Cover not available
Part of
Children's Literature and the Avant-Garde
Edited by Elina Druker and Bettina Kümmerling-Meibauer
[Children’s Literature, Culture, and Cognition 5] 2015
► pp. 241–266

Chapter 10. Just what is it that makes Pop Art picturebooks so different, so appealing?

| University of Tübingen
In the 1960s and 1970s the Pop Art movement exerted a great influence on picturebook artists in different European countries (Finland, France, Germany, Poland, Switzerland, and the United Kingdom) and the USA. By referring to various avant-garde movements, such as Dadaism, Expressionism, and Surrealism, and by combining materials chosen from different media (advertisements, comics, film, newspapers, photography, and poster art), the author-illustrators introduced new ideas and concepts into picturebook art, thus crossing the boundaries between popular culture, children’s literature, and modern art. Moreover, Pop Art picturebooks are characterized by an anti-pedagogical approach that encourages the child reader to critically reflect upon moral, political, and pedagogical issues and to revolt against authorities. Extended paratexts explain the artists’ intentions and emphasize the presumption that children usually have more openness to new experiences than adults.
Published online: 29 July 2015
DOI logo
https://doi.org/10.1075/clcc.5.11kum
References (48)
References
Primary Sources
Billout, Guy. 1973. Number 24. New York NY: Harlin Quist.Google Scholar
Brown, Fredric. 1970. Maicki Astromaus. Illus. Heinz Edelmann. Translated by Uwe Friesel. Köln: Gertraud Middelhauve.Google Scholar
Carroll, Lewis. 2006. Alice through the Looking-Glass and What Alice Found There. Illus. Peter Blake. London: Merrell.Google Scholar
Couratin, Patrick. 1971. Mister Bird. New York NY: Harlin Quist.Google Scholar
Cullum, Albert. 1976. You Think Just Because You’re Big You’re Right. New York NY: Harlin Quist.Google Scholar
. 1978. Blackboard, Blackboard on the Wall, Who Is the Fairest One of All? New York NY: Harlin Quist.Google Scholar
Delessert, Étienne. 1971. How the Mouse Was Hit on the Head by a Stone and So Discovered the World. New York NY: Doubleday.Google Scholar
Duras, Marguerite. 1971. Ah! Ernesto! Illus. Bernard Bonhomme. Paris: Ruy-Vidal-Quist.Google Scholar
Goldthwaite, Henry. 1978. Roll Call. The Story of Noah’s Ark & the World’s First Losers. Illus. Henri Galeron. New York NY: Harlin Quist.Google Scholar
Helakisa, Kaarina. 1973. Elli-velli-karamelli. Illus. Katriina Viljamaa-Rissanen. Helsinki: Oy Weilin + Göös.Google Scholar
Ionesco, Eugène. 1968. Story Number 1. Illus. Étienne Delessert. New York NY: Harlin Quist.Google Scholar
. 1971a. Story Number 2. Illus. Étienne Delessert. New York NY: Harlin Quist.Google Scholar
. 1971b. Story Number 3. Illus. Philippe Corentin. New York NY: Harlin Quist.Google Scholar
. 1973. Story Number 4. Illus. Jean-Michel Nicollet. New York NY: Harlin Quist.Google Scholar
. 1978. Story Number 1. Illus. Joel Naprstek. New York NY: Harlin Quist.Google Scholar
Isadora, Rachel. 2000. 1 2 3 Pop! New York NY: Viking.Google Scholar
. 2001. ABC Pop! New York NY: Viking.Google Scholar
Lystad, Mary. 1968. Millicent the Monster. Illus. Victoria Chess. New York NY: Harlin Quist.Google Scholar
Max, Peter. 1970. The Land of Yellow. New York NY: Franklin Watts.Google Scholar
Ripken, Martin & Stempel, Hans. 1970. Andromedar SR1. Illus. Heinz Edelmann. Köln: Gertraud Middelhauve Verlag.Google Scholar
Ruy-Vidal, François. 1972. Timothy the Terror. Illus. Jean-Jacques Loup. New York NY: Harlin Quist.Google Scholar
Schmid, Eleonore. 1967. The Endless Party. Illus. Étienne Delessert. New York NY: Harlin Quist.Google Scholar
Spohn, Jürgen. 1968. Das Riesenross. Gütersloh: Bertelsmann Jugendbuchverlag.Google Scholar
Van der Essen, Anne. 1975. La souris et les poisons. Illus. Étienne Delessert. Paris: Gallimard.Google Scholar
. 1979. Yok-Yok. Illus. Étienne Delessert. Köln: Gertraud Middelhauve Verlag (English translation: Blackbird and Three Other Stories: Yok Yok Series. New York NY: Merrill, 1980).Google Scholar
Wittkamp, Frantz. 1973. Herr Soundso aus Irgendwo. Gütersloh: Bertelsmann Jugendbuchverlag.Google Scholar
Woroszylski, Wiktor. 1967. Gabrýs, nie kaprýs! Illus. Henry Toaszewski. Warsaw: Biuro Wydanicze Ruch ed.Google Scholar
Secondary Sources
Alloway, Lawrence. 1997. Popular culture and pop art. In Pop Art. A Critical History, Steven Henry Madoff (ed.), 167-174. Berkeley CA: University of California Press (first published 1969).Google Scholar
Bader, Barbara. 1976. American Picturebooks from Noah’s Ark to the Beast Within. New York NY: Macmillan.Google Scholar
Beckett, Sandra. 2012. Crossover Picturebooks. A Genre for All Ages. New York NY: Routledge.Google Scholar
Dempsey, Amy. 2002. Stile, Schulen, Bewegungen. Ein Handbuch zur Kunst der Moderne. Leipzig: Seemann.Google Scholar
Doris, Sara. 2007. Pop Art and the Contest over American Culture. Cambridge: Cambridge University Press.Google Scholar
Fass, Paula & Grossberg, Michael (eds). 2012. Reinventing Childhood after World War II. Philadelphia PA: University of Pennsylvania Press. DOI logoGoogle Scholar
Klimke, Martin, Pekelder, Jacco & Scharloth, Joachim (eds). 2013. Between Prague Spring and French May: Opposition and Revolt in Europe, 1960-1980. Oxford: Berghahn Books.Google Scholar
Kümmerling-Meibauer, Bettina & Meibauer, Jörg. 2013. On the strangeness of pop art picturebooks: Pictures, texts, paratexts. In Picturebooks. Beyond the Borders of Art, Narrative and Culture, Evelyn Arizpe, Maureen Farrell, & Julie McAdams (eds), 23-41. New York NY: Routledge.Google Scholar
Künnemann, Horst. 1973. Zur Gegenwartssituation. In Das Bilderbuch. Geschichte und Entwicklung des Bilderbuchs in Deutschland von den Anfängen bis zur Gegenwart, Klaus Doderer & Helmut Müller (eds), 395-436. Basel: Beltz.Google Scholar
Les Livres d’Harlin Quist et François Ruy-Vidal. 2013. Catalogue bibliographique 1964-2003. Paris: Librairie Michèle Noret.Google Scholar
Livingstone, Marco. 2000. Pop Art: A Continuing History. London: Thames and Hudson.Google Scholar
Paley, Nicholas. 1989. Why the books of Harlin Quist disappeared – Or did they? Children’s Literature Association Quarterly 14(3): 111-114. DOI logoGoogle Scholar
. 1992. Postmodern impulses and the contemporary picture book: Are there any stories to these meanings? Journal of Youth Services in Libraries 5: 151-161.Google Scholar
Quist, Harlin. 1978. Designing books for the delight of the child. Proceedings: Children’s Book International 3: 34-37.Google Scholar
Reynolds, Kimberley. 2007. Radical Children’s Literature. Future Visions and Aesthetic Transformations in Juvenile Fiction. Houndmills: Palgrave Macmillan.Google Scholar
Robbins, David (ed.). 1990. The Independent Group: Postwar Britain and the Aesthetics of Plenty. Cambridge MA: The MIT Press.Google Scholar
Scott Brown, Timothy. 2013. West Germany and the Global Sixties: The Anti-authoritarian Revolt, 1962-1978. Cambridge: Cambridge University Press. DOI logoGoogle Scholar
Sipe, Lawrence & Pantaleo, Sylvia (eds). 2008. Postmodern Picturebooks. New York NY: Routledge.Google Scholar
Spies, Werner. 2011. From Pop Art to the Present. New York NY: Abrams.Google Scholar
Thiele, Jens. 2004. Pop-up, pop-down. Bildnerische Reflexionen der Populärkultur im Bilderbuch. In Populär. Popliteratur und Jugendkultur, Johannes G. Pankau (ed.), 177-186. Bremen: Asch.Google Scholar
Toubiana, Serge. 1985. Les enfants. Les Cahiers du Cinéma 374. July/August 1985.Google Scholar
Cited by (1)

Cited by one other publication

Kümmerling‐Meibauer, Bettina
2022. Developments of Picturebooks. In A Companion to Children's Literature, ► pp. 84 ff. DOI logo

This list is based on CrossRef data as of 24 july 2024. Please note that it may not be complete. Sources presented here have been supplied by the respective publishers. Any errors therein should be reported to them.