The Wind in the Willows

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Truly lovely illustrations. When you said ‘the story looks like this, and no other way’, I know just what you mean. It appalls me when the classic book illustrations are done over in modern re-issues, such as the Peter Rabbit series, or Alice in Wonderland… it’s practically criminal, so painful to even see. Merrily On Our Way to Nowhere At All Shirt, Disneyland T-shirt, The Merrily Song Shirt, Mr. Toad Shirt, Mr.Toad Wide Ride Shirt E0235

The Wind in the Willows (Walker Illustrated Classics)

Mr Toad's Taxi Service, Mr Toad's Wild Ride Shirt, Ichabod And Mr Toad Shirt, Disneyland Shirt, Disney Shirts, Disney T Shirt, Disney Tshirt Born in Sussex but brought up in Australia from the age of eight, Moore feels a powerful attachment to the English countryside. Her school in ­Adelaide had an impressive library where all the children's books (mostly British) were uniformly leather bound. At 14 her favourite was Boswell's account of Dr Johnson's travels in the Hebrides. Inga Moore loves the English countryside landscape and, out of this love, she has developed a charming, truly beautiful style, richly detailed and textural –amidst the current trends toward minimalistic or even abstract children’s book illustration–; and brought it to great achievements, like her work for Grahame’s “The Wind in the Willows” or, more recently, for Frances Hodgson Burnett’s“The Secret Garden”. After leaving school, Moore took a variety of jobs. Raymond Briggs’s book Father Christmas (1973) inspired her to want to illustrate books, and she began to look for work as an illustrator. [2] An early work, Aktil’s Big Swim (1980), tells the story of a Dover mouse who decides to swim the English Channel, not understanding how wide it is. [3]Wind in the Willows Print - Childrens Room Decor - Nursery Art - Map Decor - Wall Art Gifts for Children #vi224 Hardcover. Condition: Fine. Moore, Inga (illustrator). 1st edition US. 1st ptg., 4to, illustrated boards, Highlights of the first five chapters from the book adapted by Inga Moore and lavishly illustrated with her soft color paintings. As new. Fine in fine, unclipped dj.

Inga Moore - Wikipedia

I have tortuous memories of trying to read this eons ago, but now I want to get a copy *just* for the illustrations! They’re – wow…. not the horrible, heavy, and depressing things that were in my copy. A thousand kissies to you! a b c d e Joanna Carey, “Inga Moore, illustrator of The Wind in the Willows”, in The Guardian dated 5 February 2010 urn:lcp:adventuresofmrto0000grah:epub:d0aa9aeb-2968-44b0-a426-f3f086c8a797 Foldoutcount 0 Identifier adventuresofmrto0000grah Identifier-ark ark:/13960/t1fk25145 Invoice 1652 Isbn 0744555264

Kenneth Grahame's classic children's stories, which depict the adventures of the amiable Mole and the Water Rat and the comic misadventures of the wayward Toad, are collected in this beautiful volume. Carefully abridged by the artist herself, this version of the beloved stories is instantly accessible to a young picture book readership. In the early 1980s, Moore returned to live in England, settling in Hampstead, while still working on picture books. Her Six-Dinner Sid (1990), an illustrated book for children about a cat, took six months to complete [2] and won the Nestlé Smarties Book Prize in the under-five category, [4] but during the recession of the early 1990s her flat was repossessed. This had a happy outcome, as Moore then found an apartment in a large but decaying Palladian house in a Gloucestershire village, with good light in a room she planned to use as a studio. Not far from the River Windrush, the countryside around the house inspired the illustrations for Moore’s edition of Kenneth Grahame’s The Wind in the Willows, which went on to sell more than a million copies. [2] Her editions of other children’s classics include Frances Hodgson Burnett’s The Secret Garden and Oscar Wilde’s The Canterville Ghost. [5] When I read it again, two decades later –perhaps, trying to reproduce the same sensations I had at fifteen years-old–, I already knew the illustrations by Inga Moore and, contemplating them, I though “This is it. This story “looks” like this, and not in any other way.” (Which is of course objectionable, but also very valid; and, frankly speaking, I must say that I love the illustrations as much as the tale itself –and I do love it a lot–. So here lays the secret, as in every creative endeavour…) Another turning point was Raymond Briggs's book Father Christmas (1973). "It was uplifting, life-enhancing, and I realised that making a picture book was one of the finest things one could aspire to." She got started as an illustrator and in the early 80s, inspired by childhood memories, returned to England. Secret Garden Scarf, Garden scarf, English garden scarf, gift for garden lover, gardener scarf, Inga Moore scarf, silk scarf with gardens

The Wind in the Willows: Grahame, Kenneth, Moore, Inga

I entirely agree (well, perhaps it’s not criminal, because I do love freedom of expression and everything else 🙂 , but truly unsatisfactory). Vintage Wind in the Willows Illustration Shirt, Literature Book lover shirt, Children's Story, Classic Lit Tee art print Cottagecore tshirt I duplicate the original post with only minor corrections in the text and some tags added]: [Pala late –Ari: mrni jagorri– , kai kamlas “E Balval ande le Selchinde”… Me xalem lako ilo!] Card Friends Picnic, Wind in the Willows. Book by Kenneth Grahame. Watercolour. Original artwork, A6, sustainable paperShe draws animals with a confidence born of empathy. "If I want to draw a buzzard," she explains, "I just imagine myself up there, and I can feel myself flying. I simply put myself in the body of whatever creature I'm trying to draw – I used to think everyone did that." But when her flat was repossessed, she decided to leave London, and found a rambling, upstairs apartment in a crumbling Palladian pile in rural Gloucestershire. And that's where we meet, buzzards wheeling overhead as Moore shows me round. "I knew immediately that with this position, the quality of the light in the studio and the abundance of wildlife, it was the perfect place to live and work on The Wind in the Willows," she says. "I could never have done it in London." She has an unusual ability to change her style to suit her feelings about each book. "It's useful, yes," she says, adding ruefully, "but I can't help thinking that's rather a serious fault."