felt eager “to embrace the creative life.” Paris in the 1880s was a vibrant hub for artists, musicians, writers, and dancers. That’s why Steinlen moved there in 1881. Through a fellow Swiss ex-pat pal and Le Chat Noir cabaret owner, the artist was hired to do illustrations for the Montmartre cabaret’s newsletter. His cats became the talk of the town and things took off from there. While the story is charmingly narrated in rhyme by the antique shop cat, and can at times be uneven, the reason to read this book with children is to spark curiosity not only about the artist Steinlen, but about other countries, and the arts too. Bernardo’s biography conveys the essence of what made Steinlen tick. He clearly was able to capture in his art just what the public wanted.
Steinlen’s artwork celebrated the ordinary everyday things in life which he encountered and though we may know him for his posters, he also made sculptures, storybooks, and songbook covers. And kids who love kitties will not be disappointed with how frequently Steinlen’s feline friends appeared in his art. His love of cats is evident throughout this book.
Fletcher’s fabulous illustrations fill every page with the kind of exuberance that probably emanated from Steinlen’s presence. Her Parisian scenes will take you back in time as will her cabaret and studio spreads. Each illustration provides a chance for children to count cats and check out their antics.
Bernardo’s used the cat bronze sculpture as a clever jumping-off point to discuss the artist’s life but she also takes the opportunity to point out how old items like those found in an antique shop can unlock myriad mysteries and feed children’s imagination. She’s even included a fun search and find activity at the end of the book. In addition to locating antiques, children are told to look out for certain famous people of Steinlen’s era including artist Toulouse-Lautrec and musician Maurice Ravel. Readers will learn from the detailed backmatter that “Steinlen used his art to protest social injustice and war and to celebrate the lives of working people.” His work influenced many other artists but ultimately his passion was for his art to make the world a better place.
Greta is a little girl who lives in a beautiful forest threatened by Giants. When the Giants first came to the forest, they chopped down trees to make houses. Then they chopped down more trees and made even bigger homes. The houses grew into towns and the towns grew into cities, until now there is hardly any forest left. Greta knows she has to help the animals, but how? Luckily Greta has an idea that will lead to the Giants and the animals working together in harmony. An additional section at the back explains that in reality the fight against the giants isn’t over and Greta needs the reader’s help.
This book has been printed sustainably in the UK on 100% recycled paper. By buying a copy of this book, you are making a donation of 3% of the cover price to Greenpeace UK
INTERVIEW WITH ZOE PERSICO
Please tell us how you came to be a picture book illustrator?
Growing up I had many artistic influences that led me to go into what I do today, especially in books. I struggled with reading, but the illustrations always kept me eagerly invested and inspired. I originally wanted to be an animator, but quickly figured out that illustrating was my passion and wanted to figure out how I could achieve it as my career. I returned to my love for children’s books and knew I wanted to create works of art that would help others like they did for me. With family, friends, my partner, and educators who always supported me every step of the way I signed onto my current agency, got an early jump start into my career, and graduated college. I’ve been working as a freelance illustrator for over five years now and happily receiving great projects such as Greta and the Giants.
What medium/technique did you use to create the illustrations in GRETA AND THE GIANTS and how did the metaphor of the giants as symbols of corporate greed influence your choices?
I use Photoshop CS6 and a Wacom Cintiq Pro 24 to create my illustrations, though I am heavily influenced by traditional materials and try to capture the magic of them through digital means. I use custom brushes that emulate watercolor, gouache, colored pencils, and so on. Before starting the final art for Greta and the Giants I knew that I really wanted to push some new painting techniques, so I practiced using traditional materials beforehand to figure out how I can capture them digitally.
The giants were quite a challenge! I needed to figure out how to portray the giants in a fantastical, but realistic way. It would have been too easy to use stereotypes as a crutch for their design and using certain physical traits to show how “ugly” they are is harmful because that’s telling readers having those traits are negative. I thought that illustrating them mostly from perspectives of Greta and the citizens of the forest, such as them looking up and only seeing their shoes and pants as well as not being able to see their faces as clearly due to the massive distance between them, was a perfect and simple way to achieve that the giants “have their heads in the clouds” more than anything else. They realize that they are causing harm and want to do better and I wanted to make sure their designs were an easy transition to the last spreads of the book as well. They have always worn normal clothes just like everyone else and their size doesn’t change. They are still giants! The change comes into how the new compositions show a better connection and understanding between them and the forest dwellers.
I was taken immediately by the gorgeous jewel tones in your palette. Please explain the decision behind that.
Thank you! I had a lot of fun with this palette for this book. When the design team told me they really wanted to a painterly look and using light for color and mood contrast I was immediately excited. I’ve always tried to push these elements in my personal work and I knew I wanted to push myself even more for this project. Since I have been painting traditionally on the side more, I’ve found new color palettes that I wanted to emulate in Greta and the Giants. I used warm tones for heavily lit areas and went with cool tones for shadows. I mixed colors on top of each other like I would with watercolors to keep interest and connection in each area. I have been in love with using a very bright candy red lately and knew it would be the perfect accent color in a sea of multiple shades of green. For the last spread I wanted to go with a sunset palette to help end the book on a warm and uplifting note. Overall, I would say the goal for this book was to have a mostly nature-inspired palette (greens, browns, oranges) with accents of fantasy-inspired colors (pinks and blues).
What inspired you about this particular story?
Throughout the years I’ve been finding ways to alleviate my carbon footprint on the planet as best as I can and having the chance to work on this project was right up my alley. I was inspired on now only how I can help show others on what we can do to help fight climate change, but to come together and speak up against “giants” by the power of your voice. I hope the illustrations in Greta and the Giants inspire children to ask questions. I hope it inspires parents and guardians to teach them about what is happening. I hope it inspires adults to speak out and vote.
Do you have a favorite illustration in the book?
Yes! Funny enough my favorite illustrations are the spreads that include the city. I rarely paint urban subjects and it was a fun challenge to depict what the giant city could look like from a distance. I’m proud of how it turned out!
I also enjoy illustrating animals as well. Any time I got to paint the fox was always fun for me!
What was the biggest challenge of creating the art for this picture book that’s dealing with a serious topic aimed at younger readers?
I would say finding the right visual balance of fantastical and visually showing a depiction of a real life issue. I wouldn’t be doing the message justice if I went a super happy and bright route for the illustrations. I want to show the dark sides of what’s happening to our home and make it easy to readers to understand that. I also wanted to show signs of hope and warmth as well. I use bright and inviting colors and character designs that young readers can gravitate towards. I paint light shining down on characters such as Greta to show that she is a beacon of hope. It’s little things like this that I add in my illustrations to help readers understand that things are serious, but we don’t have to be kept in the dark. It’s amazing how color and light and design choices can naturally click in your brain to know when something is “relaxing” or “melancholic” or “frustrating”. Illustrations are so important and I love that I get to create them.
As the giants learn about the negative impact of all their building and polluting, they begin to take on less fierce qualities. Was this intentional?
Absolutely. As I mentioned in the previous question regarding the giants, I really wanted to portray the giants in a way that they aren’t so different from the rest of the forest dwellers. Earlier spreads of the book emphasize how tall they are, how hard it is to see their faces from far away, and so on. There’s a disconnect and the giants aren’t aware of the damage they are causing. Towards the last spreads you can see their faces better and their postures and expressions are much more approachable. They are still giants, but there is now a more positive relationship between them and the folks living below them. I am hoping our real life “giants” can listen and start a positive dialogue with us to a better and healthier future.
Which illustrators have most influenced you as an artist?
I have so many! Some illustrators that have influenced me include Amélie Fléchais, Elena and Olivia Ceballos, Yvan Duque, Matthew Forsythe, Rebecca Green, Robin James, and many many more.
Thank you Zoe for your thoughtful answers. I hope everyone picks up a copy of Greta and the Giants to appreciate the beautiful artwork you’ve described in the interview and to see how wonderfully it complements the story.
• FIND OUT MORE ABOUT ZOE ON HER WEBSITE. • PUBLICATION DATE IS NOVEMBER 19 BUT YOU CAN PRE-ORDER A COPY HERE TODAY. • CLICK HERE FOR A HELPFUL DISCUSSION GUIDE.
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