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Visual arts
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Vincent van Gogh: The Church at Auvers (1890)
The visual arts are art forms such as ceramics, drawing, painting, sculpture, printmaking, design, crafts, photography, video, filmmaking, and architecture. Many artistic disciplines (performing arts, conceptual art, textile arts) involve aspects of the visual arts as well as arts of other types. Also included within the visual arts[1] are the applied arts[2] such as industrial design, graphic design, fashion design, interior design and decorative art.[3]
Current usage of the term "visual arts" includes fine art as well as the applied, decorative arts and crafts, but this was not always the case. Before the Arts and Crafts Movement in Britain and elsewhere at the turn of the 20th century, the term 'artist' was often restricted to a person working in the fine arts (such as painting, sculpture, or printmaking) and not the handicraft, craft, or applied art media. The distinction was emphasized by artists of the Arts and Crafts Movement, who valued vernacular art forms as much as high forms.[4] Art schools made a distinction between the fine arts and the crafts, maintaining that a craftsperson could not be considered a practitioner of the arts.
The increasing tendency to privilege painting, and to a lesser degree sculpture, above other arts has been a feature of Western art as well as East Asian art. In both regions painting has been seen as relying to the highest degree on the imagination of the artist, and the furthest removed from manual labour – in Chinese painting the most highly valued styles were those of "scholar-painting", at least in theory practiced by gentleman amateurs. The Western hierarchy of genres reflected similar attitudes.
Contents
[hide]
1 Education and training
2 Drawing
3 Painting
3.1 Origins and early history
3.2 The Renaissance
3.3 Dutch masters
3.4 Baroque
3.5 Impressionism
3.6 Post-impressionism
3.7 Symbolism, expressionism and cubism
4 Printmaking
4.1 European history
4.2 Chinese origin and practice
4.3 Development In Japan 1603–1867
5 Photography
6 Filmmaking
7 Computer art
8 Plastic arts
8.1 Sculpture
9 Copyright definition of visual art (US)
10 See also
11 References
12 Bibliography
13 External links
Education and training[edit]
Main article: Visual arts education
Training in the visual arts has generally been through variations of the apprentice and workshop systems. In Europe the Renaissance movement to increase the prestige of the artist led to the academy system for training artists, and today most of the people who are pursuing a career in arts train in art schools at tertiary levels. Visual arts have now become an elective subject in most education systems.
Drawing[edit]
Main article: Drawing
Drawing is a means of making an image, using any of a wide variety of tools and techniques. It generally involves making marks on a surface by applying pressure from a tool, or moving a tool across a surface using dry media such as graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoals, pastels, and markers. Digital tools that simulate the effects of these are also used. The main techniques used in drawing are: line drawing, hatching, crosshatching, random hatching, scribbling, stippling, and blending. An artist who excels in drawing is referred to as a draftsman or draughtsman.
Drawing goes back at least 16,000 years to Paleolithic cave representations of animals such as those at Lascaux in France and Altamira in Spain. In ancient Egypt, ink drawings on papyrus, often depicting people, were used as models for painting or sculpture. Drawings on Greek vases, initially geometric, later developed to the human form with black-figure pottery during the 7th century BC.[5]
With paper becoming common in Europe by the 15th century, drawing was adopted by masters such as Sandro Botticelli, Raphael, Michelangelo, and Leonardo da Vinci who sometimes treated drawing as an art in its own right rather than a preparatory stage for painting or sculpture.[6]
Painting[edit]
Mosaic of Battle of Issus
Main article: Painting
Nefertari with Isis
Painting taken literally is the practice of applying pigment suspended in a carrier (or medium) and a binding agent (a glue) to a surface (support) such as paper, canvas or a wall. However, when used in an artistic sense it means the use of this activity in combination with drawing, composition, or other aesthetic considerations in order to manifest the expressive and conceptual intention of the practitioner. Painting is also used to express spiritual motifs and ideas; sites of this kind of painting range from artwork depicting mythological figures on pottery to The Sistine Chapel to the human body itself.
Origins and early history[edit]
Main article: History of painting
Like drawing, painting has its documented origins in caves and on rock faces. The finest examples, believed by some to be 32,000 years old, are in the Chauvet and Lascaux caves in southern France. In shades of red, brown, yellow and black, the paintings on the walls and ceilings are of bison, cattle, horses and deer.
Raphael: Spasimo (1514–1516)
Paintings of human figures can be found in the tombs of ancient Egypt. In the great temple of Ramses II, Nefertari, his queen, is depicted being led by Isis.[7] The Greeks contributed to painting but much of their work has been lost. One of the best remaining representations are the Hellenistic Fayum mummy portraits. Another example is mosaic of the Battle of Issus at Pompeii, which was probably based on a Greek painting. Greek and Roman art contributed to Byzantine art in the 4th century BC, which initiated a tradition in icon painting.
The Renaissance[edit]
Main article: Italian Renaissance painting
Apart from the illuminated manuscripts produced by monks during the Middle Ages, the next significant contribution to European art was from Italy's renaissance painters. From Giotto in the 13th century to Leonardo da Vinci and Raphael at the beginning of the 16th century, this was the richest period in Italian art as the chiaroscuro techniques were used to create the illusion of 3-D space.[8]
Rembrandt: The Night Watch
Painters in northern Europe too were influenced by the Italian school. Jan van Eyck from Belgium, Pieter Bruegel the Elder from the Netherlands and Hans Holbein the Younger from Germany are among the most successful painters of the times. They used the glazing technique with oils to achieve depth and luminosity.
Claude Monet: Déjeuner sur l'herbe (1866)
Dutch masters[edit]
Main article: Dutch Golden Age painting
The 17th century witnessed the emergence of the great Dutch masters such as the versatile Rembrandt who was especially remembered for his portraits and Bible scenes, and Vermeer who specialized in interior scenes of Dutch life.
Baroque[edit]
Main article: Baroque
The Baroque started after the Renaissance, from the late 16th century to the late 17th century. Main artists of the Baroque included Caravaggio, who made heavy use of tenebrism. Peter Paul Rubens was a flemish painter who studied in Italy, worked for local churches in Antwerp and also painted a series for Marie de' Medici. Annibale Carracci took influences from the Sistine Chapel and created the genre of illusionistic ceiling painting. Much of the development that happened in the Baroque was because of the Protestant Reformation and the resulting Counter Reformation. Much of what defines the Baroque is dramatic lighting and overall visuals.[9]
Impressionism[edit]
Main article: Impressionism
Impressionism began in France in the 19th century with a loose association of artists including Claude Monet, Pierre-Auguste Renoir and Paul Cézanne who brought a new freely brushed style to painting, often choosing to paint realistic scenes of modern life outside rather than in the studio. This was achieved through a new expression of aesthetic features demonstrated by brush strokes and the impression of reality. They achieved intense colour vibration by using pure, unmixed colours and short brush strokes. The movement influenced art as a dynamic, moving through time and adjusting to new found techniques and perception of art. Attention to detail became less of a priority in achieving, whilst exploring a biased view of landscapes and nature to the artists eye.[10][11]
Paul Gauguin: The Vision After the Sermon (1888)
Edvard Munch: The Scream (1893)
Post-impressionism[edit]
Main article: Post-Impressionism
Towards the end of the 19th century, several young painters took impressionism a stage further, using geometric forms and unnatural colour to depict emotions while striving for deeper symbolism. Of particular note are Paul Gauguin, who was strongly influenced by Asian, African and Japanese art, Vincent van Gogh, a Dutchman who moved to France where he drew on the strong sunlight of the south, and Toulouse-Lautrec, remembered for his vivid paintings of night life in the Paris district of Montmartre.[12]
Symbolism, expressionism and cubism[edit]
Main article: Modern art
Edvard Munch, a Norwegian artist, developed his symbolistic approach at the end of the 19th century, inspired by the French impressionist Manet. The Scream (1893), his most famous work, is widely interpreted as representing the universal anxiety of modern man. Partly as a result of Munch's influence, the German expressionist movement originated in Germany at the beginning of the 20th century as artists such as Ernst Kirschner and Erich Heckel began to distort reality for an emotional effect. In parallel, the style known as cubism developed in France as artists focused on the volume and space of sharp structures within a composition. Pablo Picasso and Georges Braque were the leading proponents of the movement. Objects are broken up, analyzed, and re-assembled in an abstracted form. By the 1920s, the style had developed into surrealism with Dali and Magritte.[13]
Printmaking[edit]
Ancient Chinese engraving of female instrumentalists
Main article: Printmaking
Printmaking is creating, for artistic purposes, an image on a matrix that is then transferred to a two-dimensional (flat) surface by means of ink (or another form of pigmentation). Except in the case of a monotype, the same matrix can be used to produce many examples of the print.
Albrecht Dürer: Melancholia I (1541)
Historically, the major techniques (also called media) involved are woodcut, line engraving, etching, lithography, and screenprinting (serigraphy, silkscreening) but there are many others, including modern digital techniques. Normally, the print is printed on paper, but other mediums range from cloth and vellum to more modern materials. Major printmaking traditions include that of Japan (ukiyo-e).
European history[edit]
Main article: Old master print
Prints in the Western tradition produced before about 1830 are known as old master prints. In Europe, from around 1400 AD woodcut, was used for master prints on paper by using printing techniques developed in the Byzantine and Islamic worlds. Michael Wolgemut improved German woodcut from about 1475, and Erhard Reuwich, a Dutchman, was the first to use cross-hatching. At the end of the century Albrecht Dürer brought the Western woodcut to a stage that has never been surpassed, increasing the status of the single-leaf woodcut.[14]
Chinese origin and practice[edit]
The Chinese Diamond Sutra, the world's oldest printed book (868 CE)
Main article: Woodblock printing
In China, the art of printmaking developed some 1,100 years ago as illustrations alongside text cut in woodblocks for printing on paper. Initially images were mainly religious but in the Song Dynasty, artists began to cut landscapes. During the Ming (1368–1644) and Qing (1616–1911) dynasties, the technique was perfected for both religious and artistic engravings.[15][16]
Development In Japan 1603–1867[edit]
Hokusai: Red Fuji southern wind clear morning from Thirty-six Views of Mount Fuji
Main article: Woodblock printing in Japan
Woodblock printing in Japan (Japanese: 木版画, moku hanga) is a technique best known for its use in the ukiyo-e artistic genre; however, it was also used very widely for printing books in the same period. Woodblock printing had been used in China for centuries to print books, long before the advent of movable type, but was only widely adopted in Japan surprisingly late, during the Edo period (1603–1867). Although similar to woodcut in western printmaking in some regards, moku hanga differs greatly in that water-based inks are used (as opposed to western woodcut, which uses oil-based inks), allowing for a wide range of vivid color, glazes and color transparency.
Photography[edit]
Main article: Photography
Photography is the process of making pictures by means of the action of light. Light patterns reflected or emitted from objects are recorded onto a sensitive medium or storage chip through a timed exposure. The process is done through mechanical shutters or electronically timed exposure of photons into chemical processing or digitizing devices known as cameras.
The word comes from the Greek words φως phos ("light"), and γραφις graphis ("stylus", "paintbrush") or γραφη graphê, together meaning "drawing with light" or "representation by means of lines" or "drawing." Traditionally, the product of photography has been called a photograph. The term photo is an abbreviation; many people also call them pictures. In digital photography, the term image has begun to replace photograph. (The term image is traditional in geometric optics.)
Filmmaking[edit]
Main article: Filmmaking
Filmmaking is the process of making a motion-picture, from an initial conception and research, through scriptwriting, shooting and recording, animation or other special effects, editing, sound and music work and finally distribution to an audience; it refers broadly to the creation of all types of films, embracing documentary, strains of theatre and literature in film, and poetic or experimental practices, and is often used to refer to video-based processes as well.
Computer art[edit]
Main article: Computer art
Visual artists are no longer limited to traditional art media. Computers have been used as an ever more common tool in the visual arts since the 1960s. Uses include the capturing or creating of images and forms, the editing of those images and forms (including exploring multiple compositions) and the final rendering or printing (including 3D printing).
Computer art is any in which computers played a role in production or display. Such art can be an image, sound, animation, video, CD-ROM, DVD, video game, website, algorithm, performance or gallery installation. Many traditional disciplines are now integrating digital technologies and, as a result, the lines between traditional works of art and new media works created using computers have been blurred. For instance, an artist may combine traditional painting with algorithmic art and other digital techniques. As a result, defining computer art by its end product can be difficult. Nevertheless, this type of art is beginning to appear in art museum exhibits, though it has yet to prove its legitimacy as a form unto itself and this technology is widely seen in contemporary art more as a tool rather than a form as with painting.
Computer usage has blurred the distinctions between illustrators, photographers, photo editors, 3-D modelers, and handicraft artists. Sophisticated rendering and editing software has led to multi-skilled image developers. Photographers may become digital artists. Illustrators may become animators. Handicraft may be computer-aided or use computer-generated imagery as a template. Computer clip art usage has also made the clear distinction between visual arts and page layout less obvious due to the easy access and editing of clip art in the process of paginating a document, especially to the unskilled observer.
Plastic arts[edit]
Main article: Plastic arts
Plastic arts is a term for art forms that involve physical manipulation of a plastic medium by moulding or modeling such as sculpture or ceramics. The term has also been applied to all the visual (non-literary, non-musical) arts.[17][18]
Materials that can be carved or shaped, such as stone or wood, concrete or steel, have also been included in the narrower definition, since, with appropriate tools, such materials are also capable of modulation.[citation needed] This use of the term "plastic" in the arts should not be confused with Piet Mondrian's use, nor with the movement he termed, in French and English, "Neoplasticism."
Sculpture[edit]
Main article: Sculpture
Sculpture is three-dimensional artwork created by shaping or combining hard or plastic material, sound, or text and or light, commonly stone (either rock or marble), clay, metal, glass, or wood. Some sculptures are created directly by finding or carving; others are assembled, built together and fired, welded, molded, or cast. Sculptures are often painted.[19] A person who creates sculptures is called a sculptor.
Because sculpture involves the use of materials that can be moulded or modulated, it is considered one of the plastic arts. The majority of public art is sculpture. Many sculptures together in a garden setting may be referred to as a sculpture garden.
Sculptors do not always make sculptures by hand. With increasing technology in the 20th century and the popularity of conceptual art over technical mastery, more sculptors turned to art fabricators to produce their artworks. With fabrication, the artist creates a design and pays a fabricator to produce it. This allows sculptors to create larger and more complex sculptures out of material like cement, metal and plastic, that they would not be able to create by hand. Sculptures can also be made with 3-d printing technology.
Copyright definition of visual art (US)[edit]
In the United States, the law protecting the copyright over a piece of visual art gives a more restrictive definition of "visual art".[20]
A “work of visual art” is —
(1) a painting, drawing, print or sculpture, existing in a single copy, in a limited edition of 200 copies or fewer that are signed and consecutively numbered by the author, or, in the case of a sculpture, in multiple cast, carved, or fabricated sculptures of 200 or fewer that are consecutively numbered by the author and bear the signature or other identifying mark of the author; or
(2) a still photographic image produced for exhibition purposes only, existing in a single copy that is signed by the author, or in a limited edition of 200 copies or fewer that are signed and consecutively numbered by the author.

A work of visual art does not include —
(A)(i) any poster, map, globe, chart, technical drawing, diagram, model, applied art, motion picture or other audiovisual work, book, magazine, newspaper, periodical, data base, electronic information service, electronic publication, or similar publication;
(ii) any merchandising item or advertising, promotional, descriptive, covering, or packaging material or container;
(iii) any portion or part of any item described in clause (i) or (ii);
(B) any work made for hire; or
(C) any work not subject to copyright protection under this title.
See also[edit]
Main article: Outline of visual arts
Visual arts portal
Art materials
Asemic writing
Avant-garde
Child art
Collage
Comics
Contemporary art
Creative peacebuilding (visual arts)
Crowdsourcing creative work
Décollage
Environmental art
Found object
Graffiti
History of art
History of graphic design
History of film
History of painting
History of sculpture
Illustration
Indigenous Australian art
Installation art
Interactive art
Islamic art
Kandyan Era Frescoes
Landscape art
Mail art
Mathematics and art
Mixed media
Naïve art
Portraiture
Process art
Recording medium
Rock balancing
Sketch (drawing)
Sketchbook
Sound art
Street art
Video art
References[edit]
Jump up ^ An About.com article by art expert, Shelley Esaak: What Is Visual Art?
Jump up ^ Different Forms of Art – Applied Art. Buzzle.com. Retrieved 11 Dec 2010.
Jump up ^ "Centre for Arts and Design in Toronto, Canada". Georgebrown.ca. 15 February 2011. Archived from the original on 28 October 2011. Retrieved 30 October 2011.
Jump up ^ Art History: Arts and Crafts Movement: (1861–1900). From World Wide Arts Resources. Retrieved 24 October 2009.
Jump up ^ History of Drawing. From Dibujos para Pintar. Retrieved 23 October 2009.
Jump up ^ "Drawing". History.com. 2006. Archived from the original on 14 March 2009. Retrieved 23 October 2009.
Jump up ^ History of Painting. From History World. Retrieved 23 October 2009.
Jump up ^ History of Renaissance Painting. From ART 340 Painting. Retrieved 24 October 2009.
Jump up ^ https://www.ashgate.com/pdf/SamplePages/Rethinking_the_Baroque_Intro.pdf
Jump up ^ http://www.impressionism.org
Jump up ^ Impressionism. Webmuseum, Paris. Retrieved 24 October 2009
Jump up ^ Post-Impressionism. Metropolitan Museum of Art. Retrieved 25 October 2009.
Jump up ^ Modern Art Movements. Irish Art Encyclopedia. Retrieved 25 October 2009.
Jump up ^ The Printed Image in the West: History and Techniques. The Metropolitan Museum of Art. Retrieved 25 October 2009.
Jump up ^ Engraving in Chinese Art. From Engraving Review. Retrieved 23 October 2009.
Jump up ^ The History of Engraving in China. From ChinaVista. Retrieved 25 October 2009.
Jump up ^ Art Terminology at KSU[dead link]
Jump up ^ "Merriam-Webster Online (entry for "plastic arts")". Merriam-webster.com. Retrieved 2011-10-30.
Jump up ^ Gods in Color: Painted Sculpture of Classical Antiquity 22 September 2007 Through 20 January 2008, The Arthur M. Sackler Museum Archived 4 January 2009 at the Wayback Machine.
Jump up ^ "Copyright Law of the United States of America – Chapter 1 (101. Definitions)". Copyright.gov. Retrieved 2011-10-30.
Bibliography[edit]
Barnes, A. C., The Art in Painting, 3rd ed., 1937, Harcourt, Brace & World, Inc., NY.
Bukumirovic, D. (1998). Maga Magazinovic. Biblioteka Fatalne srpkinje knj. br. 4. Beograd: Narodna knj.
Fazenda, M. J. (1997). Between the pictorial and the expression of ideas: the plastic arts and literature in the dance of Paula Massano. n.p.
Gerón, C. (2000). Enciclopedia de las artes plásticas dominicanas: 1844–2000. 4th ed. Dominican Republic s.n.
Oliver Grau (Ed.): MediaArtHistories. MIT-Press, Cambridge 2007. with Rudolf Arnheim, Barbara Stafford, Sean Cubitt, W. J. T. Mitchell, Lev Manovich, Christiane Paul, Peter Weibel a.o. Rezensionen
Laban, R. V. (1976). The language of movement: a guidebook to choreutics. Boston: Plays.
La Farge, O. (1930). Plastic prayers: dances of the Southwestern Indians. n.p.
Restany, P. (1974). Plastics in arts. Paris, New York: n.p.
University of Pennsylvania. (1969). Plastics and new art. Philadelphia: The Falcon Pr.
External links[edit]
Wikimedia Commons has media related to Visual arts.
Wikimedia Commons has media related to Plastic arts.
Wikivoyage has a travel guide for Visual arts.
Wikivoyage has a travel guide for Works of art.
ArtLex – online dictionary of visual art terms.
Calendar for Artists – calendar listing of visual art festivals.
Art History Timeline by the Metropolitan Museum of Art.
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text:
How the Grinch Stole Christmas!
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the book by Dr. Seuss. For other uses, see How the Grinch Stole Christmas (disambiguation).
How the Grinch Stole Christmas!
Book cover
Author
Dr. Seuss
Country
United States
Language
English
Genre
Children's literature
Publisher
Redbook (magazine)
Random House (book)
Publication date
October 12, 1957 (Redbook)
November 24, 1957 (renewed 1985)
Media type
Print
Pages
69
ISBN
0-394-80079-6
OCLC
178325
How the Grinch Stole Christmas! is a children's story by Theodor "Dr. Seuss" Geisel written in rhymed verse with illustrations by the author. It follows the Grinch, a grouchy, solitary creature who attempts to put an end to Christmas by stealing Christmas-themed items from the homes of the nearby town Whoville on Christmas Eve. Despite his efforts, Whoville's inhabitants still celebrate the holiday, so the Grinch returns everything that he stole and is the guest of honor at the Whos' Christmas dinner.
The story was published as a book by Random House in 1957, and at approximately the same time in an issue of Redbook.[1] The book criticizes the commercialization of Christmas.[2] Based on a 2007 online poll, the National Education Association named it one of its "Teachers' Top 100 Books for Children". In 2012 it was ranked number 61 among the "Top 100 Picture Books" in a survey published by School Library Journal – the fourth of five Dr. Seuss books on the list.
The book was adapted as a Christmas special twice, a 1966 animated TV film starring Boris Karloff as both the narrator and the voice of the Grinch and a 2000 live-action feature film starring Jim Carrey. There will also be a computer-animated film adaptation, starring Benedict Cumberbatch scheduled for release on November 9, 2018.
Contents
[hide]
1 Plot
2 Creation and publication
3 Reception
4 Analysis
5 Adaptations
6 Legacy
7 Notes
8 Sources
9 External links
Plot[edit]
The Grinch is a bitter, grumpy, cave-dwelling creature with a heart "two sizes too small" who is living as a hermit on the snowy Mount Crumpit, a steep high mountain just north of the town of Whoville, home of the merry and warm-hearted Whos. His only companion is his unloved, but loyal dog, Max. From his cave, the Grinch can hear the noisy Christmas festivities that take place in Whoville. Continuously annoyed, he decides to devise a wicked scheme by stealing their presents, trees, and food for their Christmas feast. He crudely disguises himself as Santa Claus, and forces Max, disguised as a reindeer, to drag a sleigh down the mountain towards Whoville. Once at Whoville, the Grinch slides down the chimney of one house and steals all of the Whos' Christmas presents, the Christmas tree, and the log for their fire. He is briefly interrupted in his burglary by Cindy Lou, a little Who girl, but concocts a crafty lie to effect his escape from her home. After stealing from one house, he does the same thing to all the other houses in the village of Whoville.
After spending all night stealing stuff from the houses of Whoville, the Grinch prepares his journey back to Mount Crumpit, and intends to dump all of the Christmas stuff into the abyss, but Max, utilizing every last of his strength to pull the sleigh upward, causes the sleigh to get stuck on a cliff. As dawn arrives, the Grinch expects the people in Whoville to let out bitter and sorrowful cries, but is confused to hear them singing a joyous Christmas song instead. He puzzles for a moment until it dawns on him that "maybe Christmas, perhaps, means a little bit more" than just presents and feasting. The Grinch's shrunken heart suddenly grows three sizes. The reformed and liberated Grinch begins having second thoughts, and returns to the village to give back all of the Whos' Christmas stuff. The Grinch is warmly invited to the Whos' feast, where he has the honor of carving the Roast Beast.
Creation and publication[edit]
Dr. Seuss working on How the Grinch Stole Christmas! in early 1957.
The Grinch first appeared in a 32-line illustrated poem by Dr. Seuss called "The Hoobub and the Grinch," which was originally published in the May 1955 edition of Redbook magazine.[3] Dr. Seuss began work on How the Grinch Stole Christmas! a couple years later, around the beginning of 1957. He had recently completed The Cat in the Hat and was in the midst of founding Beginner Books with Phyllis and Bennett Cerf and his wife, Helen Palmer Geisel. Helen, who had ongoing medical problems and had suffered a small stroke in April 1957, nevertheless acted as an unofficial editor, as she had with previous Dr. Seuss books.[4] Dr. Seuss wrote the book quickly and was mostly finished with it within a few weeks.[5] Biographers Judith and Neil Morgan wrote, "It was the easiest book of his career to write, except for its conclusion."[4] According to Dr. Seuss,
"I got hung up getting the Grinch out of the mess. I got into a situation where I sounded like a second-rate preacher or some biblical truisim... Finally in desperation... without making any statement whatever, I showed the Grinch and the Whos together at the table, and made a pun of the Grinch carving the 'roast beast.' ... I had gone through thousands of religious choices, and then after three months it came out like that."[4]
By mid-May 1957, the book was finished and in the mail to the Random House offices in New York. In June, the Dr. Seuss and his wife took a month-long vacation to Hawaii, where he checked and returned the book's galley proof.[4] The book debuted in December 1957, in both a book version published by Random House and in an issue of Redbook.[6] Dr. Seuss dedicated the book to Theodor "Teddy" Owens, the one-year-old son of his niece, Peggy Owens.[4]
Reception[edit]
M.S. Libby, writing in the New York Herald Tribune, compared the book favorably to Dr. Seuss's earlier works: "His peculiar and original genius in line and word is always the same, yet, so rich are the variations he plays on his themes, always fresh and amusing."[7] Kirkus Reviews wrote, "Youngsters will be in transports over the goofy gaiety of Dr. Seuss's first book about a villain."[7] The reviewer called the Grinch "easily the best Christmas-cad since Scrooge."[7] Ellen Lewis Buell, in her review in The New York Times, praised the book's handling of its moral, as well as its illustrations and verse. She wrote,
"Even if you prefer Dr. Seuss in a purely antic mood, you must admit that if there's a moral to be pointed out, no one can do it more gaily. The reader is swept along by the ebullient rhymes and the weirdly zany pictures until he is limp with relief when the Grinch reforms and, like the latter, mellow with good feelings."[7]
The review for The Saturday Review of Literature stated: "The inimitable Dr. Seuss has brought off a fresh triumph in his new picture book... The verse is as lively and the pages are as bright and colorful as anyone could wish."[7] The reviewer suggested that parents and older siblings reading the book to young children would also enjoy its moral and humor.[7] Charlotte Jackson of the San Francisco Chronicle called the book "wonderful fantasy, in the true Dr. Seuss manner, with pictures in the Christmas colors."[7]
Analysis[edit]
Some writers, including Dr. Seuss himself, have made a connection between the Grinch and Dr. Seuss. In the story, the Grinch laments that he has had to put up with the Whos' celebration of Christmas for 53 years. As both Thomas Fensch and Charles Cohen note, Dr. Seuss was 53 when he wrote and published the book.[8][9] Dr. Seuss himself asserted the connection in an article in the December 1957 edition of Redbook: "I was brushing my teeth on the morning of the 26th of last December when I noticed a very Grinch-ish countenance in the mirror. It was Seuss! So I wrote about my sour friend, the Grinch, to see if I could rediscover something about Christmas that obviously I'd lost."[10] Seuss's step-daughter, Lark Dimond-Cates, stated in a speech in 2003, "I always thought the Cat... was Ted on his good days, and the Grinch was Ted on his bad days."[11] Cohen notes that Seuss drove a car with a license plate that read "GRINCH".[9]
Thomas Fensch notes that the Grinch is the first adult and the first villain to be a main character in a Dr. Seuss book.[8]
Adaptations[edit]
The book has been adapted into a variety of media, including stage and film. Chuck Jones and Ben Washam (Co-Director) adapted the story as an animated special in 1966, featuring narration by Boris Karloff, who also provided the Grinch's voice. Thurl Ravenscroft sang "You're a Mean One Mr. Grinch" with lyrics written by Dr. Seuss himself.[12][13] A musical stage version was produced by the Old Globe Theatre, San Diego, in 1998. It also was produced on Broadway and a limited-engagement US tour in 2008. The North American Tour began in the fall of 2010 and has subsequently toured every fall since. It will begin its 6th tour in October 2015.[14] In 2000, the book was adapted into a live-action film, directed by Ron Howard and starring Jim Carrey as the Grinch.[15] Illumination Entertainment is also developing a 3D animated feature film, titled The Grinch[16] with Peter Candeland and Yarrow Cheney set to direct it and Benedict Cumberbatch voicing the Grinch.[17] It was originally scheduled to be released on November 10, 2017,[18] but in June 2016, it was pushed back to November 9, 2018.[19]
Several audio recordings and audio-visual adaptations of the book have also been published. In 1975, Zero Mostel narrated an LP record of the story.[20] In 1992, Random House Home Video released an updated animated version of the book narrated by Walter Matthau.[21] In 2009, an interactive e-book version was released for the iPhone.[22] The book was adapted into a 13-minute song, performed by the Boston Pops Orchestra, arranged by Danny Troob, and featuring bassist Reid Burton and actor Will LeBow narrating it on the Boston Pops's 2013 CD, "A Boston Pops Christmas – Live from Symphony Hall with Keith Lockhart".
As of 2005, the book had been translated into nine languages,[23] including Latin as Quomodo Invidiosulus Nomine Grinchus Christi Natalem Abrogaverit: How the Grinch Stole Christmas in Latin by Jennifer Morrish Tunberg with the assistance of Terence O. Tunberg. The translation was published in October 1998 by Bolchazy-Carducci Publishers Inc.[24]
Legacy[edit]
Based on a 2007 online poll, the National Education Association named How the Grinch Stole Christmas! one of its "Teachers' Top 100 Books for Children".[25] In 2012 it was ranked number 61 among the "Top 100 Picture Books" in a survey published by School Library Journal – the fourth of five Dr. Seuss books on the list.[26]
The Grinch appears in the animated specials Halloween Is Grinch Night and The Grinch Grinches the Cat in the Hat and he and Max also appear in the puppet children's show The Wubbulous World of Dr. Seuss. The Grinch, Cindy Lou Who, and Max, appear in Seussical, a musical which takes it plot from several Dr. Seuss books.
Notes[edit]
Jump up ^ Zielinski, Stan (2006-06-20). "Collecting Children's Picturebooks: Dr. Seuss – Redbook Magazine Original Stories". 1stedition.net. Retrieved 2010-09-09.
Jump up ^ Nel 2004, p. 130.
Jump up ^ Nel 2004, p. 117
^ Jump up to: a b c d e Morgan & Morgan 1995, pp. 157–58.
Jump up ^ MacDonald 1988, p. 92.
Jump up ^ Nel 2004, p. 118.
^ Jump up to: a b c d e f g Fensch 2001, pp. 128–29.
^ Jump up to: a b Fensch 2001, p. 126.
^ Jump up to: a b Cohen 2004, p. 330.
Jump up ^ Hart, William B. (December 1957). "Between the Lines". Redbook. |access-date= requires |url= (help) as quoted in Cohen 2004, p. 330
Jump up ^ Dimond-Cates, Lark (October 27, 2003). Speech by Lark Dimond-Cates (Speech). United States Postal Service's unveiling of Theodor Seuss Geisel stamp. Dr. Seuss National Memorial Sculpture Garden, Springfield, Massachusetts. as quoted in Cohen 2004, p. 321
Jump up ^ Lindemann 2005, p. 124
Jump up ^ Morgan & Morgan 1995, pp. 190–92
Jump up ^ http://www.grinchmusical.com/
Jump up ^ "How the Grinch Stole Christmas". Box Office Mojo. Retrieved 9 March 2015.
Jump up ^ Kit, Borys (February 7, 2013). "'How the Grinch Stole Christmas' Remake in the Works at Universal". The Hollywood Reporter. Retrieved February 7, 2013.
Jump up ^ Kroll, Justin (April 13, 2016). "Benedict Cumberbatch to Voice the Grinch in 'How the Grinch Stole Christmas'". Variety.
Jump up ^ "Universal Dates 'Despicable Me 3,' New 'Grinch Who Stole Christmas'". The Hollywood Reporter. 2011-11-17. Retrieved 2014-01-16.
Jump up ^ Kroll, Justin (June 7, 2016). "Illumination's 'The Grinch' Pushed Back to 2018". Variety. Retrieved June 7, 2016.
Jump up ^ Lindemann 2005, p. 139
Jump up ^ Lindemann 2005, p. 125
Jump up ^ Broida, Rick. "'How the Grinch Stole Christmas' dazzles on iPhone". Cnet. Retrieved 4 December 2013.
Jump up ^ Lindemann 2005, pp. 31–33
Jump up ^ Reardon, Patrick (15 December 1998). "How the Grinch Went Latin". Chicago Tribune. Retrieved 9 March 2015.
Jump up ^ National Education Association (2007). "Teachers' Top 100 Books for Children". Retrieved August 19, 2012.
Jump up ^ Bird, Elizabeth (July 6, 2012). "Top 100 Picture Books Poll Results". A Fuse #8 Production. Blog. School Library Journal (blog.schoollibraryjournal.com). Retrieved August 19, 2012.
Sources[edit]
Cohen, Charles (2004). The Seuss, the Whole Seuss, and Nothing But the Seuss: A Visual Biography of Theodor Seuss Geisel. Random House. ISBN 978-0375822483.
Fensch, Thomas (2001). The Man Who Was Dr. Seuss. Woodlands: New Century Books. ISBN 0-930751-11-6.
Lindemann, Richard (2005). The Dr. Seuss Catalog: An Annotated Guide to Works by Theodor Geisel in All Media, Writings About Him, and Appearances of Characters and Places in the Books, Stories and Films. McFarland & Company.
MacDonald, Ruth (1988). Dr. Seuss. Twayne Publishers. ISBN 0-8057-7524-2.
Morgan, Neil; Morgan, Judith Giles (1996). Dr. Seuss and Mr. Geisel: a biography. New York: Da Capo Press. ISBN 978-0-306-80736-7.
Nel, Philip (2004). Dr. Seuss: American Icon. Continuum Publishing. ISBN 0-8264-1434-6.
Pease, Donald E. (2010). Theodor Seuss Geisel. Oxford University Press. ISBN 978-0-19-532302-3.
External links[edit]
Children's literature portal
Christmas portal
1950s portal
Grinch at Don Markstein's Toonopedia. Archived from the original on February 5, 2016.
[show]
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e
Dr. Seuss
Characters
The Cat in the Hat
The Grinch
Horton the Elephant
Bartholomew Cubbins
Bibliography
And to Think That I Saw It on Mulberry Street
The 500 Hats of Bartholomew Cubbins
The King's Stilts
The Seven Lady Godivas
Horton Hatches the Egg
McElligot's Pool
Thidwick the Big-Hearted Moose
Bartholomew and the Oobleck
If I Ran the Zoo
Scrambled Eggs Super!
Horton Hears a Who!
On Beyond Zebra!
If I Ran the Circus
How the Grinch Stole Christmas!
The Cat in the Hat
The Cat in the Hat Comes Back
Yertle the Turtle and Other Stories
Happy Birthday to You!
Green Eggs and Ham
One Fish, Two Fish, Red Fish, Blue Fish
The Sneetches and Other Stories
Dr. Seuss's Sleep Book
Dr. Seuss's ABC
Fox in Socks
Hop on Pop
I Had Trouble in Getting to Solla Sollew
Come over to My House 1
The Foot Book
I Can Lick 30 Tigers Today! and Other Stories
My Book about ME
Mr. Brown Can Moo! Can You?: Dr. Seuss's Book of Wonderful Noises!
The Lorax
Marvin K. Mooney Will You Please Go Now!
Did I Ever Tell You How Lucky You Are?
The Shape of Me and Other Stuff
Wacky Wednesday 1
Great Day for Up!
Oh, the Thinks You Can Think!
The Cat's Quizzer
I Can Read with My Eyes Shut!
Oh Say Can You Say?
Hunches in Bunches
The Butter Battle Book
You're Only Old Once!
I Am Not Going to Get Up Today!
Oh, the Places You'll Go!
There's a Wocket in My Pocket
I Wish That I Had Duck Feet 1
Daisy-Head Mayzie 2
My Many Colored Days 2
Hooray for Diffendoofer Day! 2
The Bippolo Seed and Other Lost Stories 2
Horton and the Kwuggerbug and More Lost Stories 2
What Pet Should I Get? 2
Adaptations
Television
The Gerald McBoing-Boing Show (1956–57)
Dr. Seuss' How the Grinch Stole Christmas! (1966)
Horton Hears a Who! (1970)
The Cat in the Hat (1971)
The Lorax (1972)
Dr. Seuss on the Loose (1973)
The Hoober-Bloob Highway (1975)
Halloween Is Grinch Night (1977)
Pontoffel Pock, Where Are You? (1980)
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Sancho Panza
From Wikipedia, the free encyclopedia
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For the 2000 AD story/character, see Sancho Panzer.
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2010) (Learn how and when to remove this template message)
Sancho Panza
Don Quixote character
Statue of Sancho Panza in Madrid
(Lorenzo Coullaut Valera, 1930)
Created by
Miguel de Cervantes
Portrayed by
Man of La Mancha (play):
• Irving Jacobson
• Tony Martinez
• Ernie Sabella
Man of La Mancha (film):
• James Coco
Information
Gender
Male
Occupation
Peasant / Squire
Title
Hidalgo
Spouse(s)
Teresa Cascajo de Panza
Children
María Sancha Panza Cascajo, Sanchico
Religion
Roman Catholic
Nationality
Spanish
Sancho Panza (Spanish: [ˈsantʃo ˈpanθa]) is a fictional character in the novel Don Quixote written by Spanish author Don Miguel de Cervantes Saavedra in 1605. Sancho acts as squire to Don Quixote and provides comments throughout the novel, known as sanchismos, that are a combination of broad humour, ironic Spanish proverbs, and earthy wit. "Panza" in Spanish means "belly" (cf. English "paunch," Italian "pancia", several Italian dialects "panza", Portuguese "pança", French "panse").
Contents
[hide]
1 Don Quixote
2 Don Quixote, Part Two
2.1 Sancho's name
2.2 The promised insula
2.3 Ricote
3 Other appearances of the character
3.1 Broadway musical
3.2 Ship
4 Additional appearances
5 Notes
6 External links
Don Quixote[edit]
Bronze statues of Sancho Panza (L) and Don Quijote (R) at the Cervantes Birth Place Museum
Before a fit of madness turned Alonso Quijano into Don Quixote, Sancho Panza was indeed his servant. When the novel begins, Sancho has been married for a long time to a woman named Teresa Cascajo[1] and has a daughter, María Sancha (also named Marisancha, Marica, María, Sancha, and Sanchica), who is said to be old enough to be married. Sancho's wife is described more or less as a feminine version of Sancho, both in looks and behaviour. When Don Quixote proposes Sancho to be his squire, neither he nor his family strongly oppose it.
Sancho is illiterate and proud of it but by influence of his new master, he develops considerable knowledge about some books. Sancho instead provides the earthly wisdom of Spanish proverbs, surprising his master. During the travels with Don Quixote, he keeps contact with his wife by dictating letters addressed to her.
Sancho Panza offers interpolated narrative voice throughout the tale, a literary convention invented by Cervantes. Sancho Panza is precursor to "the sidekick," and is symbolic of practicality over idealism. Sancho is the everyman, who, though not sharing his master's delusional "enchantment" until late in the novel, remains his ever-faithful companion realist, and functions as the clever sidekick. Salvador de Madariaga detected that, as the book progresses, there is a "Quixotization" of Sancho and a "Sanchification" of Don Quixote, so much that, when the knight recovers sanity on his deathbed, it is Sancho who tries to convince him to become pastoral shepherds.
In the novel, Don Quixote comments on the historical state and condition of Aragón and Castilla, which are vying for power in Europe. Sancho Panza represents, among other things, the quintessentially Spanish brand of skepticism of the period.
Sancho obediently follows his master, despite being sometimes puzzled by Quixote's actions. Riding a donkey, he helps Quixote get out of various conflicts while looking forward to rewards of aventura that Quixote tells him of.
Don Quixote, Part Two[edit]
Honoré Daumier − Don Quichotte und Sancho Panza (c. 1868)
Sancho's name[edit]
Cervantes variously names Sancho in the first book Sancho Zancas (legs); however, in the second book, he standardizes Sancho's name in reply to the "false" Avellaneda Quixote sequel. At one point, Sancho alludes to the "false" Avellaneda book by addressing his wife (standardized as Teresa Panza) using the wrong name. The Sancho name does not change, but he calls his wife various names throughout the first part of the volume, and her 'true' name is not revealed until almost the end of that portion of the novel.
The promised insula[edit]
Don Quixote promises Sancho the governance of an ínsula, or island. However, Sancho has never heard of this word before and does not know its meaning. Sancho has long been expecting some vague but concrete reward for this adventure and believes the word to signify the prize that will make the trouble he has been enduring worthwhile.
The two later encounter a duke and duchess who pretend to make Sancho governor of a fictional fief, la ínsula Barataria (roughly "Isle Come-cheaply"; see Cockaigne). He eagerly accepts and leaves his master. In a letter, Don Quixote gives Sancho provincial advice on governorship gleaned from the romances he has read, thought to have been inspired by the Diálogo de Mercurio y Carón attributed to Alfonso de Valdés. Quixote's simplistic and romantic understanding of government may have been the author using the allegorical ínsula to satirize the lack of practical learning on the part of philosopher-doctors' placed in positions of power.
The Duke's servants are instructed to play several pranks upon Sancho. Surprisingly, Sancho is able to rule justly (mostly), applying common (if occasionally inconsistent) sense and practical wisdom in spite of, or because of simplistic advice that Don Quixote has read about. As Sancho is abused in these staged parodies, he learns how difficult it is to rule and "resigns" to rejoin Don Quixote and continue the adventure.
Ricote[edit]
Sancho laments the fall of his master.
Sancho encounters Ricote ("fat cat"), his former Morisco neighbor, who has buried a small fortune. Ricote, like all Moriscos, was expelled from Spain and has returned in disguise to retrieve the treasure he left behind. He asks Sancho for his help. Sancho, while sympathetic, refuses to betray his king.
When Don Quixote takes to his deathbed, Sancho tries to cheer him. Sancho idealistically proposes they become pastoral shepherds and thus becomes 'Quixotized'.
Other appearances of the character[edit]
Broadway musical[edit]
Main article: Man of La Mancha
In addition to stage and screen adaptations of the novel itself, Sancho Panza is a major character in the play within a play in the Broadway musical Man of La Mancha, and in the film of the same name. In Man of La Mancha, the newly imprisoned Cervantes recruits his fellow prisoners to portray characters from his novel, with Cervantes himself playing Don Quixote and his manservant playing Sancho. Sancho sings the title song as a duet with Quixote, solos "The Missive", "I like him", and "A Little Gossip", plus ensemble numbers "Golden Helmet of Mambrino" and "The Dubbing". Actors who have played Sancho in the play include Irving Jacobson (who also sang on the original cast album), Tony Martinez (1977 and 1992 revivals), and Ernie Sabella (2002 revival). James Coco played the character in the 1972 film.
Ship[edit]
Sancho Panza of Boston was an 1855 medium clipper ship of 876 tons, built in Medford, MA by Samuel Lapham, and owned by John E. Lodge & Co. The ship was renamed Nimrod in 1863, upon sale to British owners, resold to German owners, and re-rigged as a bark. Sancho Panza was bound for Liverpool, having left Pictou, N.S. on Oct. 31, 1890, but was not heard from again.[2]
Additional appearances[edit]
The Sancho Panza name is used for a cigar brand originating in Cuba in 1852. While it is still made in Cuba, a Honduran version made by General Cigar was introduced in 2001 for the United States market.
In The Stranglers song "No More Heroes" as well as a song entitled "Sancho Panza" by the Swedish twee pop group Hello Saferide. The name was also featured in the Bush track titled "Monkey" from the album Sixteen Stone.
The proposed name of a part of the planned Don Quijote space probe is "Sancho". Sancho would stand back and observe while the second part, "Hidalgo", slammed into an asteroid.[3]
Sancho Panza is parodied as Sancho Panda, the panda sidekick in The Adventures of Don Coyote and Sancho Panda by Hanna-Barbera.
Sancho Panza is a character in the tone poem Don Quixote by Richard Strauss, in which he is represented by the solo viola, as well as the tenor tuba and bass clarinet playing in unison.
Sancho Panza is the main character in The Musical Sancho Panza by José Luis Narom, premiered in Madrid in 2005.
Sancho Panza is parodied as Sancho Pansa in a Super Nintendo Entertainment System game titled Jimmy Connors Pro Tennis.
Notes[edit]
Jump up ^ Also known as Teresa Panza and Sancha, a probable nickname derived from her husband's name. Later in the book, though, she is sometimes named Juana Gutiérrez, in an example of continuity failure.
Jump up ^ Gleason, Hall (1937). Old Ships and Ship-Building Days of Medford. Medford, MA: J.C. Miller. p. 78.
Jump up ^ "Impacting into the asteroid - Don Quijote concept". ESA NEO. Retrieved 22 September 2010.
External links[edit]
Man of La Mancha at the Internet Broadway Database
"Sancho Panza". Encyclopedia Americana. 1920.
[hide]
v
t
e
Miguel de Cervantes's Don Quixote (1606/1615)
Characters
Don Quixote
Alonso Quijano
Sancho Panza
Clavileño
Dulcinea del Toboso
Ginés de Pasamonte
Ricote
Rocinante
Stage
The Comical History of Don Quixote (1694 play)
Double Falsehood (1727 play)
Don Quichotte auf der Hochzeit des Comacho (1761 opera)
Don Quixote (1869 ballet)
Don Quixote (1898 opera)
Don Quichotte (1910 opera)
Man of La Mancha (1964 musical)
Film
Don Quixote (1923)
Don Quixote (1933)
Don Quixote (1947)
Don Quixote (1955–1969, unfinished)
Don Quixote (1957)
Dulcinea (1963)
Don Chisciotte and Sancio Panza (1968)
Man of La Mancha (1972)
Don Quijote cabalga de nuevo (1973)
Don Quixote (2000)
Donkey Xote (2007)
Don Quixote (2010)
The Man Who Killed Don Quixote (2018
2002 documentary)
Television
I, Don Quixote (1959 teleplay)
The Adventures of Don Coyote and Sancho Panda
Don Quixote
Related
List of works influenced by Don Quixote
Retrieved from "https://en.wikipedia.org/w/index.php?title=Sancho_Panza&oldid=828604778"
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This page was last edited on 3 March 2018, at 16:37.
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