PAGES THAT WHIRL WITH COLOR

The annual exhibit of children's book illustrations at R.Michelson Galleries in Northampton - now in its 16th year - offers a captivating collection of paintings by some of the area's most exciting artists.

For the most part, owner Richard Michelson, who is an award-winning poet and author of a number of children's books, represents artists who live locally. But he makes exceptions for those who have illustrated his own books. This year's exhibit includes the art of E.B. Lewis, a renowned New Jersey artist who is the illustrator of Michelson's latest children's book, "Happy Feet," published by Gulliver Books, Harcourt Inc.

Michelson calls upon artists to illustrate his books whose own unique styles perfectly fit the tenor of each volume. For example, “Too Young For Yiddish” was illustrated by Neil Waldman, a New York City artist known, among other accomplishments, or his illustrations of Jewish-themed books for children. A book of poems by Michelson, “Animals that ought to be” was illustrated by the late Leonard Baskin, whose imaginings of 14 odd creatures enhance the ideas dreamed up by Michelson. Baskin, who lived locally and is considered by many to be America’s premiere sculptor, was no stranger to children’s book illustrations---he was the author and artist in 1972 of “Hosie’s alphabet,” and also contributed the pictures for “Ten Times Better” another book by Michelson.

Illustrations by Waldman and Baskin are among those on display in the exhibit, as are Lewis’ watercolor painting from Michelson’s book “Happy Feet”, which was inspired by the legendary Savoy Ballroom in Harlem, a world famous dancing place and home of the Lindy Hoppers.

In the book a young boy, nicknamed Happy Feet, who was born on the same day in 1926 that the Savoy opened, hopes to some day make his own dancing debut at the legendary ballroom. The central character was inspired by real-life swing dancer Frankie Manning, now 91, whose invention on the dance floor of the Savoy catapulted him to fame. Lewis, with his careful attention fashion and hairstyles of the day captures the tone of the 1920’s perfectly, helping to bring the story alive.

With what seems a keen sleight-of-hand, his loosely painted watercolors wash across the page---the outer edges of his images often melting like snow. Colors meet in a soft blend that merely suggest images and, at the same time, leave an impression for great depth and detail. For example in “Daddy’s Sportin’ Me” from a page of Michelson’ book, a touch of color perfectly suggests a shoe polish brush, even thou one end dissolves in to darkness. On a nearby wall, a calendar evokes the time period, but in fact, has no numbers or lettering—just burst of Lewis’ watercolor paints that leave the desired impression.

Earl Bradley Lewis, 50 was born and raised in Philadelphia and received a bachelor’s degree there in 1979 from Temple University Tyler School of Art. He has illustrated 35 books over the last decade and is a 2003 recipient of the Coretta Scott King award and illustrated the 2005 Caldecott Honor Book, “Coming on Home Soon.” His brilliance as an illustrator is in his ability to grasp the essence of each story and then use his pictures to draw readers in to every scene.

In “ Happy Feet,” Michelson writes, “..all of Harlem togged out in their finest threads, leaving their hard working lives behind. Even the white dukes came flying in from Hollywood, driving down in their limousines.” In Lewis’ illustration for that Page those arriving for the Savoy grand openings are figures in silhouettes, as are the automobile—Model Ts or Nashes, maybe, and perhaps a Rolls Royce or tow. We see the outlines, but not the details. Nor can we tell the ethnicity of those in the throng. And, that’s the point. It was a night when black and white, rich and poor, gathered together to celebrate the debut of the great dance hall. They were united in their appreciation of the event, and are made so again by Lewis' poetic rendition of the scene.'

In the background, city buildings are defined only by the shared outline of their rooftops, creating a nighttime skyline against the darkening sky. But inside, all is hustle and bustle, bright and spirited. Dancers are spinning and swirling on the floor of the Savoy.

"Big Bea was sparking a dance so new it didn't even have a name yet," writes Michelson in his book. Lewis brings the beaming Big Bea to life. As she grabs a handful of the skirt of her dress, her other arm extends to' her side as if she needs to steady her balance as she tries out her fancy new steps. Beside her, another dancer is a whirl of watercolor, his ecstatic face the only clear detail.

Other works by Lewis are included in the exhibit, as are the books for which the pieces were painted. That is a strength of this exhibit - the books are piled high on white pedestals near each artist's paintings, offering the opportunity to both view the mounted art and to peruse the fabulous books.

Among others whose work is displayed are illustrator Barry Moser, artist/illustrators Mordecai Gerstein and Alice Provenson and mother-and­ daughter illustrators, Jane and Brooke Dyer; to whom a long wall has been devoted for this exhibit. Paintings by Rebecca Guay, whose "Barefoot Book of Ballet Stories" is a local favorite, are on view, as are Amherst artist Diane deGroat's charming illustrations and Dennis Nolan's mystical ones. Carle, Maurice Sendak and Ruth Sanderson, as well as paintings, cartoons and doodles by Pulitzer prize winner Jules Feiffer, and numbered, signed lithographs by the late Dr. Seuss.

Taken from The Boston Globe, Friday January 13, 2006