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15 Delightful Art Books For Kids

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As an elementary librarian, I work very closely with the art teacher at my school. Our friendship and the proximity of our workspaces is definitely one reason, but the natural pairing of art and books is the main. Picture book biographies, stories about community art projects, illustrations that teach different art forms, even art activity books themselves highlight how art and books go together like peanut butter and jelly. Comfortable and classic. With this in mind, I’ve put together a list that includes art books for kids I’ve sourced while creating lessons and others I’ve hunted down to gift to kids from age 1 to 92, Get Auto Repair.

You could be looking for art books for kids for any number of reasons. Maybe you’re encouraging a budding artist in your home. Maybe you’re getting a jump on your holiday shopping. Maybe you’re reconnecting with your own childlike sense of wonder. Children are natural artists, and the books I’ve included in this round up all touch on the magic that happens before inhibitions kick in and we begin to doubt ourselves. Whether you’re looking to learn about famous artists or get the skills to become a famous artist yourself, there is something for everyone in this list below.

Art Stories For Kids

cover of Maybe Something Beautiful

Maybe Something Beautiful: How Art Transformed a Neighborhood by F. Isabel Campoy, Teresa Howell, and Rafael López

This lovely book follows a young girl named Mira. Her personal art and paintings inspire the entire community to brighten their dull neighborhood with fantastic murals. Gorgeous illustrations will inspire!

cover of Anywhere Artist

Anywhere Artist by Nikki Slade Robinson

A celebration of the fact that art is everywhere and can be made from anything! This simple story follows a young artist as they create found art from everything around them, Get Auto Repair.

cover of Swatch: The Girl Who Loved Color

Swatch: The Girl Who Loved Color by Julia Denos

An exuberant explosion of color and celebration of the wildness of art. This free-spirited story will delight little artmakers and their parents alike.

Art Biographies for Kids

cover of Georgia O'Keeffe What She Saw In A Flower

The Met Georgia O’Keeffe: She saw the world in a flower by Gabrielle Balkan and Josy Bloggs

This newer series, in collaboration with the Metropolitan Museum of Art, gives background and craft insight about different visual artists. In this installment, we learn what inspired Georgia O’Keeffe to look closely at and paint the natural world.

cover of The Met Faith Ringgold

The Met Faith Ringgold: Narrating the World in Pattern and Color by Sharna Jackson and Andrea Pippins

From the aforementioned series put out by The Met, this book introduces young readers to the stirring work of Faith Ringgold. Budding artists interested in sewing or scrap art will be drawn in by descriptions of Ringgold’s fabric illustrations.

cover of zaha hadid little people big dreams

Zaha Hadid (Little People, BIG DREAMS) by Maria Isabel Sanchez Vegara and Asun Amar

The Little People, Big Dreams series does a great job of covering subjects from across disciplines, and this title about Zaha Hadid, a sharp architect, is one of the best, Get Auto Repair.

Art Activity Books for Kids

cover of Art Lab for Kids

Art Lab for Kids: 52 Creative Adventures in Drawing, Painting, Printmaking, Paper, and Mixed Media-For Budding Artists of All Ages by Susan Schwake and Rainer Schwake

Want to give a child a year’s worth of art lessons in a single tome? This is the book for you. Interaction, approachable lessons are grouped by medium and offer hands-on exploration of everything art.

cover of Stone Painting for Kids

Stone Painting for Kids: Designs to Spark Your Creativity by F. Sehnaz Bac

Rock painting has really taken on a new life in the past few years, and this book can guide young ones in creating small, portable works of art that can be displayed in homes or slipped into nature to delight unwitting neighbors.

cover of What We Believe a Black Lives Matter principles activity book

What We Believe: A Black Lives Matter Principles Activity Book by Laleña Garcia and Caryn Davidson

An art activity book with meaning! This book, developed by two seasoned educators, presents the 13 principles of the Black Lives Matter movement in child friendly language. Each principle has a place for reflection and a striking coloring page.

cover of how to draw all the things

All the Things: How to Draw Books for Kids by Alli Koch

It is what it says it is: easy-to-follow mini lessons that teach young artists how to draw…everything. A great gift for a child who is always doodling, or an adult who misses being a child who doodles.

Art Books for Babies

cover of Goodnight Starry Night

Goodnight, Starry Night by Amy Guglielmo and Julie Appel

Baby’s first art book? This board book introduces the tiniest readers to class works of art in a format that can stand up to any slobber or slime.

cover of Art for Baby board book

Art for Baby

Once Baby has the classics, it’s time for them to meet some modern artists. This board book is made up of infant-friendly black and white images designed by modern masters. The contrast is for the kiddos, but the adults will love it, too.

cover of pantone colors board book

Pantone: Colors by Helen Dardik

There is no shortage of board books that teach the colors, but Pantone has given the concept a fresh face. Punchy graphics matching the Pantone color being taught will be enjoyed by all readers.

Art Reference Books for Kids

cover of The Ultimate Art Museum

The Ultimate Art Museum by Ferren Gipson

This book is a museum. Think: the cafe, the lobby, the tourists, the galleries, the narration…this book is a museum. An excellent gift for a young art lover or even just someone who hasn’t made it to an in-person cultural experience in awhile.

cover of Women in Art

Women in Art: 50 Fearless Creatives Who Inspired the World by Rachel Ignotofsky

This informative, encyclopedic book includes everyone from giants of the art world to lesser known heroes, highlighting work across time periods and artistic mediums. The dreamy, quirky illustrations will introduce readers to a new favorite artist: Rachel Ignotofsky, the author.


Hopefully you found something to scratch that creative itch! If not, these might help your search: Drawing Books for Kids or Art Books for Preschoolers. Best of luck, artists!


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For La Prairie, 2021 Was Defined by the Beauty of Art Collaborations and a Sense of Blue

Clearly, La Prairie’s patronage of the arts is much more than skin-deep. In 2021, the luxury Swiss skincare brand supported a range of cultural initiatives; from New York and Miami to London and Switzerland, each was as memorable as the next.

In May, when Frieze made its return to New York for the first time since 2019, La Prairie teamed up with Hong Kong and Berlin–based new media artist Carla Chan, whose practice explores the notion of time, inviting viewers to palpably witness and reflect on its passage. Her contemplative Frieze New York commission, Space Between The Light Glows, was inspired by the ever-changing sunlight during her recent stay at the Monte Rosa Hut, La Prairie’s very first residency, situated in the heart of the Swiss Alps.

The Monte Rosa Hut, La Prairie's new art residency in the Swiss Alps. Courtesy of La Prairie.

The Monte Rosa Hut, La Prairie’s new art residency in the Swiss Alps. Courtesy of La Prairie.

“I am interested in creating a feeling of ambiguity, which allows the audience to wander in their own thoughts and imagination,” Chan said in a statement from the brand. “In this particular piece for La Prairie, I try to play with light and shadow, to fill in the imaginative space between the lights to leave a trace of nature.” The video installation recalled sun-dappled Swiss landscapes; without a clear sense of space or time, it created a much-needed moment of respite for fairgoers.

In the meantime, across town, one of MoMA PS1’s most adored exhibitions of the year came to life with integral support from La Prairie. “Niki de Saint Phalle: Structures for Life” brought together more than 200 works from the legendary French-American multimedia artist. With its diverse array of sculpture, drawings, videos, and paintings, the retrospective stood out as an overdue look at her highly influential and ahead-of-its-time oeuvre.

Niki de Saint Phalle, <i>L'Estrella Carta No. XVII (The Star)</i>, 1997. © 2021 Niki Charitable Art Foundation.

Niki de Saint Phalle, L’Estrella Carta No. XVII (The Star), 1997. © 2021 Niki Charitable Art Foundation.

“Several years ago, I was doing research on women artists who made large-scale work and realized that Niki de Saint Phalle was really one of the first women artists to embark on such a monumental scale,” said the show’s curator, Ruba Katrib, in an interview with La Prairie. “Looking into this aspect of her practice further, I learned more about her ground-breaking strategies for realizing her artistic visions, all of which require a holistic approach between concept and the modes of production.”

“Structures for Life” showcased de Saint Phalle’s steadfast attempts to spark joy, despite her traumatic upbringing and an adult life marked by emotional turmoil. The artist’s works elicit a duality that honors the importance of playfulness, while also drawing attention to social and political issues.

Niki de Saint Phalle, <i>Flaçon de parfum</i>, 1982. © 2021 Niki Charitable Art Foundation.

Niki de Saint Phalle, Flaçon de Parfum, 1982. © 2021 Niki Charitable Art Foundation.

A cunning businesswoman, de Saint Phalle funded her practice through many out-of-the-box enterprises. One such initiative proved highly influential for La Prairie: the artist’s own perfume, Flacon de Parfum. Set in the same cobalt blue that graces many of de Saint Phalle’s works, the bottle’s color was the direct inspiration for the design of La Prairie’s Skin Caviar collection.

Meanwhile, since 2017, La Prairie has lent its platform to emerging artists at Art Basel fairs around the globe. This year, the house staged activations during the Basel, Switzerland and Miami editions.

The Skin Caviar collection uses the cobalt blue that graces many Niki de Saint Phalle artworks, also the inspiration for Maotik's recent La Prairie commission. Courtesy of La Prairie.

The Skin Caviar collection uses the cobalt blue that graces many Niki de Saint Phalle artworks, also the inspiration for Maotik’s recent La Prairie commission. Courtesy of La Prairie.

For the Basel fair in September, as well as Frieze London the following month, French digital artist Mathieu Le Sourd—also known as Maotik—was tapped to create Sense of Blue, an immersive installation that plummeted viewers into the dark of night. Using the same cobalt blue made famous by de Saint Phalle and adopted by La Prairie, Maotik’s virtual and augmented reality work allowed viewers’ movements to alter their environment through a shifting façade of light.

And this month, at Art Basel Miami Beach, La Prairie hosted its latest artist commission—Wen Chi Su’s Moving Towards the Horizon, which the Taiwanese dancer, choreographer, and new media artist performed on the sands of Miami Beach.

Wen Chi Su, <em>Moving Towards the Horizon</em>, commissioned by La Prairie for Art Basel Miami Beach. Courtesy of La Prairie.

Wen Chi Su, Moving Towards the Horizon, commissioned by La Prairie for Art Basel Miami Beach. Courtesy of La Prairie.

Su’s performance, which took place as the sun set over the Atlantic Ocean, encapsulated the effect of light against water. Inspired by a trip she took in the summer of 2021 to study lakes across La Prairie’s home country of Switzerland, the artist physically embodied the natural elements, creating a sense of “liquidity” through her dynamic movements.

Many of La Prairie’s artistic endeavors have lives that extend beyond one-time experiences. Such is the case in their ongoing conservation project with Fondation Beyeler, Switzerland’s most visited museum, to restore four seminal works by Piet Mondrian, created between 1921 and 1938: Tableau No. I; Composition with Yellow and Blue; Composition with Double Line and Blue; Lozenge Composition with Eight Lines and Red.

With Switzerland's Fondation Beyeler, La Prairie has supported the restoration of fourPiet Mondrian masterpieces. Courtesy of La Prairie.

With Switzerland’s Fondation Beyeler, La Prairie has supported the restoration of fourPiet Mondrian masterpieces. Courtesy of La Prairie.

With La Prairie’s support, the institution has employed a renowned team of researchers, scientific experts, and Mondrian scholars from the Kunstmuseum in The Hague, which houses the world’s largest collection of the Dutch painter’s works. The project began in 2017 and will culminate in a major retrospective of the Mondrian masterpieces at Fondation Beyeler next year.

Markus Gross, the institution’s chief conservator, said in an interview with La Prairie, “This unique opportunity to give something back to the world of art and culture, and also pay homage to the brand’s artistic heritage—greatly inspired by Mondrian’s minimalist aesthetic, geometric precision, and purity of form—is unrivaled.”

Just as Mondrian daringly explored the fundamental elements of art, the emerging artists that La Prairie champions today are also fearless innovators in their fields. With its ongoing efforts to help push the boundaries of culture, the brand promises to broaden and bolster the canon for years to come.

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Matisse Thybulle the artist shows beauty in spoilage against Stephen Curry

Warriors head coach Steve Kerr made a comment about Stephen Curry before Golden State’s loss Saturday night to the Sixers that caught the ear.

Not because it was brash or boastful or even a brilliant observation. It stood out because it rang true. 

“It’s amazing how much he’s impacted the game both strategically and artistically,” Kerr said.

There might not be a more artistic defender in the NBA at the moment than the guy who guarded Curry.

Matisse Thybulle, who was named after French painter Henri Matisse, is passionate and talented as a photographer and videographer. However one defines art, there’s no doubt Thybulle is an artist away from his profession of basketball. 

For him, Saturday night was about the beauty in spoilage. Curry had a shot to break Ray Allen’s career three-point record of 2,973, a big number in a sport full of them. Ten more threes would do it. The lower bowl of the arena was saturated with No. 30 Warriors jerseys about two hours before tip-off, fans waiting to see Curry step on the floor, to ask him for an autograph, to shriek his name and watch him sink jumpers from the Sixers’ logo like a kid beginning a backyard game of HORSE with an easy one.

 

Few seemed concerned about the man who’d defend Curry.

Like the game’s special scorers, Curry is a master of determining his own fate. He just has too many skills and too many options for the defender to matter; the two-time MVP, three-time champion and seven-time All-Star inevitably shakes or wriggles free to find a shot. And even if it’s not the look he first intended and there happens to be one defender on his hip and another breathing on his neck, the improvisation is a huge part of the fun. The ball has a great chance of going in regardless.

Playing against Thybulle is different. He started in Danny Green’s usual place and became the first player to ever block multiple Curry three-pointers in a game, per ESPN Stats & Info. Curry, who finished with 18 points on 6-for-20 shooting (3 for 14 from three-point range), went 2 for 13 when defended by Thybulle.

Those numbers sound about right given how Curry pounced as soon as the University of Washington product picked up his third foul late in the second quarter. Tyrese Maxey looked like a vulnerable 21-year-old whose effort level was irrelevant in those two minutes and 26 seconds Thybulle had to sit and watch. 

Joel Embiid called Thybulle “probably the best perimeter defender in the league” and said he has a chance to win Defensive Player of the Year. 

“I give Thybulle credit,” Kerr told reporters after the game, per The Athletic’s Anthony Slater. “I thought he was fantastic defensively. He’s a rare combination of length and athleticism and brains. He did as good a job on Steph as anybody I’ve seen in a long time.”

Told of Kerr’s comment and asked for a self-assessment, Thybulle didn’t think he was the best person to answer the question. 

“It’s hard to even say, because I kind of black out to a certain degree,” Thybulle said. “It was just being in the moment for every moment — following him, trailing him, and just trying to wreak as much havoc, make it as uncomfortable as possible for him.

“So I don’t remember enough of the game to give you an honest opinion on how I think I did. I’m just really happy we won and happy he didn’t break the record — at least against us. I hope he breaks it at some point.”

Though Thybulle’s words were humble, clearly, they also captured who he is. Defense to him is about gambles and disruption, flying limbs and precognition. 

That’s all been sharpened over the years, even if it comes across as a core part of Thybulle’s being. 

“My dad always preached defense,” Thybulle said back in May. “He didn’t really understand basketball that well at first when I started playing, and then he became a referee, taught himself the game and just realized, even at a young age, whatever guys could guard well always had a place on every team. He just preached that to me and for whatever reason, I had a knack for it and it just all kind of fell into place.”

 

Though he spoke Saturday about the “mental discipline” of tailing Curry, gritting through screens and living with the occasional failure, Thybulle framed his extraordinary success as putting brush to canvas and waking up hours later.  

“I just read and react,” he said. “It’s just instincts; I just play the game intuitively. And these things just happen. They come out of me, and it’s hard for me to even take credit for it and really soak it all in. 

“I’m still trying to process, what did I just do out there? I’m playing the game I love like I’ve been playing it since I was a kid. … Just trying to enjoy every moment.”

‘Extremely rare’ 17th-century painting of Black woman with White companion placed under export bar from UK

Written by By Sana Noor Haq, CNN

A 17th-century painting showing a Black woman with her White companion has been placed under a temporary export bar to reduce the risk of the artwork leaving the United Kingdom.
The anonymous painting, described in a statement by the Department for Digital, Culture, Media & Sport (DCMS) on Friday as “extremely rare,” is valued at £272,800 ($362,060). The block lasts until March 9, 2022 after when it could leave the country unless a UK buyer purchases the work.

Titled “Allegorical Painting of Two Ladies, English School,” the painting presents a Black female sitter and her White companion as counterparts, as they sport similar clothing, hair, jewelry and makeup.

It was uncommon for a Black female sitter to be portrayed in a painting in the 1650s, especially an adult, as opposed to a child in a position of subordination, sparking an “important debate about race and gender during the period,” according to the press statement.

The painting is also unique because both women are shown wearing similar “beauty patches,” a kind of facial cosmetic adornment which was in fashion in the 17th century. The patterns on their faces marked “a sin of pride,” according to the statement.

The style of the work correlates with popular woodcut prints at the time, meaning the composition is allegorical and is linked to satirical verse, sermons and pamphlets.

UK Arts Minister Stephen Parkinson, known as Lord Parkinson of Whitley Bay, decided on the export bar with the help of the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest (RCEWA) — an independent body that offers impartial advice on objects that are of national importance to the country.

“This fascinating painting has so much to teach us about England in the 17th century, including in the important areas of race and gender, which rightly continue to attract attention and research today,” Parkinson said.

“I hope a gallery or museum in the UK can be found to buy this painting for the nation, so that many more people can be part of the continuing research and discussion into it,” he added.

“This anonymous painting is a great rarity in British art, as a mid-seventeenth-century work that depicts a black woman and a white woman with equal status. It is not a portrait of real people, as far as we know, but the inscription reveals that it is in fact a sternly moralising picture that condemns the use of cosmetics, and specifically elaborate beauty patches, which were in vogue at the time,” RCEWA members Pippa Shirley and Christopher Baker said in the DCMS statement.

“Although not distinguished artistically, its imagery relates in fascinating ways to contemporary stereotypes of women, fashion, and, through the juxtaposition of the figures, race.

“The fact that it has only recently emerged, and only one other related painting is known so far, and that it could be used to explore important aspects of black culture in seventeenth-century Britain, makes it particularly important that it remains in this country so that its meaning can be widely studied and understood.”

Further research could show how the picture connected with contemporary artwork and texts and the purposes for which it might have been created and used, Shirley and Baker added.

In Robert Houle’s ‘Red Is Beautiful’ at the AGO, ‘a good way to look back at the history of this place’

Saulteaux and Anishinaabe artist Robert Houle was leading a group of journalists around “Red Is Beautiful,” the new retrospective at the Art Gallery of Ontario devoted to his half-century-long career, when he stopped in front of his 1998-99 work “Sandy Bay.”

Houle, an uneasy public speaker, took a moment to steady himself before addressing the abstract and figurative piece, which bares his reflections of the residential school where he spent weekdays throughout his childhood.

In viewing “Sandy Bay” in light of the recent discovery of thousands of unmarked graves near residential schools, Houle explained, he now sees in its assemblage of photographs and large canvases a divergent path his life could have taken. “I had tuberculosis,” he recalled, and it was only by the grace of his mother’s connections that he was able to get to the hospital in time.

“Otherwise,” he said, “that could have been me.”

Since 1970, Houle has made the evolving reckoning between Indigenous and Western culture a cornerstone of his work. Throughout the retrospective — titled after the artist’s 1970 abstract painting, his first to be sold to a museum — over 90 pieces offer not only an overview of one of the most important contemporary Canadian artists, but also a unique modernist lens through which to view that ever tenuous bond.

“I think it’s really important that people see the massive contribution (Houle) has made,” said Wanda Nanibush, the AGO’s curator of Indigenous art. “He created a new trajectory in modernism: towards the organic, towards the feminine, towards the Indigenous. That’s something that no one did before him.

“Also, because he’s covered all the major events that have happened in our country, (the retrospective) is a good way to look back at the history of this place,” she added.

As an example, Nanibush points to Houle’s 1992 multi-canvas work “Kanata,” in which he reframes Benjamin West’s “The Death of General Wolfe” by dulling the scene in bistre wash then reanimating the First Nations figure in red and blue conté crayon, and flanking the image with monochromatic red and blue canvases, representing the British and French, respectively.

“In thinking about how he centres the native figure and stripes everybody else of colour, he gave us a whole new way of thinking about Indigenous understandings of the history of the country,” Nanibush said. “But also the colours are amazing; they’re gorgeous, you could just bathe in them. So it’s also just physically inspiring.”

For his part, Houle says he was skeptical when Nanibush approached him about the retrospective two years back, but the pair found themes, groupings and pairings they felt were representative of the now 74-year-old artist’s artistic evolution, from ascribing a new voice to abstract expressionism to works of historical reclamation and political interaction, all guided by what Nanibush describes as “the way in which (Houle) understands the spiritual nature of colour itself.”

Walking through the finished exhibition, which follows its time at the AGO with engagements at Contemporary Calgary and the Winnipeg Art Gallery before spending a year at the Smithsonian’s National Museum of the American Indian, Houle said he was finally able to find a well-earned calm amongst his works of turmoil.

“I actually relive the anxiety, the abuse and the racism that is geared toward who I am,” he said. “But (I am no longer the child) that is forced to go to confession for worshipping a false god. I’m an adult. I can talk about it.”

Likewise, Nanibush said, “Red is Beautiful” is proof that the art world has become “more welcoming” of Houle’s and, indeed, Indigenous art in general.

“It’s a completion,” Houle agreed. “It’s a realization that you’ve not only established yourself as a serious artist but also that you can attract an audience who will look, appreciate and understand your work.”

Robert Houle’s “Red Is Beautiful” is at the Art Gallery of Ontario, 317 Dundas St. W., until April 18, 2022.

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