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摘要
It's 1892 and Charlotte is bound for Monet's famous artist colony in Giverny, France, where painters like her father are flocking to learn the new style of painting called Impressionism. In spite of missing her best friend, Charlotte becomes enchanted with France and records her colorful experiences in her journal. She makes new friends, plants a garden, learns to speak French, and even attends the wedding of Monsieur Monet's daughter!
Illustrated with beautiful museum reproductions and charming watercolor collages, Charlotte in Giverny includes a French glossary as well as biographical sketches of the featured painters. This delightful journal of a young girl's exciting year will capture readers' imaginations and leave a lasting impression.
评论 (5)
《学校图书馆杂志》(School Library Journal)书评
Gr 4-7-Similar in theme and style to Christina Bjrk's Linnea in Monet's Garden (R & S Bks, 1987), this story depicts the period of a young American girl's life spent with her family in the French countryside in the early 1890s. Presented in a journal/scrapbook format, the narrative describes Charlotte's family's arrival in Giverny, where her father plans to paint, and the ambience of the bucolic community where Monet reigns as an impressive, if somewhat remote, artistic master. The passing of the seasons is recounted through a series of social, domestic, creative, and pastoral pastimes. Despite her enjoyment of Giverny's agreeable diversions, Charlotte is mildly homesick until she learns that her best friend and her family will be joining them soon. Thus, the only real tension in the story is facilely resolved. All of the entries are amply illustrated with fine-art reproductions; historical photographs; and whimsical, nave watercolors. The craftsmanship of the bookmaking lends the impression of a real journal with its binding and typeface. A list of credits identifying the famous paintings and artists is included. However, while attractive, the narrative lacks verve and fails to place the story in its adequate historical perspective. Impressionism and Monet's place in this pivotal artistic movement are not adequately addressed here. While this pretty book may be useful as supplemental material, it is ultimately derivative and lackluster.-Rosalyn Pierini, San Luis Obispo City-County Library, CA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
出版社周刊评论
Part faux diary, part scrapbook, this charming volume teeters between picture book and novel. Through the 1892 "journal" of young Charlotte Glidden, daughter of a fictitious Boston painter, Knight (Bon Apptit, Bertie) uncovers the inner workings of an artist's colony that sprang up near Claude Monet's home in France. Charlotte's enthusiastic, detailed reports emulate the more leisurely pace of 19th-century daily life in Giverny, and her perceptions of French culture and customs, art and artists give readers the distinct feeling of looking over her shoulder. Knight adroitly pins the substance of her tale to 16 Impressionist paintings, some of which are attributed to characters in the book. For instance, Charlotte describes her friend Edith Perry sitting for a portrait her mother is painting, and the painter turns out to be Lilla Cabot Perry. Similarly, Theodore Robinson's The Wedding March appears in Charlotte's diary entry about the marriage of Suzanne Monet to American artist Theodore Butler. Knight also works in paintings by other Impressionists who don't appear in the narrative but who did spend time at Giverny, such as an unusually informal painting by John Singer Sargent, Carnation, Lily, Lily, Rose. Sweet (Leaving Vietnam) adds to the visual mix with a whimsical patchwork of sprightly watercolors and small-scale collages made from scraps of fabric, stamps, period photographs, a mini-picture glossary of French words and the like. Closing with a brief description of each painting and biography of each artist, this is a most appealing art history lesson. Ages 6-10. (Apr.) (c) Copyright PWxyz, LLC. All rights reserved
《儿童读物杂志》(Horn Book)书评
When her family travels to France so her father can paint in Giverny, a young girl keeps a journal of her first year living abroad. Along the way, readers learn about Impressionism and the lives of artists. Childlike watercolors (supposedly by Charlotte) are accompanied by snapshots, ticket stubs, and reproductions of paintings by Americans at Giverny. Short biographical notes about the artists appear at the end of the book. From HORN BOOK Fall 2000, (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Kirkus评论
A fictional diary captures the Giverny of 1892 through the eyes of its little-girl owner, in this charmingly constructed conceit. In a format full of illustrations of famous Impressionist paintings, winsome watercolors, and collage bits of ribbon, lace, flower petals, and cards labeled with their French names, we read about Charlotte's visit to France. She writes about her voyage from Boston, her stay at the Baudy Hotel, the French gardener and maid, her neighbors and her tutor. She is fascinated by the glimpsed courtship of Theodore Butler and Suzanne, the daughter of Monet, who lives nearby. Other more or less well-known American Impressionists pass through Giverny and Charlotte's journal: William Merritt Chase; John Singer Sargent; Lilla Cabot Perry; and Mariquita Gill. A lot of information about life in Giverny and about painting en plein air is imparted painlessly in a font resembling very neat handwriting. The illustrations are simply irresistible. Linnea in Monet's Garden focuses on that artist and his splendid creations; this would make a natural pairing with it. Credits for the reproductions, brief biographical sketches of all the artists, and an author's note are appended. (Historical fiction. 9-13) Copyright ©Kirkus Reviews, used with permission.
《书目》(Booklist)书评
Gr. 4^-6. With much detail drawn from real diaries, this fictional journal presents a child's view of the colony of North American artists that grew up at Giverny, France, around the turn of the twentieth century. In a typeface that looks like neat hand printing, young Charlotte chronicles her family's travels across the Atlantic, through Paris and the pastoral French countryside to a Giverny house not far from the great Monet's home. Over the course of the next year's picnics, holidays, visits, and other social events, Charlotte meets an array of painters, including William Merritt Chase, Lilla Cabot Perry, and reclusive old Monet himself. The profuse illustrations, a mix of 1890s postcards and other memorabilia, reproductions of (mostly) impressionistic paintings by the mentioned artists, and Melissa Sweet's delicately drawn vignettes of vegetables and other items, lay an air of sunny, well-bred tranquility over the scene. As Monet and his famous estate remain on the periphery of Charlotte's awareness, this is a companion, rather than a competitor, for Christina Bjork's classic Linnea in Monet's Garden (1987). Knight appends biographical and historical notes. --John Peters