The Wind in the Willows

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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…) This natural empathy is the key to her anthropomorphic wizardry. Like Beatrix Potter, she has an easy understanding of anatomy which allows her to give the animals human characteristics (and clothes) without sentimentalising or ridiculing them (except for Toad who, although always sensitively drawn, is never knowingly underplayed). Eloquent in stance and gesture, the animals express themselves physically as well as they do verbally. Gradually she was seduced by the idea. She'd read the book first as a teenager in Australia, and loved it for its celebration of kindness and companionship. She was intrigued by the idea of illustrating – and abridging – it, and making it accessible to a younger readership. But above all, it was the very "Englishness" of it that appealed. And the countryside: "I felt I could go a little further than Shepard, and show more of that whole world the characters inhabit." Ms. Moore works eclectically, through a multi-layered approach, using graphite and coloured pencils, Indian ink, watercolour and even oil paints. Published in October the 9th, 2016, this first post of mine on this great artist had zero likes (the one by my sister was of course put by me, since she had passed away a couple of months before) and very few visits (Very few!). So I think it is time to give it another chance to be watched and –I’m sure of it– appreciated by some of my followers.]

Wind in the Willows, 1908-2008 The Illustrators of The Wind in the Willows, 1908-2008

For each spread she photocopies her original drawings, then works on them with a mixture of pencil, ink, watercolour, crayon, pastel, even oil paint – "anything that works". With intricate textural variations and masses of engrossing detail, she achieves a realism that is unusual today, and those warm, underground kitchens have never been more invitingly portrayed. Landscape painting holds a particular fascination for Moore, and she has reproductions of impressionist paintings pinned up all over the place. "I'm hoping some of the genius will rub off on me."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." 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 The Wind in the Willows it made sense to use the same location for another classic – Frances Hodgson Burnett's 1911 novel The Secret Garden. I was spellbound by this book as a child, and always lingered over Charles Robinson's colour plates. Looking at that old book now I'm astonished to see that it had only nine illustrations. Moore has provided more than 100. urn:lcp:adventuresofmrto0000grah:epub:d0aa9aeb-2968-44b0-a426-f3f086c8a797 Foldoutcount 0 Identifier adventuresofmrto0000grah Identifier-ark ark:/13960/t1fk25145 Invoice 1652 Isbn 0744555264

Walker Books - The Wind in the Willows

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!] 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] As of 2010, Moore was still living and working in Gloucestershire. Following her version of The Wind in the Willows, she is reported to be working on a sequel. [2] Books by Inga Moore [ edit ] She 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."

She is somewhat –or, in fact, very– reclusive, and as far as I know she does not have an official web presence. Of course others have posted her work, but not at all as much and as thoroughly as it deserves, with high resolution scans of the illustrations. 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. Like most classics from pre-television years, The Wind in the Willows can be daunting for many children, but Moore's pictures generously ­illuminate that forest of words at every opening. For many illustrators today "less is more", but she is no minimalist and her illustrations are "wall to wall". With its wit, charm and finesse, and its atmospheric use of colour, her work rewards endless exploration. Access-restricted-item true Addeddate 2020-12-10 07:30:12 Associated-names Moore, Inga, 1945-; Grahame, Kenneth, 1859-1932. Wind in the willows Boxid IA1999415 Camera Sony Alpha-A6300 (Control) Collection_set printdisabled External-identifier

Wind in the willows The adventures of Mr Toad : from Wind in the willows

Here you are twelve of them, belonging to the first three chapters (and the cover) of K. Grahame’s wonderful novel: 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.

Born in Sussex, England, at the age of eight Moore emigrated with her family to Australia, where she went to school in Adelaide. She has said that at the age of fourteen her favourite book was James Boswell’s The Journal of a Tour to the Hebrides. [2] Ocr tesseract 4.1.1 Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 0.9173 Ocr_module_version 0.0.6 Ocr_parameters -l eng Old_pallet IA19874 Openlibrary_edition 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]