The Picture Book Re-Imagined

The Picture Book Re-Imagined: The Children’s Book Legacy of Pratt Institute and the Bank Street College of Education

Curated by Leonard Marcus Pratt Manhattan Gallery

Cover: The Noisy Book by Margaret Wise Brown with pictures by Leonard Wisegard. William R. Scott, 1939. Reproduced with the permission of HarperCollins.

A much-anticipated examination of 20thcentury children’s literature as shaped by two educational and cultural influencers, The Picture Book Re-Imagined: The Children’s Book Legacy of Pratt Institute and the Bank Street College of Education celebrates a collaboration between institutions both founded in curiosity, creativity, and innovation in the “here and now”—to borrow an emblematic phrase from Bank Street founder Lucy Sprague Mitchell. In the 1920s, Mitchell’s observation that children best engage in stories reflecting the present moment, the world they know, inspired a rethinking of children’s literature—a genre Pratt had sought to promote since opening the Children’s Library on the Brooklyn campus in 1896, through the visionary work of librarian Anne Carroll Moore.

Over the years, as Bank Street became an incubator of literary and artistic talent through the Writers Lab, Pratt went on to further the children’s book form through its own program of studio education, training illustrators whose unique voices in many ways reflected those of their Bank Street contemporaries—fresh with experimentation, rich in skillful image-making, and setting the stage for, as Mitchell put it, the “child’s own fresh springs of imagination” to run free. This exhibition highlights the ongoing legacy of Pratt and Bank Street, bellwethers in the advancement of children’s literature as an art form, having cultivated some of the most renowned artists and writers in the field, from Tomie dePaola, Arnold Lobel, and Ted and Betsy Lewin (Pratt Institute) to Margaret Wise Brown, Ruth Krauss, Eve Merriam, and Jean Merrill (Bank Street). We are delighted to present this journey through the manuscripts, original artwork, and archival material behind books that have not only enriched many young minds but continue to inspire readers of all ages with their gentleness, wit, and invitations to dream.

Picture Book People: Children, Their Books, and the Shared Legacy of Pratt Institute and the Bank Street College of Education Leonard Marcus

Selected Works Additional Works

President Shael Polakow-Suransky, Bank Street College of Education President Thomas F. Schutte, Pratt Institute

Additional Bios Colophon

Picture Book People: Children, Their Books, and the Shared Legacy of Pratt Institute and the Bank Street College of Education Leonard Marcus

Anne Carroll Moore receiving an honorary Doctor of Letters degree at the June 3, 1955, Pratt Institute Commencement.

Anne Carroll Moore Papers, Pratt Institute Archives.

An extraordinary number of the cultural institutions that Americans take for granted came into being during the half-century between the 1870s and 1920s, a time when great fortunes made in business and industry were shared for the common good as never before. The Metropolitan Museum of Art (1870), Philadelphia Zoo (1874), Art Institute of Chicago (1879), Brooklyn Botanic Garden (1910), Cleveland Orchestra (1918), and the nationwide network of Carnegie public libraries (1883–1929) that gave millions of Americans unprecedented access to books all date from this culturally ambitious time. So too do two independent New York educational institutions whose distinctive legacies overlap in the innovative work each pioneered on behalf of children and their books: Pratt Institute (1887) and the Bank Street College of Education (1916).

Brooklyn oil baron Charles Pratt founded the school that bears his family name as a voca­ tional college where working men and women of all races and religions could better them­selves through training in engineering, architecture, home economics, and the fine and applied arts.

By 1890, the rapidly expanding Institute had added a Library School, one of the nation’s first, and in 1896 that school’s staff, led by Mary Wright Plummer, opened an equally ground­breaking model Children’s Library, both as a student training facility and as a neigh­borhood amenity to which the public was invited. At the helm of this visionary venture was a resolute 25-year-old woman from Maine named Anne Carroll Moore.

Moore had come to Brooklyn in search of a vocation following the death of her father, a prominent New England attorney with whom she had intended to clerk. At Pratt, she set her sights on a career in research and reference work or library system management. But upon graduating in 1896, she left town only to be called back almost immediately by Plummer to replace the original head of the Children’s Library, who had resigned after just two or three helter-skelter months on the job. Moore had not considered work with children until then but had retained her childhood passion for Andersen’s fairy tales and loved taking charge. She quickly reimagined the library as not only a place where children could borrow books but also—more grandly—as a gateway to culture where young people would be treated to musical performances and art exhibitions drawn from Pratt’s collection as well. In a letter to friends, Moore described her new realm as a “big room, flooded with sunlight on bright

days and crowded with children on gray days[.]”1 Patrons ranged from the poor to the privileged and represented “all the nationalities common to large cities.” Moore’s first report, now pre­ served in the Pratt Institute Archives, records the comment of one gob-smacked young regular: “Do you have a different kind of time here?” the boy wanted to know.2 An hour at the library, he explained, passed so much faster than one spent at home. Moore knew then that she had found her calling. “I am living some of the most satisfying days of my life,” she declared.3 Moore remained at Pratt for the next 10 years and might have stayed longer had not the opportunity of a lifetime presented itself: the chance, starting in 1906, to direct youth services at the newly consolidated New York Public Library.4 From her marble perch across the East River, she would exercise an unparalleled national and ultimately inter­ national influence over her field, shaping the critical discussion about children’s books, conferring prizes and accolades, and defining her profession for decades to come.

Librarians, however, were not the only experts making it their business just then to set standards for books for young readers. At the Bureau of Educational Experiments (today’s Bank Street College of Education), founder Lucy Sprague Mitchell’s studies of early langu­age development were raising fundamental questions about the meaning and value of the books then being published for young children—and championed by librarians like Moore. Mitchell’s research suggested, for example, that young children preferred “here and now” stories about the world they knew to the “once upon a time” fairytale fantasies that librarians held in highest regard. Mitchell’s findings also implied that game‑like picture books that invited children’s active collab­oration by posing direct questions for them to answer, or by encouraging them to make playful noises or draw their own pictures— had greater developmental value for pre­schoolers than classically well-crafted tales like the ones they listened to quietly at library story hour.

Like Moore, Mitchell approached her life­ work with the zeal of a secular prophet. The daughter of Chicago wholesale food merchant Otto Sprague (the company he co-founded, Sprague and Warner, became General Foods), Mitchell had grown up in material splendor, but also in a home where ladylike manners were encouraged and creativity stifled. After four revelatory years at Radcliffe with William James and other philosopher-educators who favored

Photograph of “Children’s Room of the Pratt Institute Free Library of Brooklyn” 1910 with caption “Pratt Library opened to ‘all citizens of Brooklyn over 14 years old.’ In 1891 the age limit was abolished. Any reading child could borrow books from then on.” Pratt Institute Archives.

An excerpt from Anne Carroll Moore’s notebook titled “Reports, Children’s Room, Pratt Institute Library, Brooklyn, beginning October 1896.” Anne Carroll Moore Papers, Pratt Institute Archives.

Lucy Sprague Mitchell, Bank Street Archives.

Clement Hurd, Study for the “Great Green Room” from Goodnight Moon, Clement Hurd Papers, Kerlan Collection, Children’s Literature Research Collections, University of Minnesota Libraries, Minneapolis. 1946.

a “progressive” new child-centered approach to teaching and learning, Mitchell vowed to devote her life to implementing her mentors’ ideals.

Founded in 1916 in Greenwich Village, the Bureau, or “Bank Street,” was a child dev­elop­ment research center, a progressive nursery school, and a school for teachers rolled into one. Five years into her tenure, Mitchell staked her claim as an authority in the children’s book field by publishing Here and Now Story Book (1921) as a model collection of the new type of early children’s literature she hoped would become the norm. In her explanatory commentary, she spelled out her differences with the librar­ians in no uncertain terms.

“It is only the jaded adult mind, afraid to trust the child’s own fresh springs of imagination,” Mitchell declared, “that feels for children the need of the stimulus of magic.”5 Moore and her colleagues responded by largely snubbing the many children’s books that Mitchell wrote and inspired. The battle continued for decades.

At Bank Street, all teacher trainees were expected to try their hand at writing for children, and in 1937 Mitchell invited the most talented students in the group to collaborate with her on a second collection, Another Here and Now Story Book. To further encourage their talent and generate still more Here and Now material, she established a permanent workshop at Bank Street, the Writers Laboratory, the following year. The most gifted member of the group was Margaret Wise Brown, an instinctive poet who embraced the picture book as an experimental art form and wrote from a deep understanding of early childhood emotions. Among the illustrator friends Brown brought to Writers Lab meetings were Clement Hurd (with whom she later collab­orated on Goodnight Moon) and Leonard Weisgard, an owlish wunderkind from the Bronx who, while putting in time in Pratt’s art education program to mollify his parents, sold his first drawings to The New Yorker and Vanity Fair. In 1937, at the age of 20, Weisgard published Suki, The Siamese Pussy, the first of nearly 200 children’s books in a distinguished career that spanned more than 50 years. Weisgard’s allegiance to the modernist arts of his time made him a most attractive collaborator to Margaret Wise Brown. Together they created more than 20 notably original books, among them the 1947 Caldecott Medal winner, The Little Island.

At Bank Street, Lucy Mitchell left as little as possible to chance. Determined for her Here and Now philosophy to have the maximum real-world impact, she persuaded a Bank Street

nursery school parent with family money to start a publishing company dedicated solely to that end. With Margaret Wise Brown as the new firm’s editor, William R. Scott, Inc. issued its first mave­ rick list in the fall of 1938, with the Writers Lab represented not only by Brown herself but also by Clement Hurd and his future wife Edith Thacher.

Before long, other Writers Lab members joined them: Leonard Weisgard, Louise Woodcock, Irma Simonton Black, Ruth Krauss, and Miriam Schlein, to name a few. Scott proved to be an effective entry-point for many important careers.

Mindful of the dearth of books for and about children of color, Mitchell also reached out to Harlem’s African-American community, recruiting journalist Ellen Tarry for the Writers Lab. The first manuscript Tarry brought to the group for discussion became Janie Belle (1940), the harrowing story—unprecedented in a picture book—of an African-American baby who was adopted by a loving family after having first been abandoned on a city street. When Golden Books transformed publishing for young children in the early 1940s by selling budget-priced picture books in mass consumer outlets like drugstores and five-and-dimes, Mitchell once again recognized an important opening and arranged for a series of Bank Street Little Golden Books that ultima­tely brought Here and Now picture books into millions of homes around the world.

One of the first Pratt graduates to make her name in the children’s book field, Margot Tomes, studied textile and wallpaper design as an undergraduate, and found her lifework only by chance a decade later. Tomes’ story is a typical one for her time and for decades afterward, when children’s book publishing remained a backwater industry and art schools generally did not recognize work in the field as either a high calling or a viable career path. In the case of Pratt, it was the combination of the school’s rigorous first-year foundation curriculum and its philosophical emphasis on image-making as the visualization of a concept rather than a scene that proved to be such good preparation for so many of the artists who later made their way into children’s book illustration on their own— from Helen Sewell and Susanne Suba (1920s and 1930s) to Ted and Betsy Lewin, Arnold Lobel, and John Schoenherr (1950s) to Pat Cummings, Rudy Gutierrez, Scott Menchin, and Kadir Nelson, and others (1970s and beyond).

To most 20th-century American art students, illustration meant editorial or adver­ t­ising work—and the dream of becoming

Children….Yes, The Bank Street Schools Catalog 1938–1939.

Bank Street Archives.

Margot Tomes, p.4 “All Up!” from Chimney Sweeps, pen and ink, 8 x 10 inches. Margot Tomes Papers, Kerlan Collection, Children’s Literature Research Collections, University of Minnesota Libraries, Minneapolis.

Helen Sewell, “Jimmy pulling Jemima in wagon,” pen and ink drawing. Helen Sewell Papers, Kerlan Collection, Children’s Literature Research Collections, University of Minnesota Libraries, Minneapolis.

Arnold and Anita Lobel at Pratt Institute’s graduation day, 1955.

Courtesy of the Estate of Arnold Lobel.

the next Norman Rockwell. It was with this idea in mind that Ted Lewin entered Pratt in 1952 on the recommendation of his Buffalo, New York, high school art teacher, himself a Pratt graduate. Lewin cut a colorful figure on campus as an illustration major known to earn good money by night as a professional wrestler.

Classmates Arnold Lobel and Anita Kempler (soon to be Lobel) arrived with much the same artistic ambitions. Anita Lobel recalls, “We both...put together humble but acceptable student portfolios, which we trotted around.”6 Following graduation, Anita found mildly satisfying journeyman work as a textile designer; Arnold as a staff artist at a small Jewish publish­ ing company, Ktav. Lewin painted covers for racy pulp fiction magazines. His wife, Betsy, who had started at Pratt in 1955, took a job at a greeting card company.

In retrospect, 1952 would prove to be a banner year at Pratt for picture book artists.

Others in that remarkable class included John Schoenherr, Charles Mikolaycak, Cyndy Szekeres, and Tomie dePaola. Only Szekeres and dePaola had come with visions of the career they later enjoyed. Szekeres even knew that her specialty would be anthropomorphized animals. “A white boy with blond hair is just that,” she had already decided. “But a mouse in shorts is every child.”7 DePaola, who followed his glamorous twin cousins, photographers Franny and Fuffy McLoughlin, to Pratt on a scholarship, gorged himself on postwar New York’s vibrant art scene, drew inspiration from everywhere, and created All of Our Angels, a picture book, as a class project. He recalls saving his pennies for a copy of a just-published book he thought “very inventive.” Ruth Krauss’s A Hole Is to Dig,8 with illustrations by the as yet unknown Maurice Sendak, was in fact a notable experi­ ment in the realistic observation of young children. It had been inspired by, and in part carried out, at Lucy Sprague Mitchell’s Bank Street nursery school.

A shy, earnest, largely self-taught artist from Brooklyn, Maurice Sendak was employed as a window dresser at the F.A.O. Schwarz toy emporium in midtown Manhattan when the store’s book department manager introduced him to one of the illustration world’s elder statesmen, Leonard Weisgard, who happened to be visiting that day. Catching a glimpse of his younger self in the 20-year-old’s awkward manner and towering ambition, Weisgard arranged an appointment for Sendak with Harper’s visionary publisher of “good books

for bad children,” Ursula Nordstrom, who offered him a contract and went on to champion his work for the next 20 years.

Through Nordstrom, Sendak met Ruth Krauss, who befriended “Maury” and invited him to join the Writers Lab. From 1954 to 1956, Sendak frequented Bank Street, sketchbook in hand, and produced a trove of drawings for the school’s annual Children...Here and Now magazine. His three successive cover illustrations, each one rendered in a completely different style, are especially remarkable: signposts of an astounding talent that had begun to morph and stretch at warp speed.

Writing in the 1956 issue of that publica­ tion, children’s poet Eve Merriam summed up the Writers Lab’s continued purpose and value nearly two decades after its founding. Members of the group, she said, “all like children...[and] want to write for children vividly and honestly, using the child’s doubly truthful world of fact and fantasy. We see children not as guinea pigs to practice on, not as subject‑matter for ‘cute’ anecdotes, but as personalities stretching with tiptoe eagerness, with open-handed desire to grasp the world they inhabit.”9 As can be gleaned from Merriam’s comments, the philosophical quarrel that had kept Lucy Sprague Mitchell and Anne Carroll Moore at arm’s length from one another decades earlier had long since been put to rest. At Bank Street, a child’s fantasy life was now understood to be an integral aspect of his or her inner reality. Librarians had grown less dogmatic, too.

One children’s librarian-turned‑author—a Pratt graduate named Eleanor Estes (M.L.S ’32)— won the 1952 Newbery Medal for Ginger Pye, a wry chapter book about a group of child friends whose robust self-sufficiency and good-humored cooperative spirit were the very hallmarks of a progressive school education. The author’s husband, Rice Estes, was another Pratt graduate, and directed Pratt’s libraries from 1955 to 1972.

During the troubled 1960s, Bank Street’s new leadership felt the time had come for a more activist role. Responding to an urgent need that the civil rights movement highlighted, the newly formed Bank Street Publications Division set the ambitious goal of creating the next gen­ eration of early reader texts for use in schools— the first such books ever to feature multiracial characters and themes and contemp­­­orary urban settings. The “Dick and Jane” readers that long dominated the market depicted an idealized version of all-white, small-town American life, and had not aged well. Leonard Weisgard, who

Cyndy Szekeres, bunny sketches, pencil on tracing paper, 9 x 9 x 2 inches, 2010.

CHILDREN...Here And Now: Notes from 69 Bank Street Volume 2, 1954 (with Maurice Sendak drawing), Bank Street Archives.

fervently believed in the principles at stake, agreed to create sample art for the project on speculation. Publication Division staffers pro­ duced the stories and, in time, a prototype was ready for submission. To no one’s surprise in that tumultuous time, the first publishers to be offered the series declined for fear of alienating their southern institutional clients. A reluctant Macmillan finally decided to take a chance and brought out the books, which spanned preschool to third-grade reading material, in two waves in 1965 and 1966. The effort proved its worth in all respects, with the Bank Street Readers setting a more inclusive industry standard from which there would be no turning back.

Eleanor Estes, The Alley, p. 1 with handwritten note to editor Margaret McElderry: “Margaret, do you like the title page?

Wasn’t there a small cut from one of the drawings that could have been used? Love, E.” Eleanor Estes Papers, Kerlan Collection, Children’s Literature Research Collections, University of Minnesota Libraries, Minneapolis.

Fueled by Great Society funding for public schools and libraries, the children’s book pub­ lish­ing industry of the 1960s experienced a major growth spurt, and a boost in professional status that has continued to this day. Publish­ ing’s business types realized as never before that there was money to be made in books for children and teens, and a growing number of writers and artists began to see the field’s creative opportunities. In this last group, Pratt graduates were well represented.

Ed Young left China for the United States in 1951 to study architecture but was employed at a New York advertising firm when he enrolled in Pratt’s graduate program in 1958 in search of more fulfilling work. Young illustrated his first children’s book, Janice May Udry’s The Mean Mouse and Other Mean Stories (1962), four years later, ostensibly as a one-off assign­ ment. But the award the book went on to receive from the American Institute of Graphic Arts proved to be a life changer.

Gerald McDermott (B.F.A. Communi­ca­ tions Design ’64) was a Pratt senior in the early 1960s when he made his first animated film, based on a Japanese folk­tale. A few years later, a publisher at a festival screening of one of his next films invited McDermott to create a picture book from the same material. Anansi the Spider was published in 1972, winning a Caldecott Medal (the American Library Association’s runner-up award) the following year. McDermott’s second book, Arrow to the Sun, received the Caldecott Medal in 1975.

During these same years, the Bank Street Publications Division was busy producing child­ren’s learning materials for clients as varied as IBM and Sports Illustrated for Kids, and the Writers Lab attracted an impressive array of creators of picture books, poetry,

fiction, and nonfiction for young readers that included folklorist Diane Wolkstein, Newbery Medal winners Emily Neville and Joan Blos, and historian and biographer Doreen Rappaport, among many others.

Bank Street’s influence now took many forms, not all of them immediately apparent.

Child’s Eye View, a 1968 documentary film by Bank Street staff member and (briefly) Writers Lab mem­ber Robie Harris, presented an intimate por­ t­rait of a New York City neigh­borhood from the unusual vantage point of a group of 7- and 8-yearolds to whom Harris had given hand held video cameras. A press report about the film caught the attention of a photographer named Tana Hoban, who was inspired by Harris’s experiment at focusing children’s attention to use her own camera for the same purpose. Hoban embarked on a new phase of her career with Shapes and Things (1970), the first of more than 25 picture books in which photographs of everyday objects and scenes are arrayed in patterns designed to sharpen children’s powers of perception.

The second postwar baby boom of the 1980s, the rising percentage of college-educated parents, and a growing societal awareness of literacy as one of the keys to a thoughtful, pro­ duc­tive life all generated unprecedented interest in children’s books during the final years of the last century and the first years of this one.

At Pratt, where students wishing to enter the field were increasingly common, these developments prompted the introduction during the 1990s of a new course in picture-book making as well as a class in pop-up book design, the latter taught by recent graduate Robert Sabuda (B.F.A. Communications Design ’87).

Bank Street refocused its efforts as well, consolidating the Writers Lab, its Children’s Book Committee’s annual best books list, its full calendar of book-related events, and the book awards it conferred each year under the broad umbrella of the Bank Street Center for Children’s Literature. In 2007, the Center presented its first lifetime achievement award to Eric Carle, a picture book artist whose work had spread around the world. Carle had left a successful career as a commercial illus­trator and adver­t­ ising executive for a riskier venture that he hoped might bring him greater satisfaction. Starting in the 1960s without having first studied the work of those who came before him, he arrived at many of the same conclusions that Lucy Sprague Mitchell, Margaret Wise Brown, and their Bank Street colleagues had refined a generation and more earlier. A conceptual artist by training,

Robie Harris and children from Bank Street Early Childhood Center filming Child’s Eye View in Hell’s Kitchen, October 1967.

Robert Sabuda, Wizard of Oz: A Commemorative Pop-Up Book, text by L. Frank Baum. Little Simon, 2000.

he developed a distilled, idea-based signature graphic style of illustration that young children responded warmly to across cultures, and that doubtless would have earned high marks at Pratt.

Today, the most knowing generation yet of aspiring illustrators and writers, many of whom grew up on the picture books of Eric Carle, Maurice Sendak, Margaret Wise Brown, Tomie dePaola, the Lewins, and others, dream of making their own mark on the first art form they experienced in life. They come at a time of unprecedented competition for children’s time and attention, of ever-changing technology, and in the midst of a radical recon­ sideration of the role of words and pictures in narrative communication—not only for children but for everyone.

What stories do they have in store for the next generation? Time will tell, but the odds are great that Pratt Institute and the Bank Street College of Education will both have had their say in much of the best of it.

Born in Mt. Vernon, New York, and living in Brooklyn, Leonard Marcus is one of the world’s leading writers about children’s books and the people who create them. He is the author of more than 25 award-winning books including Margaret Wise Brown: Awakened by the Moon; Show Me a Story: Why Picture Books Matter; and The Annotated Phantom Tollbooth.

Marcus is the curator of numerous exhibitions including the New York Public Library’s landmark exhibit The ABC of It: Why Children’s Books Matter and the Rosenbach Museum of Philadelphia’s 2015–16 exhibition Wonderland Rules: ALICE at 150. He teaches at New York University and lectures around the world about his work.

1 Frances Clarke Sayers, Anne Carroll Moore: A Biography (New York: Atheneum, 1972), 61.

2 Anne Carroll Moore, “Reports, Children’s Room, Pratt Institute Library, Brooklyn, Beginning October 1896.” Pratt Institute Archives.

3 Quoted in Sayers, 61.

4 The Children’s Room, along with the rest of the Pratt Library, officially closed to the public on June 30, 1940.

By then, the wide-ranging Brooklyn Public Library system had firmly established itself as a free public resource open to all, and the comparable service long offered by Pratt no longer seemed needed.

5 Lucy Sprague Mitchell, introduction to 1921 edition, Here and Now Story Book, 2nd ed.

(New York: E. P. Dutton, 1948), 25.

6 A nita Lobel, email communication with author, April 28, 2016.

7 Cyndy Szekeres, email communication with author, April 29, 2016.

8 Quoted in Barbara Elleman’s Tomie dePaola: His Art & His Stories (New York: Putnam, 1999), 15.

9 Eve Merriam, “What’s Special About Writers Lab?” Children...Here and Now (No. 4, 1956), 14.

Curator’s Note Knowing from the start that this exhibition would bring together work by more than 60 highly individual illustrators and writers for children, I thought it both useful and clarifying to set a broad theme within which most—if not all—of the participants’ varied creations might resonate and relate to one another. The theme I chose, “The Child, the City, and the World,” was meant first as a nod to children’s literature’s inescapable role as one of the great chroniclers of society’s changing hopes and dreams for its young people, and second as an acknowledg­ ment of Pratt and Bank Street’s deep-seated associa­tions with the urban com­munities they have long called home. The remark­able roster of writers, illustrators, librarians, and edu­ cators represented in this exhibition is far from exhaustive of the immense contribution of Bank Street and Pratt Institute to the art of the American picture book.

Leonard Marcus

Megan Montague Cash, and collaborator Mark Newgarden B.F.A. Communications Design ’86 and Visiting Instructor, Undergraduate Communications Design

Megan Montague Cash is an illustrator, author, and designer who specializes in work for children. Her work spans the worlds of print (books and magazines), products (toys and games), exhibit design (museums and stores), and entertainment (on-air and online). She has created numerous books including Bow‑Wow Bugs a Bug (with Mark Newgarden, Harcourt Books), which won a Gold Medal in the Society of Illustrators Original Art Show and was exhibited at the Picasso Museum in Lucerne, as well as other honors. Her 2003 picture book, What Makes the Seasons? (Viking), is a perennial staple of elementary school curricula and was the basis of an exhibition at the Discovery Gateway Children’s Museum. Cash is a former contributing editor to Nick Jr. Family Magazine.

Cash can periodically be found lecturing on a variety of subjects including the history of crayon packaging and growing up on a commune.

She teaches at Pratt Institute in Brooklyn.

Cartoonist Mark Newgarden has been a creator of novelties (Garbage Pail Kids), film, TV, and multimedia projects (from Microsoft to Cartoon Network) and print (from Raw magazine to The New York Times), among various and sundry careers. He is the author of Cheap Laffs (Abrams), a picture history of the novelty item, and We All Die Alone (Fantagraphics Books), a collection of his comics. His children’s book, Bow-Wow Bugs a Bug (with Megan Montague Cash, Harcourt Books), won numerous awards and spawned an ongoing series. His eagerly anticipated How to Read Nancy (with Paul Karasik), an expansion of their influential 1988 essay on Ernie Bushmiller and the syntax of comics, will be released next year by Fantagraphics Books. Newgarden’s work has been exhibited at the Smithsonian Institution, Cooper-Hewitt National Design Museum, Brooklyn Museum of Art, Art Institute of Chicago, ICA in London, and the Picasso Museum in Lucerne. He currently teaches at Pratt Institute in Brooklyn and Parsons School of Design at The New School in Manhattan.

“Approaching the House” from Bow-Wow’s Nightmare Neighbors, pen, ink, and digital, 10.75 x 20 inches.

Roaring Brook Press, 2013.

“Spot Dog” from Bow-Wow Bugs a Bug, pen, ink, and digital, 10.75 x 20 inches.

Roaring Brook Press, 2006.

Peter Catalanotto B.F.A. Communications Design ’81

Peter Catalanotto has published more than 45 books for children, 17 of which he wrote, including Ivan the Terrier, Matthew A.B.C., Question Boy Meets Little Miss Know-It-All, Monkey & Robot, More of Monkey & Robot, and Emily’s Art, of which School Library Journal wrote in a starred review: “Whether viewed from afar or up close, this creative and heart­ felt book is a masterpiece.” Catalanotto has illustrated for noted writers including Mary Pope Osborne, Cynthia Rylant, Susan Patron, Joanne Ryder, Megan McDonald, George Ella Lyon, and Robert Burleigh. His book, The Painter, was featured on PBS’s Storytime, and in 2008 he was commissioned by First Lady Laura Bush to illustrate the White House holiday booklet. He currently teaches the first children’s book writing course offered by Columbia University, and at Pratt Institute.

“Book” from Book by George Ella Lyon, watercolor framed, 22 x 29 inches. DK Children, 1999.

Pat Cummings B.F.A. Communications Design ’74

Pat Cummings is the author and/or illustrator of more than 35 books for young readers.

She also edited the award-winning series Talking With Artists, which profiles prominent children’s book illustrators. Her children’s book classes at Parsons and Pratt list a growing number of notable illustrator/authors among their graduates. Along with visiting schools, universities, and organizations to speak about children’s books, she conducts a summer children’s book boot camp that brings writers and illustrators together with top editors and art directors from major publishing houses.

Cummings serves on the boards of the Authors Guild, the Authors League Fund, and the Society of Children’s Book Writers and Illustrators.

She is also a member of the Writers Guild of America, East. Her latest book, Beauty and the Beast (HarperCollins), was translated from the original French and retold by her husband, H. Chuku Lee.

“Dreaming” from Beauty and the Beast retold

by H. Chuku Lee, water­ color, gouache, and pencil, 11 x 21 inches.

HarperCollins, 2014.

“The Mummy” from Harvey Moon, Museum Boy written and illus­ trated by Pat Cummings, watercolor, gouache, and pencil, 11 x 17 inches.

HarperCollins, 2008.

Gilbert Ford B.F.A. Communications Design ’00

Gilbert Ford has created puzzles, games, stickers, stationery, and activity books for children, and has illustrated many popular middle-grade books and several picture books.

His illustrations have been recognized by the Society of Illustrators, American Illustration Chosen, 3×3, and the Society of Publication Designers. His toys have won Parenting Choice and Oppenheimer awards. His books have been selected by the Junior Library Guild, and have won honors including the Society of Illustrators’ Original Art, Bank Street Cook Prize Honor, and Orbis Pictus Honor.

In addition to studying communications design at Pratt, he received his M.F.A. in writing for children and young adults from the Vermont College of Fine Arts. His forthcoming picture books include The Marvelous Thing That Came from a Spring (Atheneum), Soldier Song (written by Debbie Levy, Disney/Hyperion), and How The Cookie Crumbled (Atheneum).

Cover from Peter Nimble and His Fantastic Eyes by Jonathon Auxier, mixed media/digital, 8.9 x 20 inches. Abrams Press, 2011.

“Stomping at the Savoy” for Cricket Magazine written by Scott C. Mixula, mixed media/digital, 11 x 15 inches. 2012.

David Gothard B.F.A. Drawing ’78

David Gothard has been illustrating editorial, advertising, and book assignments since graduating from Pratt Institute, where he now teaches drawing classes. He began his career drawing muppets for Children’s Television Workshop’s Sesame Street. Gothard’s editorial work has appeared regularly in The New York Times, The Wall Street Journal, Washington Post, Los Angeles Times, Boston Globe, Time, and other publications.

“Morning Meditation” from Little Lola Saves the Show by Julie Saab, 14 x 24 inches. Greenwillow Books, 2015.

“Ping, Pang, Pong” from Little Lola by Julie Saab, 14 x 24 inches. Greenwillow Books, 2013.

Tom Graham M.F.A. Fine Arts ’75

Tom Graham has contributed illustrations to The New York Times for 10 years, as well as to many other national and regional publications.

Active in publishing, he has written and illustrated many books for children. His first book, Mr. Bear’s Chair (Dutton Children’s Books), was one of the top Children’s Choices by the International Reading Council and Children’s Book Council. Day Breaks (written by Bethea verDorn, Arcade) was selected by the Society of Illustrators for inclusion in Originals: The Best of Children’s Book Illustration. His latest book is Five Little Firefighters (Henry Holt & Co.).

Image from Day Breaks by Bethea Verdorn. Arcade Publishing, 1992.

Rudy Gutierrez Professor, Undergraduate Communications Design

Rudy Gutierrez is known for creating images that combine elements of indigenous art with those of urban culture. Gutierrez’s art for various major periodicals, book covers, magazines, records, CDs, and children’s books, as well as his paintings, has appeared nationally and worldwide. The artist’s awards include the Dean Cornwell Recognition Hall of Fame Award, Distinguished Educator in the Arts Award, and a Gold Medal from the New York Society of Illustrators, as well as an International Labor Communications Association Honor.

His children’s book art has garnered him a Pura Belpré Honor, Américas Book Award, Children’s Africana Book Awards—Africa Access Award, Silver Birch Express Award Nomination, Shining Willow Award, and a New York Book Award.

His work has been featured by Communication Arts, Step by Step, the Society of Illustrators, ARTNews, American Artist, and Art Direction Magazine. His best-known work is perhaps the cover of Santana’s multiplatinum smashhit record, “Shaman,” and most recently, the Jimi Hendrix Forever Postage Stamp. Gutierrez has taught at Pratt Institute since 1990 and teaches in the F.I.T. Graduate Illustration program. He has lectured at various colleges and institutions including workshops on the Rosebud Reservation in South Dakota, and UNIVA—Universidad del Valle de Atemajac— in Mexico, where he was a featured speaker at the XI International Engineering Congress Presentation and at the 2005 Icon 5 Illustration Conference in New York City.

“John Coltrane – Spirit Flight,” acrylic on board, 41.5 x 61.5 inches. 2011.

“45 E. Main Street Preach,” acrylic, charcoal, and colored pencils, 30 x 40 inches. 2011.

Mama and Me cover, acrylic and colored pencils, 13 x 19 inches.

Clarion Books, 2006.

Steve Henry B.F.A. Communication Design ’71 Lecturer, Continuing and Professional Studies

Steve Henry is an illustrator whose clients include New York Magazine, Time Magazine, Rolling Stone, The New York Times, IBM, HBO, HarperCollins, Scholastic, Children’s Television Workshop, Nickelodeon, and Golden Books, among other periodicals, corporations, and children’s book publishers. He recently started teaching Creating the Picture Book with Barbara Lalicki at Pratt Institute’s Manhattan campus.

“Cat Went Back Out,” watercolor, gouache, ink, and acrylic on Arches hot-pressed paper, 10 x 15.5 inches. Holiday House, 2015.

“Here is Big Bunny,” watercolor, gouache, ink, and acrylic on Arches hot-pressed paper, 10 x 15.5 inches. Holiday House Publishers, 2016.

Thomas La Padula Adjunct Professor, Undergraduate Communications Design

Tom La Padula has illustrated for national and international magazines, advertising agencies, and publishing houses for more than 35 years. A graduate of Parsons School of Design and Syracuse University, he has been a member of the illustration faculty at Pratt Institute for more than 25 years and is also the illustration coordinator. His teaching credits include Photoshop, The History of Illustration, and Reflective and Digital Illustration.

Look Inside Trucks cover text by Patricia Relf, watercolor on paper, 5 x 11 inches. Scholastic, Board book edition, 1999.

“Casey at the Bat,” watercolor on paper, 6 x 16 inches. 2015.

Barbara Lehman B.F.A. Communications Design ’85

Barbara Lehman is the author/illustrator of many wordless children’s books including The Red Book, a New York Times bestseller and Caldecott Medal award winner. Her book illustration work has been included in exhibi­tions at the Art Institute of Chicago, the Society of Illustrators, and the Central Children’s Room of the New York Public Library. She has shared her work with children in programs at the Whitney Museum of American Art and at the Eric Carle Museum of Picture Book Art.

“Discovery” from The Secret Box, watercolor, ink, and gouache, 8 x 8 inches. Houghton Mifflin Harcourt, 2011.

“Flight” from The Red Book, watercolor, ink, and gouache, 6.5 x 14.5 inches. Houghton Mifflin Harcourt, 2004.

“Train Station” from Trainstop, watercolor, ink, and gouache, 6.25 x 12 inches. Houghton Mifflin Harcourt, 2008.

Betsy Lewin B.F.A. Communications Design ’59

Betsy Lewin began her career designing greeting cards and went on to write and illustrate stories for children’s magazines. Her first picture book was titled Cat Count. Many of her books have appeared on The New York Times Bestseller list and also on the Best Illustrated list. She received a Caldecott Medal for the illustrations in Click, Clack, Moo: Cows That Type, as well as a silver medal from the Society of Illustrators. She was also awarded a Ted Geisel Honor for Cowgirl Kate and Cocoa. She and her husband, Ted, were inducted into the Society of Illustrators Hall of Fame in May 2015.

“Aunt Minnie picks up the orphans” from Aunt Minnie McGrannahan

by Mary Skillings Prigger, Sharpie pen and water­ color, 14.75 x 20.25 inches.

Clarion Books, 1998.

“I think there’s a monster under my bed” from No Such Thing by Jackie French Koller, Sharpie pen and watercolor, 14.75 x 20.25 inches.

Boyds Mills Press, 1996.

Ted Lewin B.F.A. Illustration ’56

Ted Lewin began his career doing illustrations for adventure magazines but eventually devoted himself full-time to writing and illustrating picture books. Lewin is an avid traveler, and many of his books are inspired by trips to the world’s wild places. Lewin was on The New York Times Best Illustrated list for his book Market.

In 1994, Lewin was awarded a Caldecott Medal for his illustrations in Peppe, the Lamplighter.

In 2007, he won a silver medal in the Society of Illustrators Annual Show, and the Hamilton King Award for Best Illustration by a Member. He and his wife, Betsy, were inducted into the Society of Illustrators Hall of Fame in May 2015.

“Peppe and His Family,” (“Peppe lived in a tenement on Mulberry Street”) from Peppe, the Lamplighter by Elisa Bartone, watercolor on high surface Strathmore board, 16 x 22.75 inches.

Lothrop, Lee & Shepard, 1993.

“Peppe talks to Gennaro, the butcher” (“Peppe tried hard to find a job”) from Peppe, the Lamplighter by Elisa Bartone, watercolor on high surface Strathmore board, 16 x 22.75 inches.

Lothrop, Lee & Shepard, 1993.

“Why didn’t you light the lamps for us tonight, Peppe?” from Peppe, the Lamplighter by Elisa Bartone, watercolor on high surface Strathmore board, 16 x 22.75 inches.

Lothrop, Lee & Shepard, 1993.

Steve Light B.F.A. Illustration ’92

Steve Light began his career doing corporate illustrations for companies such as AT&T, Sony Films, and The New York Times Book Review.

Light then went on to design buttons that were acquired by the Cooper-Hewitt National Design Museum. He has since published several children’s books with various publishers. Light travels far and wide reading and telling stories, most notably at the Eric Carle Museum of Picture Book Art and the Milwaukee Art Museum.

Have You Seen My Dragon? cover, pen and ink, 13.5 x 30 inches.

Candlewick Press, 2013.

“12 Pigeons,” pen and ink, 13.5 x 30 inches, 2013.

“11 Manhole Covers,” pen and ink, 13.5 x 30 inches. 2013.

“17 Taxis,” pen and ink 13.5 x 30 inches. 2013.

Anita Lobel Attended Pratt Institute 1953–56

Anita Lobel, who studied illustration at Pratt in the early 1950s, is well known for her colorful picture books. Her books have appeared on The New York Times Best Illustrated list. She is a recipient of a Caldecott Medal. Her child­ hood memoir, No Pretty Pictures, was a finalist for the National Book Award. Many of her books have been translated into other languages.

Image from Ellis Island: New Hope in a New Land

by William Jay Jacobs, gouache and watercolor, 16 x 13.5 inches. 1993.

Image from Away from Home, gouache and watercolor, 16 x 13.5 inches. 1994.

Arnold Lobel B.F.A. Illustration ’55

Arnold Lobel authored and illustrated nearly 100 children’s books, including the classic series of Frog and Toad books: Frog and Toad Are Friends (1970), Frog and Toad Together (1972), Frog and Toad All Year (1976), and Days with Frog and Toad (1979).

Using engaging stories and interesting vocabulary to explore the meaning of friendship, Lobel significantly loosened the traditional early reader format. Appealing animals populate most of his books, including A Zoo for Mister Muster (1962) and Fables (1980), which won the Caldecott Medal. He also wrote poetry (Whiskers and Rhymes, 1986), folktales (Ming Lo Moves the Mountain, 1982), and nonsense books (The Book of Pigericks, 1984).

With his wife, Anita Lobel, also a children’s book writer and illustrator, he collaborated on several books, including How the Rooster Saved the Day (1977), A Treeful of Pigs (1979), and The Rose in My Garden (1984). He also illustrated The Random House Book of Poetry for Children (1983) and The Random House Book of Mother Goose (1986).

“My London Bridge” from Whiskers & Rhymes, graphite, ink, and water­ color on paper, 11.25 x 14.5 inches. Greenwillow Books, 1985. Collection of the Eric Carle Museum of Picture Book Art, Amherst, Massachusetts

Early sketch for “Toad went back into the house” from Frog and Toad are Friends, graphite on paper, 3.375 x 10.625 inches. Harper & Row, 1970. Collection of the Eric Carle Museum of Picture Book Art, Amherst, Massachusetts

Scott Menchin Adjunct Professor, Undergraduate Communications Design

Scott Menchin worked as an art director for the magazines How and Seven Days before becoming an illustrator for Intel, Microsoft, Toyota, Time, Esquire, Wired, GQ, Rolling Stone, The New York Times, The Wall Street Journal, and many other publications. In 2000, his children’s book, Man Gave Names to All the Animals, with text

by Bob Dylan, was published. Menchin illustrated the picture book Wiggle, Bounce, and Stretch for writer Doreen Cronin. With the publication of Taking a Bath with the Dog and Other Things that Make Me Happy, Menchin made his debut as author and artist. It won the prestigious Christopher Award and was listed in the 2008 edition of the Best Children’s Books of the Year by the Children’s Book Committee of Bank Street College. His other books include Riding in My Car, based on the Woody Guthrie children’s song; Grandma in Blue with Red Hat, illustrated

by Harry Bliss; and Goodnight Selfie, illustrated

by Pierre Collet-Derby. What Are You Waiting For? will be out next year. Menchin has taught at Pratt Institute for 25 years.

“Snakes” from Taking A Bath With The Dog and Other Things that Make Me Happy, ink and watercolor, 10 x 14 inches.

Candlewick Press, 2013.

“Taking a bath� from Taking a Bath with the Dog and Other Things that Make Me Happy, ink and watercolor, 10 x 14 inches. Candlewick Press, 2013.

Kadir Nelson B.F.A. Communications Design ’96

Kadir Nelson is an American artist who currently exhibits in galleries and museums nationwide and abroad. Nelson’s paintings are in the permanent collections of notable institutions including the Muskegon Museum of Art, the National Baseball Hall of Fame in Cooperstown, the International Olympic Committee, and the U.S. House of Representatives. Nelson was also the lead conceptual artist for Steven Spielberg’s Oscar-nominated feature film, Amistad, and the animated feature, Spirit: Stallion of the Cimarron. He created album cover artwork for Michael Jackson’s posthumously released album, “Michael,” and recording artist Drake’s “Nothing Was the Same.” Nelson’s striking paintings have graced the cover of The New Yorker magazine, celebrating subjects such as Nelson Mandela and the Schomburg Center for Research in Harlem. Nelson has also designed several popular U.S. postage stamps featuring Joe DiMaggio, Althea Gibson, Rube Foster, and Wilt Chamberlain. Nelson is also a celebrated author and illustrator of several award-winning New York Times bestselling picture books, including his authorial debut, We Are the Ship: The Story of Negro League Baseball; Heart and Soul: The Story of America and African Americans; and Nelson Mandela (HarperCollins).

“Pop Fly” from We Are the Ship: The Story of Negro League Baseball, oil on canvas, 48 x 48 inches. Jump at the Sun Publishers, 2008.

Sean Qualls Attended Pratt Institute 1989–91

Sean G. Qualls is an award-winning Brooklynbased artist, children’s book illustrator, and author. He has illustrated a number of highly acclaimed books for children including Giant Steps to Change the World by Spike Lee and Tonya Lewis-Lee, Little Cloud and Lady Wind

by Toni Morrison and her son Slade, and Before John Was a Jazz Giant, for which he received a Coretta Scott King Illustration Honor. Qualls also created the art for Dizzy by Jonah Winter and Skit Scat Raggedy Cat by Roxane Orgill.

His work has received two Blue Ribbon citations from the Bulletin of the Center for Children’s Books where he was also cited for his “serious craftsmanship” and an “original style.” Qualls studied painting at Pratt Institute and has created illustrations for magazines, newspapers, and advertisements. His work has been shown in galleries in New York and across the country.

His most recent titles include Emmanuel’s Dream (Schneider Award) written by Laurie Ann Thompson and The Case for Loving and Two Friends, both of which he illustrated with his wife, illustrator/author Selina Alko.

Image from Before John was a Jazz Giant: A Song of John Coltrane by Carole Boston Weatherford, mixed media, acrylic collage, and pencil, 20 x 30 inches.

Henry Holt and Co., 2008.

James Ransome B.F.A. Communications Design ’87

James Ransome is an illustrator and painter with work exhibited in both private and public art collections. He has created murals for the National Underground Railroad Museum in Cincinnati, Ohio, and the Children’s Museum of Indianapolis, Hemphill Branch Library in Greensboro, North Carolina, and a historical painting commissioned for the Paterson, New Jersey Library. In 2016, the MTA MetroNorth Railroad selected Ransome to illustrate one in a series of posters for the New York City sub­way system. His traveling exhibition titled Visual Stories has appeared in galleries and museums throughout the country. In add­ ition to his painting and lecturing, Ransome has illustrated more than 50 books. His most recent awards are for Sky Boys, which received the 2006 Boston Globe-Horn Book Award Honor for Picture Book, and the ALA Notable Book Award. He received the Pratt Institute Alumni Achievement Award, as well as recognition by the Society of Illustrators. Other awards include the Coretta Scott King Illustrator Honor for Uncle Jed’s Barbershop, the Coretta Scott King Award and IBBY Award for Creation, the NAACP Image Award for Let My People Go, and for Our Children Can Soar, the Simon Wiesenthal Museum of Tolerance Award, Rip Van Winkle Award, SEBA Best Book of the Year Award, and the Dutchess County Executive Art Award for Individual Artist. Ransome and his wife, children’s book author Lesa Cline Ransome, have collaborated on a number of books including My Story, My Dance, Satchel Paige, Quilt Alphabet, and Words Set Me Free: The Story of Young Frederick Douglass. Their newest title, Just A Lucky So and So, was released in January 2016.

“Empire at Night” from Sky Boys by Deborah Hopkinson, oil, 28 x 35 inches. Schwartz & Wade Books, 2006.

“Green Scarf” from Under the Quilt of Night

by Deborah Hopkinson, acrylic, 24 x 32 inches.

Atheneum Books for Young Readers, 2002.

“Satchel on Mound” from Satchel Paige by Lesa Cline-Ransome, acrylic, 24.25 x 20.25 inches.

Simon & Schuster, 2000.

Edel Rodriguez B.F.A. Painting ’94

Edel Rodriguez is a Cuban-born artist whose work ranges from the conceptual to por­trait­ure and landscape. His work was featured in Print’s 1998 New Visual Artists Annual, on the cover of the 2004 Communication Arts Illustration Annual, and regularly appears in the pages of Communication Arts, American Illustration, Society of Publication Designers, and the Society of Illustrators Annuals. He is also the recipient of both a gold and a silver medal for editorial illustration from the Society of Illustrators.

He has illustrated children’s books: Mama does the Mambo; Oye Celia!, a biopic about Celia Cruz; Float Like a Butterfly, a story about Cassius Clay (Muhammad Ali); and written and illustrated Sergio Saves the Game which was an Irma Simonton Black Award honor book in 2010. Rodgriguez’s artwork is in the collections of the Smithsonian Institution, among others, as well as in the private collec­tions of a variety of writers, actors, designers, businessmen, and political figures.

Oye Celia! by Katie Sciurba.

Henry Holt and Co., 2007.

Float Like a Butterfly by Ntozake Shange, pastel and ink on paper, 13 x 10 inches. Hyperion, 2002.

John Schoenherr B.F.A. Illustration ’56

John Schoenherr began his artistic career as an illustrator. His science fiction illustrations earned him the 1965 Hugo Award and he was the first artist to depict the worlds of Frank Herbert’s Dune and Anne McCaffrey’s Dragonriders of Pern.

The notable children’s books he illustrated include Rascal by Sterling North, Gentle Ben

by Walt Morey, The Fox and the Hound by Daniel P. Mannix, Incident at Hawk’s Hill by Allan W. Eckert, Julie of the Wolves by Jean Craighead George, and Owl Moon by Jane Yolen, for which he won the 1988 Caldecott Medal. He also wrote and illustrated the picture book The Barn, Bear, and Rebel.

“We walked on” from Owl Moon by Jane Yolen, watercolor, 22 x 30 inches. Philomel Books, 1987 (Estate of John Schoenherr).

“Again he called out” from Owl Moon by Jane Yolen, watercolor, 22 x 30 inches. Philomel Books, 1987 (Estate of John Schoenherr).

“Then we came to a clearing” from Owl Moon

by Jane Yolen, watercolor, 22 x 30 inches. Philomel Books, 1987 (Estate of John Schoenherr).

Chris Soentpiet B.F.A. Communications Design ’92

Chris Soentpiet is an award-winning illustrator who has been honored by the International Reading Association, Parents magazine, the American Library Association, School Library Journal, the Chicago Tribune, the San Francisco Chronicle, and the Smithsonian Institution, and has been recognized by the American Society of Portrait Artists Foundation. In 1996, he received the highest honor, a Gold Medal from the Society of Illustrators. Soentpiet’s works have appeared on national television. His illustrations have been featured or reviewed in The New York Times, Houston Chronicle, Ebony Magazine, Newsweek, USA Today, and others.

“Hydrant” from Around Town, watercolor on paper, 14.5 x 23 inches.

HarperCollins, 1994.

“Subway” from Around Town, watercolor on paper, 14.5 x 23 inches.

HarperCollins, 1994.

Jos. A. Smith B.F.A. Illustration ’58

Jos. A. Smith has illustrated more than 25 children’s books, has been a cover artist for Time, done editorial illustrations for Harpers, Time, and Newsweek, and was the Newsweek courtroom artist at The Watergate Trials.

Circus Train follows a young boy who, left alone for the day at his family’s new rural home, discovers a stranded train full of exotic animals, acrobats, and other performers. Smith’s love of nature is revealed in his finely detailed, realistic illustrations for picture books such as Betsy Lewin’s Creature Crossing, as well as Chipmunk! by Jessie Haas. Prior to atteding Pratt’s M.F.A. program and joining the Pratt Fine Arts faculty, he served time in the U.S. Army.

Illustration from Circus Train (boy with dog holding baseball), watercolor on paper, 16 x 30 inches. Harry N. Abrams, 2001.

Illustration from Circus Train (boy talking with clowns), watercolor on paper, 16 x 28.25 inches.

Harry N. Abrams, 2001.

Madeline Valentine B.F.A. Communications Design ’07

Madeline Valentine is the illustrator of five picture books. Her most recent books include Linda Urban’s Little Red Henry and George in the Dark. Her upcoming titles include I Want That Nut (Knopf, fall 2017), and Natalie Ziarnik’s A Lullaby of Summer Things (Schwartz & Wade Books, spring 2017).

“Top Shelf” from George in the Dark, charcoal drawing printed on watercolor paper, painted in gouache, 13 x 18 inches. Knopf Books for Young Readers, 2013.

“Bedtime” from George in the Dark, charcoal drawing printed on watercolor paper, painted in gouache, 13 x 18 inches. Knopf Books for Young Readers, 2013.

“Lights Out” from George in the Dark, charcoal drawing printed on watercolor paper, painted in gouache, 13 x 18 inches. Knopf Books for Young Readers, 2013.

Brendan Wenzel B.F.A. Communications Design ’03

Brendan Wenzel is an illustrator based in Brooklyn, New York. His work has appeared internationally in children’s books, animations, and magazines. An ardent conservationist, he is a proud collaborator with many organiz­ ations working to ensure the future of wild places and threatened species, especially within Southeast Asia.

Image from Some Pets by Angela DiTerlizzi. Beach Lane Books, 2016.

Image from They All Saw a Cat. Chronicle Books, 2016.

Additional Works

Pratt Institute Cash, Megan Montague. “Autumn Tree Girl” from What Makes the Seasons? pen, ink, and digital, 10.75 x 20 inches. Penguin Group, 2003.

Cash, Megan Montague, and Newgarden, Mark.

Cover from Bow-Wow Attracts Opposites, pen, ink, and digital, 10.75 x 17 inches. Harcourt Inc., 2008.

Cash, Megan Montague, and Newgarden, Mark.

“September, October” from Bow-Wow 12 Months Running, pen, ink, and digital, 10.75 x 17 inches.

Houghton Mifflin Harcourt, 2009.

Catalanotto, Peter. “Berries” from Letter to the Lake by Susan Marie Swanson, watercolor, 24 x 32 inches. DK Publishing Inc., 1998.

Catalanotto, Peter. “Pony” from Book by George Ella Lyon, watercolor, 21.5 x 28 inches.

DK Children, 1999.

Cummings, Pat. “Flying” from Carousel, oil, 9 x 18 inches. Simon & Schuster, 1994.

Cummings, Pat. “Waiting for the Beast” from Beauty and the Beast, retold by H. Chuku Lee, watercolor, gouache, and pencil, 11 x 21 inches.

HarperCollins, 2014. dePaola, Tomie. All of Our Angels. Bound book: hand sewn binding, ticking cover, hand lettered, painted, 10.5 x 13 inches. Sketchbook: spiral bound, text, pencil sketches, 7 x 10 inches.

Collection of Archives & Special Collections at the Thomas J. Dodd Research Center, University of Connecticut, 1956. dePaola, Tomie. The Art Lesson, acrylic and ink on paper, 16.5 x 22 inches. The Putnam & Grosset Group, 1989. dePaola, Tomie. Bonjour, Mr. Satie, acrylic and ink on paper, 20 x 31 inches. G.P. Putnam’s Sons, 1991. dePaola, Tomie. Strega Nona Meets Her Match, acrylic and ink on paper, 14.625 x 20.125 inches.

G.P. Putnams’ Sons, 1993.

Estes, Eleanor. The Alley corrected typescript (p. 14) 8.5 x 11 inches. Collection of University of Minnesota Libraries, Minneapolis, Children’s Literature Research Collections, The Kerlan Collection, Eleanor Estes Papers.

Ford, Gilbert. “3 Posh Pups” from 12 Days of New York by Tonya Bolden, mixed media/digital, 12.23 x 20 inches. Abrams Books, 2013.

Gothard, David. “Light’s Out” from Little Lola Saves the Show by Julie Saab, 14 x 24 inches.

Greenwillow Books, 2015.

Henry, Steve. “Cat went out” from Cat Went Up, watercolor, gouache, ink, and acrylic on Arches hot-pressed paper, 10 x 15.5 inches. Holiday House, 2015.

Hurd, Clement. Town (painted train study, two pieces), 6.75 x 6.75 inches. Collection of University of Minnesota Libraries, Minneapolis, Children’s Literature Research Collections, The Kerlan Collection, Clement Hurd Papers, 1939.

Ita, Sam. The Odyssey: A Pop-Up Book, mixed media, 11.5 x 9.5 inches. Sterling, 2011.

La Padula, Thomas. “Chicken Little” from The Sky is Falling! digital, 8.75 x 14.75 inches. Pixel Mouse House, 2013.

Lewin, Betsy. “Habibi gave every child an extra long ride” from What’s the Matter, Habibi?

Sharpie pen and watercolor, 14.75 x 20.25 inches.

Clarion Books, 1997.

Lobel, Arnold. “There was a warm pig from Key West” from The Brazilian Fairy Book, graphite, ink, and watercolor on paper, 13 x 10 inches. Frederick A. Stokes Company, 1983.

Gift of Adrianne and Adam Lobel (The Estate of Arnold Lobel). Collection of Eric Carle Museum of Picture Book Art. Lobel, Arnold. “The Four Seasons” from The Random House Book of Mother Goose, graphite, ink, and watercolor with pasted text on paper, 13.625 x 17.625 inches. Random House, 1986.

Collection of the Eric Carle Museum of Picture Book Art, Amherst, Massachusetts.

Lobel, Arnold. “Old Mother Goose” from The Random House Book of Mother Goose, graphite, ink, and watercolor on paper, 16 x 18 inches. Random House, 1986. Collection of the Eric Carle Museum of Picture Book Art, Amherst, Massachusetts Lobel, Arnold. “Then Frog ran back to Toad’s house” from Frog and Toad Are Friends, graphite on paper, 3.875 x 9.75 inches. HarperCollins,

1970. Collection of the Eric Carle Museum of Picture Book Art, Amherst, Massachusetts Menchin, Scott. “Stumps” from Taking a Bath with the Dog and Other Things that Make Me Happy, ink and watercolor, 10 x 14 inches. Candlewick Press, 2013.

Nelson, Kadir. Handwritten manuscripts 1 of 2 (beginnings), 2 of 2 (owners) from We Are the Ship: The Story of Negro League Baseball, pencil on paper, 8.5 x 11 inches each. Jump at the Sun, 2002.

Nelson, Kadir. Three assorted sketches (Rube, Jackie Robinson, Dugout) from We Are the Ship: The Story of Negro League Baseball, pencil on paper, 8.5 x 11 inches each. Jump at the Sun, 2005.

Nelson, Kadir. Four pages layout sketches from We Are the Ship: The Story of Negro League Baseball, pencil on paper, 8.5 x 11 inches. Jump at the Sun, 2005.

Popp, Wendy. Sister Anne’s Hands by Marybeth Lorbiecki, art direction by Ann Finnell and Atha Tehon, pastel, 17 x 32 inches. Dial Books for Young Readers, 1998.

Popp, Wendy. One Candle: The Risk by Eve Bunting, art direction by Justin Chanda, pastel, 19 x 22 inches. HarperCollins, 2002.

Popp, Wendy. Where the Sunrise Begins

by Douglas Wood, art direction by Chloe Foglia, pastel, 18 x 24 inches. Simon & Schuster, 2010.

Qualls, Sean. Skit-Scat Raggedy Cat: Ella Fitzgerald by Roxane Orgill, acrylic, collage, and pencil, 20 x 30 inches. Candlewick Press, 2010.

Qualls, Sean. Lullaby (For a Black Mother)

by Langston Hughes, acrylic, collage, and pencil, 20 x 30 inches. HMH Books for Young Readers, 2013.

Rodriguez, Edel. He Was Cassius Clay, pastel and ink on paper, collage, 11 x 17 inches. 2002.

Rodriguez, Edel. Mama Does the Mambo, pastel and ink on paper, 11 x 17 inches. 1999.

Roxas, Isabel. “Sleep Like a Rabbit” from Goodnight Songs by Margaret Wise Brown,

watercolor and digital collage, 8.5 x 11 inches. Sterling, 2014.

Roxas, Isabel. Forest scene from Let Me Finish!

by Minh Lê, watercolor and digital collage, 11 x 17 inches. Disney-Hyperion, 2016.

Roxas, Isabel. Water scene from Let Me Finish!

by Minh Lê, watercolor and digital collage, 11 x 17 inches. Disney-Hyperion, 2016.

Sewell, Helen. “Jimmy and Jemima on bike” from Jimmy and Jemima, pen and ink, 9.75 x 12.25 inches. Collection of University of Minnesota Libraries, Minneapolis, Children’s Literature Research Collections, The Kerlan Collection, Helen Sewell Papers, 1940.

Smith, Jos. A. Illustration from Circus Train (Horns Mixed with Drum Rolls Drifted off to the Weeds), watercolor on paper, 14.5 x 28.5 inches. Harry N. Abrams, 2000.

Suba, Susanne. “Every time I come to town” from A Rocket in My Pocket: Nonsense Rhymes and Chants, compiled by Carl Withers, ink on paper, 17 x 11 inches. Holt, Rinehart and Winston, 1948. Collection of the Eric Carle Museum of Picture Book Art, Amherst, Massachusetts.

Suba, Susanne. “Eenie, meenie, minie, mo” from A Rocket in My Pocket: Nonsense Rhymes and Chants, compiled by Carl Withers, ink on paper, 9 x 11.75 inches. Holt, Rinehart and Winston, 1948. Collection of the Eric Carle Museum of Picture Book Art, Amherst, Massachusetts.

Suba, Susanne. “Rhymes for Fun” from A Rocket in My Pocket: Nonsense Rhymes and Chants, compiled by Carl Withers, ink on paper, 10.625 x 12.625 inches. Holt, Rinehart and Winston, 1948. Collection of the Eric Carle Museum of Picture Book Art, Amherst, Massachusetts.

Suba, Susanne. “First is worst” from A Rocket in My Pocket: Nonsense Rhymes and Chants, compiled by Carl Withers, ink on paper, 11 x 17 inches. Holt, Rinehart and Winston, 1948.

Collection of the Eric Carle Museum of Picture Book Art, Amherst, Massachusetts.

Szekeres, Cyndy. Pippa Mouse sketches from Pippa Pops Out! by Betty Boegehold. Knopf, 1979.

Tomes, Margot. “Boy in bed” from Chimney Sweeps by James Cross Giblin, pen and ink, 8 x 8.25 inches. Collection of University of Minnesota, Minneapolis, Children’s Literature Research Collections, The Kerlan Collection, Margot Tomes Papers. 1982.

Tomes, Margot. “Man on roof” from Chimney Sweeps by James Cross Giblin, pen and ink, 15 x 10 inches. Collection of University of Minnesota, Children’s Literature Research Collections, The Kerlan Collection, Margot Tomes Papers. 1982.

Wenzel, Brenden. One Day in the Eucalyptus, Eucalyptus Tree by Daniel Bernstrom.

HarperCollins, 2016.

Young, Ed. “This is the house that Baba built… ”collage (complete illustration) from The House Baba Built: An Artist’s Childhood in China, crayon, pasted paper, film, and tear sheets, 25 x 12.75 inches. Little, Brown Books for Young Readers, 2011. Collection of the Archives & Special Collections at the Thomas J. Dodd Research Center, University of Connecticut.

Young, Ed. “We gathered in the hallway, where the dinner bell was…” collage (complete illustration) from The House Baba Built: An Artist’s Childhood in China, crayon, pasted paper, film, and tear sheets, 27.25 x 12 inches. Little, Brown Books for Young Readers, 2011. Collection of the Archives & Special Collections at the Thomas J. Dodd Research Center, University of Connecticut.

Young, Ed. “That’s just what we did…” collage (complete illustration) from The House Baba Built: An Artist’s Childhood in China, charcoal, crayon, and pasted paper, 17.25 x 12.375 inches.

Little, Brown Books for Young Readers, 2011.

Collection of the Archives & Special Collections at the Thomas J. Dodd Research Center, University of Connecticut.

Pratt Institute Archives The Pratt Institute Archives collects, preserves, and provides access to a wide variety of historical materials that document the history and development of Pratt Institute and its various schools, departments, programs, and social activities, as well as the contributions of individuals and organizations associated with Pratt. Included are images, records and correspondence, publications, audio-visual materials, and artifacts. Materials found in the archives are dated from 1848 to the present, and include many items pertaining to Pratt’s founding in 1887. The archives also contain some personal papers of the founder and other members of the Pratt family, as well as personal and professional papers of selected faculty, staff, and alumni.

Paul Schlotthauer, Archivist, Pratt Institute Libraries

Anne Carroll Moore Papers Readings Without Boundaries: Essays Presented to Anne Carroll Moore.

Pratt graduation certificate, June 19, 1896.

“Reports, Children’s Room, Pratt Institute Library, Brooklyn, beginning October 1896.”

Typescript biography of Mary Wright Plummer (6 pages).

Roads to Childhood.

Bank Street Authors Bank Street Readers, The. Uptown, Downtown by Irma Simonton Black. Macmillan, 1965.

Bank Street Readers, The. Green Light, Go by Irma Simonton Black. Macmillan, 1966.

Beckett, Hilary. My Brother, Angel, illus. Louis Glanzman. Dodd, Mead & Co, 1971.

Beckett, Hilary. Street Fair Summer, illus. Ray Abel. Dodd, Mead & Co, 1974.

Black, Irma Simonton. Busy Water, illus. Jane Castle. Holiday House, 1956.

Black, Irma Simonton. Night Cat, illus. Paul Galdone. Young Readers Press, 1957.

Blos, Joan, and Miles, Betty. Just Think. Knopf, 1971.

Blos, Joan. A Gathering of Days: A New England Girl’s Journal, 1830–32. Aladdin Paperbacks, 1979.

Brenner, Barbara. Faces, photos. George Ancona.

E.P. Dutton & Co, 1970.

Brenner, Barbara. Is It Bigger Than a Sparrow?

A Book for Young Bird Watchers, illus. Michael Eagle. Knopf, 1972.

Brown, Margaret Wise. The Little Fireman, illus.

Esphyr Slobodkina. W.R. Scott, 1938.

Brown, Margaret Wise. The Noisy Book, illus.

Leonard Weisgard. W.R. Scott, 1939.

Brown, Margaret Wise. Punch & Judy, illus.

Leonard Weisgard. W.R. Scott, 1940.

Brown, Margaret Wise. Goodnight Moon, illus.

Clement Hurd. Harper & Row, 1947.

Brown, Margaret Wise. The Important Book, illus.

Leonard Weisgard. HarperCollins, 1949.

Cannon, Calvin, and Wickens, Elaine. What I Like to Do. Coward-McCann & Geoghegan, 1971.

Carter, Dorothy. Bye, Mis’ Lela, illus. Harvey Stevenson. Farrar, Straus and Giroux, 1998.

Carter, Dorothy. Wilhe’mina Miles: After the Stork Night, illus. Harvey Stevenson. Farrar, Straus and Giroux, 1999.

Clymer, Eleanor. Horatio, illus. Robert Quackenbush. Atheneum, 1968.

Clymer, Eleanor. Leave Horatio Alone, illus. Robert Quackenbush. Atheneum, 1974.

Cohen, Caron Lee. Where’s the Fly?, illus. Nancy Barnet. Greenwillow Books, 1996.

Cohen, Miriam. Down in the Subway, illus. Melanie Hope Greenberg. Star Bright Books, 1998.

Cohen, Miriam. Eddy’s Dream, photos. Adam Cohen. Star Bright Books, 2000.

Gale, Leah. Hurdy-Gurdy Holiday, lithographs Barbara Latham. Harper & Brothers, 1942.

Gerstein, Mordicai. The Man Who Walked Between the Towers. Roaring Brook Press, 2003.

Green, Mary McBurney. Is it Hard? Is it Easy?; illus.

Lucienne Bloch. W.R. Scott, 1948.

Green, Mary McBurney. Is it Hard? Is it Easy?, illus.

Len Gittleman. Addison-Wesley, 1960.

Green, Mary McBurney. Whose Little Red Jacket?, illus. Tony De Luna. Franklin Watts, 1965.

Greenfield, Eloise. She Come Bringing Me That Little Baby Girl, illus. John Steptoe. J.B. Lippincott Co., 1974.

Hest, Amy. Fancy Aunt Jess, illus. Amy Schwartz.

Morrow Junior Books, 1990.

Hooks, William (Bill) H. The Mystery on Bleecker Street, illus. Susanna Natti. Knopf, 1980.

Hooks, William (Bill) H. The Girl Who Could Fly, illus. Kees de Kiefte. Simon & Schuster, 1995.

Hopkins, Lee Bennett. Been to Yesterdays: Poem of Life, illus. Charlene Rendeiro. Boyds Mills Press, 1995.

Hopkins, Lee Bennett. City I Love, illus. Marcellus Hall. Abrams Books, 2009.

Hurd, Edith Thacher. Hurry Hurry: A Tale of Calamity and Woe, or A Lesson in Leisure, illus.

Mary Pepperrell Dana. W.R. Scott, 1938.

Hurd, Edith Thacher. Come with Me to Nursery School, photos. Edward Bigelow. Coward-McCann & Geoghegan, 1970.

Krauss, Ruth. The Growing Story, illus. Phyllis Rowand. Harper & Row, 1947.

Krauss, Ruth. A Hole Is to Dig: A First Book of First Definitions, illus. Maurice Sendak. Harper & Row, 1952.

Krauss, Ruth. A Very Special House, illus. Maurice Sendak. HarperCollins, 1953.

Lexau, Joan M. The Rooftop Mystery, illus. Syd Hoff. Harper & Row, 1968.

Manushkin, Fran. Around the City (Bank Street Readers). Macmillan, 1965.

Manushkin, Fran. Baby, illus. Ronald Himler.

Harper & Row, 1972.

Memling, Carl. Seals for Sale, illus. Peter Edwards.

Abelard-Schuman, 1963.

Merriam, Eve. The Inner City Mother Goose, illus.

David Diaz. Simon & Schuster, 1969.

Merrill, Jean. How Many Kids are Hiding on My Block?, illus. Frances Gruse Scott. Albert Whitman & Co., 1970.

Merrill, Jean. The Toothpaste Millionaire, illus.

Jan Palmer. Houghton Mifflin Co., 1972.

Merrill, Jean. The Pushcart War (New York Review Children’s Collection 50th Anniversary Edition), illus. Ronni Solbert. New York Review of Books, 2014. 1964.

Miles, Betty. A House for Everyone, illus.

Jo Lowrey. Knopf, 1958.

Miles, Betty. Just Think, with Joan Blos, illus.

Pat Grant Porter. Knopf, 1971.

Mitchell, Lucy Sprague. Here and Now Story Book, illus. Hendrik Willem Van Loon. E.P. Dutton & Co., 1921.

Mitchell, Lucy Sprague. Skyscraper, with Elsa H. Naumburg and Clara Lambert. The John Day Co., 1933.

Mitchell, Lucy Sprague. Manhattan: Now and Long Ago, with Clara Lambert. Macmillan, 1934.

Mitchell, Lucy Sprague. Another Here and Now Story Book, illus. Rosalie Slocum. E.P. Dutton & Co., 1937.

Mitchell, Lucy Sprague. A Year in the City, illus.

Tibor Gergely. Simon & Schuster, 1948.

Mitchell, Lucy Sprague. Animals Plants and Machines, with Margaret Wise Brown and Blanche Kent Verbeck, illus. Clare Bice. D.C. Health and Co., 1944.

Neville, Emily Cheney. It’s Like This, Cat, illus. Emil Weiss. Harper & Row, 1963.

Oppenheim Joanne. Have You Seen Trees, illus.

Irwin Rosenhouse. Young Scott Books, 1967.

Orgel, Doris. Sarah’s Room, illus. Maurice Sendak.

Harper & Row, 1963.

Orgel, Doris. Merry Merry FIBruary, illus. Arnold Lobel. Parents’ Magazine Press, 1977.

Rappaport, Doreen. Lady Liberty: A Biography, illus. Matt Tavares. Candlewick Press, 2008.

Rudolph, Marguerita. Masha, the Little Goose Girl, illus. Emma Brock. Macmillan, 1943.

Schonborg, Virginia. Subway Swinger. Morrow, 1970.

Schotter, Roni. Nothing Ever Happens on 90th Street, illus. Krysten Brooker. Orchard Books, 1997.

Sendak, Maurice. A Hole Is to Dig: A First Book of First Definitions by Ruth Krauss. Harper & Row, 1952.

Sendak, Maurice. I’ll Be You and You Be Me by Ruth Krauss. Harper & Brothers, 1954.

Sendak, Maurice. Kenny’s Window. Harper & Brothers, 1956.

Sendak, Maurice. Sarah’s Room by Doris Orgel.

Harper & Row, 1963.

Schneider, Nina. While Susie Sleeps, illus. Dagmar Wilson. W. R. Scott, 1948.

Simon, Norma. I Know What I Like, illus.

Dora Leder. Albert Whitman & Co., 1971.

Sonneborn, Ruth. The Lollipop Party. Viking Children’s Books, 1967.

Sonneborn, Ruth. Friday Night is Papa Night.

Viking Juvenile, 1970.

Tarry, Ellen. Hezekiah Horton, illus. Oliver Harrington. Viking Press, 1942.

Woodcock, Louise P. Hiding Places, illus. Esphyr Slobodkina. Young Scott Books, 1943.

Woodcock, Louise. Guess Who Lives Here, illus.

Eloise Wilkin. Simon & Schuster, 1949.

Bank Street Archives The mission of the Bank Street College Archives is to collect, preserve, and make available mate­ rials documenting the history and development of the College, including administrative records, faculty and staff papers, and the papers of Bank Street College alumni and others whose work pertains to the history and development of the institution. The collection documents the history and evolution of the College from 1916 to the present and concurrently the evolution of progressive education in the United States. Of particular interest to researchers around the world is the documentation of Bank Street’s involvement in modern children’s literature: the Lucy Sprague Mitchell papers, including manuscripts, notes, correspondence, and an extensive collection of children’s lang­ uage records; Writers Lab materials; Margaret Wise Brown’s student records; notes and manu­ scripts of The Bank Street Readers; and the papers of faculty members and authors Irma Simonton Black and Claudia Lewis.

Lindsey Wyckoff, Archivist and Special Collections Librarian, Bank Street College Library

Children…Here and Now Notes from 69 Bank Street Vol. 1, No. 1 Bank Street College of Education Illustrations by Crockett Johnson 1953 Children…Here and Now Notes from 69 Bank Street No. 3 Bank Street College of Education Illustrations by Maurice Sendak 1955 Children…Here and Now Notes from 69 Bank Street No. 4 Bank Street College of Education Illustrations by Maurice Sendak 1956 25-page manuscript 4 pages—typed and handwritten notes on M. Brown Writing for Five Year Olds, signed B. [Barbara] Biber, January 1939 21 pages—Writing for Five Year Olds by Margaret Wise Brown, n.d. [notes penciled in margin were written by Lucy Sprague Mitchell]

1-page manuscript Handwritten letter from Ruth Krauss to Claudia Lewis, September 20, 1954 Cooperative School for Student Teachers student file—Margaret Wise Brown, 1935–1936 Original pen and ink sketch of the design for the Irma Simonton Black Award seal drawn by Maurice Sendak, 1973 Handwritten note from Maurice Sendak to Connie Black Engle [Irma Black’s daughter], March 1, 1974 Meeting the Reading Needs of the Culturally Deprived Child by Joan W. Blos 69 Bank Street Publications article reprint, 1964 4-page manuscript Writers Laboratory Report, December 3/41 Around and Around, unpublished draft by Lucy Sprague Mitchell, February 15, 1953 [Mitchell was working on Believe and MakeBelieve (1956) during this time] Language records collected by Lucy Sprague Mitchell, 1921–1929 2-page manuscript The Subway Story, told as a group story of eighteen IA children, n.d.

3-page manuscript Our Trip to the Mill group story, 1921–1922 Photograph Claudia Lewis hanging clothes in Saskatchewan, c.1955 Photograph Irma Simonton Black and Bill Hooks in the Bank Street College Library lobby, 1971, photographer unknown Photograph L to R: unknown, Carl Memling, Irma Simonton Black, Betty Boegehold, 1969 Two photographs, Carl Memling and Irma Simonton Black, 1965

Additional Biographies

Irma Simonton Black was the first director of Bank Street’s Publications Division. She helped to define Bank Street’s influential role in the world of children’s literature, from the Little Golden Books to the Bank Street Readers.

As a member and leader of the Bank Street Writers Lab, Black nurtured the careers of Ruth Krauss and Maurice Sendak. Following her death in 1972, Bank Street established the Irma Black Award for Excellence in Children’s Literature, which honors outstanding books for young children.

Joan Winsor Blos was a member of the Writers Lab, and worked in the Publications Division, where she was part of the team that developed the Bank Street Readers, and she was a member of the graduate faculty at Bank Street College from 1958 to 1970. Blos won the Newbery Award for A Gathering of Days: A New England Girls Journal, 1830–32 (Charles Scribner’s Sons, 1979) in 1980.

Barbara Brenner began her career as a copywriter with Prudential Insurance Company and later became a freelance artists’ agent before coming to Bank Street College as a writer, consultant, eventual senior editor of the Publications Division, and member of the Writers Lab. Brenner worked at Bank Street from 1962 to 1990.

Margaret Wise Brown was a prolific author of children’s books, including Goodnight Moon. She was a member of the Bank Street Writers Lab and a protégé of Lucy Sprague Mitchell.

In 1938, Brown became the children’s book editor at the fledgling firm William R. Scott, where she gained a reputation as a highly accessible editor willing to consider projects that were offbeat and commercially risky. Brown also wrote under the pseudonym Golden MacDonald and with Edith Thacher Hurd under the joint pseudonym Juniper Sage.

Dorothy Carter was Bank Street College’s first African-American faculty member, teaching from the late 1960s through the 1980s, and serving as chair of the Writers Lab. Eleanor Clymer joined the Writers Lab in 1938. She was greatly influenced by Mitchell’s Here and Now Story Book, which encouraged writers to focus on here and now issues for children. Clymer also wrote under the pseudonyms Elizabeth Kinsey and Janet Bell.

Caron Lee Cohen is the author of many picture books including Everything is Different at Nonna’s House, illustrated by Hiroe Nakata, Martin and the Giant Lions, illustrated

by Elizabeth Sayles, and Happy to You, illustrated by Rosanne Litzinger. She is a current member of the Writers Lab. Tomie dePaola’s children’s book career began in 1965 with the publication of Sound, a picture book/science book by Lisa Miller. He has received many awards, including a Caldecott Medal for Strega Nona and a Newbery Honor for 26 Fairmount Avenue.

In 2011, he received the Laura Ingalls Wilder Award for Substantial and Lasting Contribution to Literature for Children. He received the Society of Illustrators Original Art Show Lifetime Achievement Award in 2012.

Pratt Institute, his alma mater, honored him with an honorary degree in 2009.

Mary McBurney Green was training treacher at the Harriet Johnson Nursery School. She is a contributor to Another Here and Now Story Book.

Amy Hest began her professional career as a children’s librarian at New York Public Library, and later worked as an assistant editor at Viking Press, Inc. She became a full-time writer in 1977. Hest is a current member of the Writers Lab and is an instructor at Bank Street College and New York University.

Bill Hooks was a high school teacher of history and social studies before coming to Bank Street College as a member of the publications staff. He led the division from 1972 until his retirement in 1991.

During his tenure at Bank Street, Hooks was the managing editor of several book series, including Bank Street Ready to Read, Discoveries, Tempo, and Education Before Five.

He also was the managing editor of the Bank Street Readers (1972 edition), and he was head of the Writers Lab. Lee Bennett Hopkins taught sixth grade in Fairlawn, New Jersey, before becoming a full-time consultant for Bank Street at their new Resource Center in Harlem.

Hopkins is a writer of innumerable books for children, poetry compilations, and works for teachers. He was a member of the Bank Street Writers Lab. Edith Thacher Hurd became a member of the Writers Lab in 1937. It was there that she met her husband, Clement Hurd, an artist with whom she collaborated on more than 50 books. Hurd and Margaret Wise Brown also collaborated on many books, including one under the joint pseudonym Juniper Sage.

Sam Ita is a paper engineer who has applied his craft to publishing, advertising, animation, display, and toy design.

His work has been featured in various publications, including Publisher’s Weekly, The Comics Journal, The Kirkus Review, The Christian Science Monitor, School Library Journal, Entertainment Weekly, Paper Craft 2, Fully Booked; Ink On Paper Design and Concept for New Publications, Playing With Pop-Ups, and The Art of Pop-Up. Ruth Krauss honed her craft in the Bank Street Writers Lab, emphasizing simple language and minimalist illustrations.

Her first book, A Good Man and His Good Wife, with

illustrations by the abstract painter Ad Reinhardt, was published in 1944.

Joan Lexau began her career in the children’s book department at Harper & Row. She was a member of the Bank Street Writers Lab and contributed stories to the Bank Street Readers.

Some of her notable works were part of the I Can Read series published by Harper & Row and illustrated by Syd Hoff. Lexau published several titles under the pseudonym Joan L. Nodset.

Fran Manushkin worked for a series of major book publishers after coming to New York for a job at the 1964 World’s Fair. Manushkin has published dozens of books for young children, including the popular Katie Woo series. She is a current member of the Bank Street Writers Lab. Carl Memling earned his B.A. degree from Brooklyn College in 1938. He wrote mainly for children and was executive editor of the first edition of the Bank Street Readers and a program director in the Publications Division of Bank Street College.

Eve Merriam held several positions as a copywriter and editor, and considered herself a poet early on. Merriam won the Yale University Younger Poets Prize in 1946 and published her first book for children in 1960. Merriam joined the Writers Lab in 1955 and worked for Bank Street as field project staff from 1958 to 1960.

Jean Merrill began her professional career as an assistant editor at Scholastic magazine in 1945. She was an associate editor and consultant for the Bank Street College Publications Division from 1965 to 1971, working on the Bank Street Readers.

Merrill was a member of the Writers Lab. Betty Miles worked as an assistant kindergarten teacher at the New Lincoln School in Manhattan before coming to work

at Bank Street College in the Publications Division from 1958 to 1969. During her time in publications, she was associate editor of the Bank Street Readers.

She was a member of the Writers Lab and collaborated on Just Think!

(Knopf, 1971), with colleague and fellow Lab member Joan Blos.

Lucy Sprague Mitchell served as the first Dean of Women at the University of California, Berkeley, from 1906 to 1912. She established the Bureau of Educational Experiments in 1916 with her husband, Wesley Claire Mitchell, and her colleague Harriet Johnson. The Bureau later became the Bank Street College of Education.

Mitchell’s Here and Now Story Book was extremely successful as one of the first children’s books that focused on the everyday lives of children rather than on fables or heroes.

Her establishment of the Bank Street Writers Lab in 1937—still in existence today—created a space for fledgling and seasoned writers to develop their craft in a workshop format.

Emily Neville earned a Newbery Medal in 1963 for her debut novel, It’s Like This, Cat. Neville worked for New York Daily News and New York Daily Mirror before becoming a writer for young people. She worked for Bank Street College on a reader for adults and readers for fourth through sixth grades and was a member of the Bank Street Writers Lab. Joanne Oppenheim received her B.A. from Sarah Lawrence College in 1960 and her M.S. degree from Bank Street College in 1980. She was an elementary school teacher in Monticello, New York, for 20 years before joining Bank Street as senior editor in the Publications Division from 1980–1992.

Oppenheim joined the Writers Lab in 1962.

She is the president and cofounder of Oppenheim Toy Portfolio (a consumer organization).

Doris Orgel led the Writers Lab from 1985 to 1994 and was a senior staff writer and editor for the Bank Street Publications Division.

Wendy Popp’s work has been featured in numerous books and periodicals.

Her honors include the Dean Cornwall Recognition Award from the Society of Illustrators Museum of American Illustration, the Sydney Tyler Book Award, and the Washington Irving Children’s Choice Honor.

Popp’s art is included in the permanent collections of the Society of Illustrators Museum of American Illustration and the Norman Rockwell Museum. She has been an educator for 26 years at institutions in New York City, including Pratt Institute.

Doreen Rappaport has won numerous prestigious awards for her work, which convey pivotal moments in U.S. and world history to children and young adults.

In addition to her nonfiction works, Rappaport has produced fictional stories and the Be the Judge/ Be the Jury series, which focuses on famous courtroom trials. Rappaport is a current member of the Bank Street Writers Lab. Isabel Roxas has illustrated several books for young readers, including The New York Times bestseller Goodnight Songs

by Margaret Wise Brown (Sterling Books, 2014), and Day at the Market by May Tobias-Papa (Adarna House, 2008), winner of the Philippine National Book Award. Her latest picture book, Let Me Finish!, written by Minh Lê, will be in bookstores on June 7, 2016.

Virginia Schonborg grew up in a number of places as a Navy child. She graduated from Smith College and earned her M.S. from Bank Street College of Education in 1963. She studied the writings of Margaret Wise Brown for her masters (“An Examination of the Writings of Margaret Wise Brown, with Special Reference to Uses of Fantasy and Reality,” 1963).

Schonborg was a member of the Writers Lab in the early 1940s and was a faculty member at Bank Street in the 1960s and 1970s.

Roni Schotter was a children’s book editor for various publishers and taught writing at Queens College and Manhattanville College, as well as privately.

She was a member of the Writers Lab at Bank Street College.

Nina Schneider and her husband, Herman Schneider, wrote nearly 80 books, she assuming the role of the questioning child, and he, a former science teacher, provid­ ing the answers. They also produced a science textbook series. Schneider was a member of the Writers Lab. Maurice Sendak attended the Art Students League from 1949 to 1951 while working as a window designer for F.A.O. Schwartz.

His designs caught the attention of Leonard Weisgard, who commissioned him to illustrate Robert Garvey’s Good Shabbos, Everybody!

(1951). Soon after, Sendak was assigned to illustrate A Hole is to Dig by Ruth Krauss, which became a critical and popular success, cementing Sendak’s reputation as an important artist. Sendak illustrated several issues of Children…

Here and Now, a yearly Bank Street publication, in the 1950s. He was a member of the Writers Lab and designed the seal of the Irma Simonton and James H. Black Award for Excellence in Children’s Literature.

Norma Simon was a teacher, a group counselor, and special teacher for two child guidance centers.

She was a member of the Writers Lab and a consultant to the Publications Division at Bank Street from 1967 to 1974.

Ruth Sonneborn was director of the Bank Street Bookstore beginning in 1936 and was an early member of the Writers Lab. Sonneborn worked closely with the publications staff

and managed the reprints and conference proceeding publications.

Ellen Tarry was a writerresearcher on the Federal Writers’ Project, gathering material on the Underground Railroad.

During this time, Tarry joined the Bank Street Writers Lab in its first year, studying the craft with Lucy Sprague Mitchell and Margaret Wise Brown as her guides.

Leonard Weisgard, Caldecott award-winning illustrator of more than 200 children’s books, is perhaps best known for his collaboration with author Margaret Wise Brown. He began his career illustrating for magazines such as Good Housekeeping, The New Yorker, and Harper’s Bazaar. His first book, Suki, the Siamese Pussy, was published in 1937, followed by an adaptation of Cinderella.

Weisgard collaborated with other children’s book writers while writing and illustrating his own books, sometimes under the pseudonym Adam Green. He also worked with the American Library Association in children’s education.

Louise Woodcock taught for nine years at the Harriet Johnson Nursery School before becoming its codirector after Harriet Johnson’s death. She also taught in the Cooperative School for Student Teachers and became a research associate in the Division of Studies and Publications at the Bank Street Schools.

This exhibition and publication were made possible with the generous cooperation of many colleagues at Pratt Institute and Bank Street College of Education. At Pratt: President Thomas F. Schutte; Provost Kirk E. Pillow; Anita Cooney, Dean of the School of Design; Santiago Piedrafita, Chair of Graduate Communications Design; Heather Lewis, Acting Chair of Art and Design Education; Russ Abell, Director of Pratt Libraries; Paul Schlotthauer, Archivist at the Pratt Libraries; and at Bank Street: President Shael PolakowSuransky; Lindsey Wyckoff, Archivist and Special Collections Librarian; Cynthia Weill, Director of the Center for Children’s Literature; Nora Gaines, Acquisitions and Digital Resources Librarian; Andy Laties, Bank Street Bookstore Manager; and John Bellacosa, Graphic Designer. We also wish to thank Nick Battis, Director of Exhibitions; Jen Osborne, Acting Assistant Director; Kirsten Nelson, Assistant Director of Exhibitons; and the Pratt publications team for being such a vital part of this exhibition and this publication.

The presentation of The Picture Book Re-Imagined: The Children’s Book Legacy of Pratt Institute and the Bank Street College of Education marks an important moment for each institution, as Pratt Institute celebrates the recent launch of the Center for Art, Design, and Community Engagement K-12, and Bank Street celebrates its centennial.

The vision of both institutions remains centered on creating the highest quality literature and imagery that inspire and delight all children, infancy through adolescence. In addition, our educational programs offer children and families opportunities to explore ideas, materials, and processes, and converse with artists and writers.

We are especially grateful to Pratt faculty members Megan Cash, Peter Catalanotto, and Scott Menchin for their expert advice throughout the project.

It was a great pleasure to work with Leonard Marcus, curator, whose knowledge and enthusiasm for children’s picture books never ceases to amaze.

Aileen Wilson, Professor, Art and Design Education, Director of the Center for Art, Design, and Community Engagement K-12 Kristin Freda, Director of Library Services, Bank Street College of Education

Pratt Manhattan Gallery 144 West 14th Street New York, NY 10011 212.647.7778 Gallery hours Monday–Saturday, 11 AM–6 PM Thursday until 8 PM www.pratt.edu/exhibitions