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[ 책 소개 ]
* 1998년 Caldecott Medal 수상작
1980년대와 90년대에 걸쳐 caldecott상을 4회나 수상한 현대 아동 그림책의 대표적인 작가 Zelinsky의 1998년 Caldecott Medal수상작입니다.
각 페이지를 넘길 때마다 펼쳐지는 Zelinsky의 아름다운 르네상스풍 유화그림이 어린 독자들 뿐만 아니라 어른들의 눈까지도 사로잡는 "가장 아름다운 어린이 그림책"이라는 찬사가 아깝지 않은 책입니다.
중세 프랑스의 동화(독일에서 Grimm형제에 의해 다시 출판되면서 Rapunzel이라는 독일식 이름으로 더 널리 알려지게 되었음)를 다시 각색했습니다.
어느날 임신한 아내의 간청에 못이겨 남편은 마녀의 농장에 있는 Rapuzel이라는 먹는 화초를 훔치다가 들킵니다. 마녀는 벌로 부부의 아이(이름을 훔쳐먹은 화초의 이름을 따서 Rapunzel로 지었어요)를 데려가서는 마녀의 성 꼭대기 방에 가둬놓고 키웁니다. 마녀의 성에 갇힌 라푼젤은 어느날 지나가는 왕자를 만나게 되고 사랑에 빠지지만 마녀의 심술로 둘은 헤어지게 됩니다...
그림 속의 옷, 피부, 질감, 표정 등 살아 움직이는 듯한 세세한 부분부분들을 보고 있으면 거장의 숨결을 느낄 수 있는 책입니다.
큰 사이즈의 페이퍼백입니다.
[ 서지 정보 ]
Edition: Paperback: 48 pages
ISBN-10: 0142301930
ISBN-13: 978-0590386029
책 크기: 30.1 cm x 22.5 cm
[ 영문 서평 ]
Book Description
Trapped in a tower with no door, Rapunzel is allowed to see no one but the sorceress who has imprisoned her-until the day a young prince hears her singing to the forest birds. . . . The timeless tale of Rapunzel is vividly and magnificently brought to life through Paul O. Zelinsky's powerful sense of narrative and his stunning oil paintings.
The New York Times Book Review, Maud Lavin
By filling his illustrations with visual fine points and making them historically specific, Zelinsky also reminds readers of the idea that this story, or something like this story, actually could have happened.
School Library Journal
An elegant and sophisticated retelling that draws on early French and Italian versions of the tale. Masterful oil paintings capture the Renaissance setting and flesh out the tragic figures.
Children's Literature
The cover of this book is so beautiful that you can almost feel the texture of Rapunzel's golden tresses as she gazes into the distance from her isolated tower. This variant on the story is immensely satisfying, and the lengthy author's note provides a provenance and rationale for Zelinsky's retelling. The magnificent oils transport readers to the Italian countryside. The fabrics, skin textures, hair, and the detailed interiors are exquisitely rendered. Zelinsky will certainly have his wish to inspire readers to seek out more Renaissance art fulfilled. Readers cannot help but want to see more art like that which he has created. Caldecott Medal winner.
Publisher's Weekly
Zelinsky (Swamp Angel) does a star turn with this breathtaking interpretation of a favorite fairy tale. Daringlyand effectivelymimicking the masters of Italian Renaissance painting, he creates a primarily Tuscan setting. His Rapunzel, for example, seems a relative of Botticelli's immortal red-haired beauties, while her tower appears an only partially fantastic exaggeration of a Florentine bell tower. For the most part, his bold experiment brilliantly succeeds: the almost otherworldly golden light with which he bathes his paintings has the effect of consecrating them, elevating them to a grandeur befitting their adoptive art-historical roots. If at times his compositions and their references to specific works seem a bit self-conscious, these cavils are easily outweighed by his overall achievement. The text, like the art, has a rare complexity, treating Rapunzel's imprisonment as her sorceress-adopted mother's attempt to preserve her from the effects of an awakening sexuality. Again like the art, this strategy may resonate best with mature readers. Young children may be at a loss, for example, when faced with the typically well-wrought but elliptical passage in which the sorceress discovers Rapunzel's liaisons with the prince when the girl asks for help fastening her dress (as her true mother did at the story's start): " `It is growing so tight around my waist, it doesn't want to fit me anymore.' Instantly the sorceress understood what Rapunzel did not." On the other hand, with his sophisticated treatment, Zelinsky demonstrates a point established in his unusually complete source notes: that timeless tales like Rapunzel belong to adults as well as children.
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