Pocket Full of Colors

July 3, 2017
The aesthetic of artist Mary Blair has had an outsize impact on the children’s book world, and now her life story gets its own book. Throughout, Guglielmo (the Touch the Art series) and Tourville (Albie’s First Word) emphasize the sexism and artistic pushback Blair faced and her unabashed love of color: “On her first day of work , the men in charge didn’t want to talk about cerulean or celadon or cerise.” Barrager (Uni the Unicorn) laces her vibrant images with visual references to Blair’s memorable work for such films as Alice in Wonderland and Peter Pan. An effervescent tribute that doesn’t sugarcoat Blair’s path to success. Ages 4–8. Author’s agent: (for Guglielmo) Stephen Barbara, Inkwell Management; (for Tourville) Brianne Johnson, Writers House. Illustrator’s agent: Kirsten Hall, Catbird Agency.

June 15, 2017
Artist Mary Blair uses intense colors in world-famous creations. When her family moves away from her childhood house, which is lemon yellow, Blair "tuck[s] her friend lemon in her pocket," memorizing that color. Growing up, she collects color after color in her mind: russet, azure, viridian, cerulean, celadon. As one of the first women to work at Walt Disney Studios, she contributes to Cinderella, Alice in Wonderland, and Peter Pan but is stymied by male bosses, who declare her work (such as magenta flying horses) "too vivid, too wild." She leaves to do advertising, book illustration, and stage sets, but Disney himself invites her back to work on a new ride called "It's a Small World." Blair, white and blonde, "had never been to places like China or Morocco or Kathmandu...but her colors had." That assertion reads as an excuse for something Guglielmo and Tourville never mention: real-world criticism of Small World for reductive exoticism of race, nationality, and ethnicity. Other instances of color personification, in contrast, are pure fun: colors "run and dance"; they "encourage...[Blair] to leave the men with their black lines and strict rules." Some of Barrager's hues clash with their textual descriptions, but her playful swirls are energetic. Subtitle notwithstanding, the text is nonrhyming. A bright homage to Blair's bold work, though shown through rose-colored glasses. (authors' note) (Picture book/biography. 5-8)

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July 1, 2017

K-Gr 4-This picture book biography of Mary Blair reveals a woman who thought outside the box and beyond the "rules" of art. Digitally rendered illustrations assist in telling the story of the artist who followed her own vision and relished playing with color. The pictures show paint swirling off the artwork Blair created, emphasizing her desire to be free to do what came naturally. A variety of hues with which readers may not be familiar are introduced, such as sienna, azure, viridian, cerulean, and mauve. Blair accepted a position with Walt Disney Studios during the Depression, assuming the company would welcome her artistic flair. The scene of her first day at work depicts her dressed in teal and pink while the other illustrators, all men, wear black, brown, gray, and white-foretelling the resistance to individuality she encountered. Blair soon resigned from that position and found satisfaction in illustrating books and advertisements, but years later Walt Disney himself hired her back. He appreciated her unconventional use of color and wanted it for the "It's a Small World" ride he designed for the 1964 World's Fair. The ending spread pays homage to that very ride, showing a slew of kids, dressed in cultural costumes, holding hands; however, this depiction reinforces many stereotypes and will likely need to be followed by a discussion. VERDICT Budding artists will enjoy learning about Blair and her persistence in obeying her instincts and creating art that pleased her.-Maryann H. Owen, Oak Creek Public Library, WI

Copyright 2017 School Library Journal, LLC Used with permission.

Starred review from July 1, 2017
Preschool-G *Starred Review* Mary Blair loves colors. As she travels through deserts, cities, and foreign countries, she meets new, vivid hues, and collects them for her drawings. Working at Walt Disney Studios, she's eager to let her pigments run free and play. But the rule-following men reject Mary's innovative ideaslike emerald-green skies or teal pumpkin coachesso she quits. Missing Mary and her extraordinary colors, Walt Disney asks Mary to design a vibrant ride about cultures around the world. Mary agrees, but with one condition: she gets to be the boss. Barrager's digital artwork imitates the clean lines, flat shapes, and bright colors of Blair's stunning concept art for the It's a Small World ride. Bulletin boards and square pieces of paper cannot contain the excitement of her drawings; sunshine radiates past corners, and mermaids swim off the page, while rainbow wisps stream from Mary's paintbrush and trail after her fingers. In contrast, her close-minded male colleagues wear neutral suits and study black-and-white sketches. Even Walt wears brown in front of plain, plaid wallpaper, while swirls of magenta, lemon, and olive envelope Mary. The whimsical illustrations will enamor young readers, while older kids will learn about a Disney legend as well as new words, such as russet or viridian. An independent, enthusiastic role model, Mary will teach young readers how to value what makes them special and advocate for their talents.(Reprinted with permission of Booklist, copyright 2017, American Library Association.)

January 1, 2018
In 1940, artist Mary Blair got a job at Walt Disney Studios, where men in drab suits found her unconventional use of color to be "too vivid, too wild." Walt himself, though, took an interest in Mary's vision. Digital illustrations employ a kaleidoscopic palette in a retro aesthetic that reflects Disney's golden age. The text uses deliciously precise color names to conjure sights and emotions. Author's note included.

(Copyright 2018 by The Horn Book, Incorporated, Boston. All rights reserved.)

September 1, 2017
From an early age, artist and designer Mary Blair (1911-1978) "collected colors of every shade and every hue." In 1940, the young artist got a job at Walt Disney Studios, where men in drab suits found her work, especially her unconventional use of color, to be "too vivid, too wild." But Walt Disney himself took an interest in Mary's vision, bringing her on a U.S. Goodwill tour of South America; later, after Mary had left the studio's confining culture to work in advertising, television, and children's book illustration, Walt recruited her to design the "It's a Small World" ride for the 1964 World's Fair. Barrager's digital illustrations employ a kaleidoscopic, Fauvist palette and intense patterns in a retro aesthetic that reflects the time of Disney's golden age. Guglielmo and Tourville's text uses deliciously precise color names to conjure both physical sights ("golden fruit dripping from viridian trees") and emotions (Mary's future husband "showed her rosy pink and blushing red" in art school). This is a love letter to the color wheel and a prismatic snapshot of a commercial artist's singular style, with a touch of feminism as this woman's vivacious creativity couldn't be dulled by "men in charge," with their "black lines and strict rules." Although no sources or documentation are provided, an author's note outlines Blair's career and legacy. katrina hedeen

(Copyright 2017 by The Horn Book, Incorporated, Boston. All rights reserved.)