Gr 4–6—Benny Andrews began drawing when he was able to hold pencil in his hands and "once he started, he never stopped." He was born in 1930, one of 10 children to sharecroppers, and attended high school at a time when few of his friends had similar opportunities. After the service and college, Andrews went to New York City, where his work began to blossom: in scenes of Harlem life, the jazz world, and of his Georgia childhood. Social causes and injustice, particularly the civil rights movement and the exclusion of African American and female artists from museums fueled both his art and activism. Thick with broad, vibrant swatches of greens, blues, and reds and incorporating collage elements, the artist's folklike paintings depicted the world around him—and illustrate Benson's moving and accessible picture book biography. Whether two or three dimensional, existing on a shallow stage or in an expansive landscape, Andrews's often elongated, stylized figures carry weight and their postures tell stories of oppression, of joy, of curiosity, and of pride. Readers will recognize the artist as the illustrator of Jim Haskins's
John Lewis in the Lead (Lee & Low, 2006),
Delivering Justice (Candlewick, 2005), and
Langston Hughes (Sterling, 2006). His poignant portrayals of the human condition in these and other titles and in paintings hanging on museum walls long ago earned him the title he chose for himself: the "people's painter." A powerful work about an influential artist and activist.—
Daryl Grabarek, School Library Journal
A moving account of the life of Benny Andrews, who started drawing when he was three years old and went on to become a successful artist who taught and exhibited in cities including Chicago, New York, and Washington, D.C. The text is accompanied by Andrews’s emotionally resonant artwork. His colorful, folk-art-style paintings often have a tactile quality, with strong brushstrokes and fabric collage. Kathleen Benson’s words are simple and evocative: “At first, [Benny] made pictures of the world around him. He drew hot suns and red clay and little wood-frame houses in the middle of cotton fields that stretched as far as he could see.” Andrews’s life story and his use of art as a medium for social justice are inspiring. He was a part of an active period in civil rights history, evidenced by his own trajectory from a Great Depression-era childhood on a sharecropped Georgia farm to documenting demonstrations in Harlem as an artist in the late 1950s and ’60s. Readers may be motivated to tell their own stories, starting, as Andrews did, “by drawing what they see.”
Born in 1930 in Georgia, Andrews defied social expectations by
leaving the farm, attending high school, earning a BFA degree, and
becoming a renowned painter in an art world still unwelcoming to
artists of color. Benson expertly crafts the narrative around
original Andrews paintings, notable for their focus on
autobiographical elements and experiences of prejudice as well as
for the expressionistic stylization of figures. Timeline. Bib.
Benson opens in New Orleans in 2005, where Benny Andrews traveled after Hurricane Katrina to teach children "to use art to express their feelings about what they had been through...he knew that sometimes it was easier to tell a story with pictures than with words." And this is an excellent way to begin a biography of an artist dedicated to the craft of narrative- and experience-based art, and also to the ongoing social concerns of African Americans and other minority groups. Then it's back to 1933 Plainview, Georgia, where three-year-old Benny drew his first picture. In clear prose, Benson moves through the years, during which Andrews defied social expectations by leaving the farm, attending high school, earning a bachelor of fine arts degree, and eventually becoming a renowned painter in an art world that was still unwelcoming to artists of color. The narrative is expertly crafted around original Andrews paintings (identified in the back matter), which are notable for their focus on autobiographical elements and people's experiences of prejudice as well as for the expressionistic stylization of figures: elongated subjects work in a field, attend church, dance at a jazz club, sell newspapers in Harlem. Appended are an author's note, sources and resources, and an ultra-detailed timeline that makes clear the breadth and heft of Andrews's accomplishments. katrina hedeen
Be the first reader to comment.
Comment Policy:
Comment should not be empty !!!