Maurice Sendak Illustrates Tolstoy in 1963 (with a Little Help from His Editor)

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Even those of us who know noth­ing else of Mau­rice Sendak’s work know Where the Wild Things Are, almost always because we read and found our­selves cap­ti­vat­ed by it in our own child­hoods — if, of course, our child­hoods hap­pened in 1963 or lat­er. Though that year saw the pub­li­ca­tion of that best-known of Sendak’s many works as an illus­tra­tor and writer — and indeed, quite pos­si­bly the best-known chil­dren’s book of the twen­ti­eth cen­tu­ry, illus­trat­ed or writ­ten by any­one — the world got some­thing else intrigu­ing from Sendak at the same time: an illus­trat­ed edi­tion of Leo Tol­stoy’s 1852 auto­bi­o­graph­i­cal nov­el Nikolenka’s Child­hood.

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At Brain­pick­ings, Maria Popo­va writes of the strug­gle Sendak, then a young and inse­cure artist at the begin­ning of his career, endured to com­plete this less­er-known project: “His youth­ful inse­cu­ri­ty, how­ev­er, presents a beau­ti­ful par­al­lel to the com­ing-of-age themes Tol­stoy explores. The illus­tra­tions, pre­sent­ed here from a sur­viv­ing copy of the 1963 gem, are as ten­der and soul­ful as young Sendak’s spir­it.” Here we’ve select­ed a few of the images that Popo­va gath­ered from this out-of-print book; to see more, do have a look at her orig­i­nal post.

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Lat­er in life Sendak explained his anx­i­ety about accom­pa­ny­ing the words of the man who wrote War and Peace: “You can’t illus­trate Tol­stoy. You’re com­pet­ing with the great­est illus­tra­tor in the world. Pic­tures bring him down and just limp along.” At Let­ters of Note, you can read the words of encour­age­ment writ­ten to the young Sendak by his edi­tor Ursu­la Nord­strom, who acknowl­edged that, “sure, Tol­stoy and Melville have a lot of fur­ni­ture in their books and they also know a lot of facts, but that isn’t the only sort of genius, you know that. Yes, Tol­stoy is won­der­ful (his pub­lish­er asked me for a quote) but you can express as much emo­tion and ‘cohe­sion and pur­pose’ in some of your draw­ings as there is in War and Peace. I mean that.”

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Again, find more of Sendak’s illus­tra­tions of Tol­stoy’s Nikolenka’s Child­hood at Brain­Pick­ings. Used copies can be found on Abe­Books.

Relat­ed Con­tent:

Mau­rice Sendak Sent Beau­ti­ful­ly Illus­trat­ed Let­ters to Fans — So Beau­ti­ful a Kid Ate One

Mau­rice Sendak’s Bawdy Illus­tra­tions For Her­man Melville’s Pierre: or, The Ambi­gu­i­ties

The Only Draw­ing from Mau­rice Sendak’s Short-Lived Attempt to Illus­trate The Hob­bit

Mau­rice Sendak’s Emo­tion­al Last Inter­view with NPR’s Ter­ry Gross, Ani­mat­ed by Christoph Nie­mann

An Ani­mat­ed Christ­mas Fable by Mau­rice Sendak (1977)

Col­in Mar­shall writes else­where on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­maand the crowd­fund­ed jour­nal­ism project Where Is the City of the Future? Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Browse Paintings, Photos, Papers & More in the Archive of Alfred Stieglitz and Georgia O’Keeffe, America’s Original Art Power Couple

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Does any cou­ple loom larg­er in the world of twen­ti­eth-cen­tu­ry Amer­i­can art than Alfred Stieglitz and Geor­gia O’Ke­effe? Not if you believe the Alfred Stieglitz/Georgia O’Ke­effe Archive at Yale Uni­ver­si­ty’s Bei­necke Rare Book and Man­u­script Library. If you go there, you’ll find “thou­sands of let­ters and hun­dreds of pho­tographs in addi­tion to a col­lec­tion of lit­er­ary man­u­scripts, scrap­books, ephemera, fine art, and realia, pri­mar­i­ly dat­ing between 1880 and 1980, which doc­u­ment the lives and careers of the photographer/publisher/gallery own­er Alfred Stieglitz and the painter Geor­gia O’Ke­effe.” But you can even view some of its mate­r­i­al here on the inter­net, includ­ing pho­tos by and of “Stieglitz and his cir­cle of artists and writ­ers” and “a vari­ety of paint­ings and draw­ings, let­ters and ephemera, and medals and awards.”

Steiglitz O'Keeffe

The online archive does, of course, con­tain some paint­ings from O’Ke­effe, such as House I Live in 1937 at the top of the post or, more in line with her famous­ly flo­ral focus, Pink Ros­es just below. But you’ll also find behind-the-work per­son­al arti­facts like the 1929 image of Stieglitz and O’Ke­effe togeth­er at Lake George, New York just above. You can browse through all the mate­r­i­al avail­able with this list, or you can fil­ter it down to the items per­tain­ing specif­i­cal­ly to O’Ke­effe or those per­tain­ing specif­i­cal­ly to Stieglitz, though in life the two had an “instant men­tal and phys­i­cal attrac­tion” that kept them on some lev­el insep­a­ra­ble dur­ing the course of their forty-year rela­tion­ship.

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They even enjoyed a kind of artis­tic togeth­er­ness dur­ing the long-dis­tance stretch­es of that rela­tion­ship, when O’Ke­effe “dis­cov­ered her love for the land­scape of the Amer­i­can South­west and spent increas­ing amounts of time liv­ing and work­ing there.”

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And while many of us already know about her favorite sub­jects and the ways in which she real­ized them on can­vas, few­er of us know about the efforts Stieglitz took to make pho­tog­ra­phy into not just a legit­i­mate but respect­ed art form. To get a sense of what that took, start with Stieglitz’s autochromes (below), some of the ear­li­est ven­tures made by an Amer­i­can artist into the realm of col­or pho­tog­ra­phy. Both Stieglitz and O’Ke­effe, each in there own medi­um, made us see things dif­fer­ent­ly. How many art-world pow­er cou­ples can say the same?

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Relat­ed Con­tent:

The Real Geor­gia O’Keeffe: The Artist Reveals Her­self in Vin­tage Doc­u­men­tary Clips

Alfred Stieglitz: The Elo­quent Eye, a Reveal­ing Look at “The Father of Mod­ern Pho­tog­ra­phy”

Fri­da Kahlo Writes a Per­son­al Let­ter to Geor­gia O’Keeffe After O’Keeffe’s Ner­vous Break­down (1933)

Whit­ney Muse­um Puts Online 21,000 Works of Amer­i­can Art, By 3,000 Artists

Col­in Mar­shall writes else­where on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­maand the crowd­fund­ed jour­nal­ism project Where Is the City of the Future? Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Amazing Miniature Sculptures of New York City Landmarks: CBGB, Katz’s Deli, Vesuvio Bakery & More

If you’re near Pasade­na, Cal­i­for­nia, stop by the Flower Pep­per Gallery and see Facade, the new exhi­bi­tion fea­tur­ing the work of visu­al artist Randy Hage. For decades now, Hage has been fas­ci­nat­ed by the beau­ty of aging struc­tures in New York City. This led him, begin­ning in the late 1990s, to start pho­tograph­ing aging store­fronts in the city, “with their hand paint­ed signs, lay­ers of archi­tec­ture, won­der­ful pati­nas and intrigu­ing his­to­ry.” Lat­er, he decid­ed to pre­serve their mem­o­ry in minia­tur­ized, hyper-real­is­tic sculp­tures (like the ones now on dis­play in Pasade­na through Novem­ber 18th). In the video above, see just how per­fect­ly Hage man­ages to recre­ate New York store­fronts in minia­ture. Here’s anoth­er famous-but-now-defunct facade you might rec­og­nize:

To take a clos­er look at his work, vis­it Hage’s Insta­gram page where you will see mini sculp­tures of fad­ing New York insti­tu­tions like Katz’s Deli, CBGB, McSor­ley’s Old Ale House, Vesu­vio Bak­ery, and more.

via Super­Son­ic Art/Boing­Bo­ing

Fol­low Open Cul­ture on Face­book and Twit­ter and share intel­li­gent media with your friends. Or bet­ter yet, sign up for our dai­ly email and get a dai­ly dose of Open Cul­ture in your inbox. And if you want to make sure that our posts def­i­nite­ly appear in your Face­book news­feed, just fol­low these sim­ple steps.

Free Course: An Introduction to the Art of the Italian Renaissance

In 43 lec­tures, Dr. Vida Hull offers an intro­duc­tion to the art of the Ital­ian Renais­sance. Packed with slides of great paint­ings, the lec­tures (all stream­able above or avail­able indi­vid­u­al­ly here), cov­er painters like Masac­cio and Bot­ti­cel­liTit­ian, da Vin­ci, RaphaelMichelan­ge­lo and more. Hull, who taught the course at East Ten­nessee State, earned her Ph.D. at Bryn Mawr Col­lege. Her course has been added to the Art His­to­ry sec­tion of our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Dis­cov­er 100 Great Works of Art with Videos Cre­at­ed by Khan Acad­e­my & Google Art Project

The British Library Puts 1,000,000 Images into the Pub­lic Domain, Mak­ing Them Free to Reuse & Remix

The Rijksmu­se­um Puts 125,000 Dutch Mas­ter­pieces Online, and Lets You Remix Its Art

The His­to­ry of West­ern Archi­tec­ture: From Ancient Greece to Roco­co (A Free Online Course)

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Browse a Gallery of Kurt Vonnegut Tattoos, and See Why He’s the Big Gorilla of Literary Tattoos

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Accord­ing to Eva Tal­madge, co-author of The Word Made Flesh: Lit­er­ary Tat­toos from Book­worms World­wide, Kurt Von­negut is the big goril­la of lit tat­toos (a dis­tinc­tion he shares with poet e.e. cum­mings).

It’s not sur­pris­ing. Vonnegut’s humor and con­ci­sion make him one of the most quotable authors of all time, per­fect­ly suit­ed to the task.

Rep­e­ti­tion is the price Von­negut tat­too enthu­si­asts must pay for such endur­ing pop­u­lar­i­ty.

The phrase “so it goes” occurs 106 times in Slaugh­ter­house-Five, a fig­ure dwarfed many times over by the num­ber of hides upon which it is per­ma­nent­ly inked. Recur­rence is so fre­quent that the lit­er­ary tat­too blog, Con­trari­wise, recent­ly host­ed a round of So It Goes Sat­ur­days. So it goes.

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The sec­ond run­ner up, also from Slaugh­ter­house-Five,  is the painful­ly iron­ic “Every­thing was Beau­ti­ful and Noth­ing Hurt.”

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Those who’d rather put a bird on it than present an acces­si­ble sen­ti­ment to the unini­ti­at­ed can opt for “poo-tee-weet,” the catch­phrase of a bird who’s a wit­ness to war.  Cer­tain to con­found the folks star­ing at your tri­ceps in the gro­cery line.

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Slaugh­ter­house Five is not Vonnegut’s only tat­too-friend­ly nov­el, of course.

Break­fast of Cham­pi­ons is par­tic­u­lar­ly well suit­ed to the form, thanks to the author’s own line draw­ings.

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There’s also Slap­stick:

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Hocus Pocus:

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Cat’s Cra­dle:

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God Bless You Mr. Rose­wa­ter:

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And then there’s the infa­mous aster­isk, whose first appear­ance in Break­fast in Cham­pi­ons is pre­ced­ed thus­ly:

…to give an idea of the matu­ri­ty of my illus­tra­tions for this book, here is my pic­ture of an ass­hole”

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Hard­core fans can can prove their ded­i­ca­tion by tak­ing a por­trait of the mas­ter to the grave with them.

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Depend­ing on your tol­er­ance for pain, you could squeeze in a longer sen­ti­ment:

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“I want­ed all things

To seem to make some sense,

So we could all be hap­py, yes,

Instead of tense.

And I made up lies

So that they all fit nice,

And I made this sad world

A par-a-dise.”

― Kurt Von­negut, A Man With­out a Coun­try

Relat­ed Con­tent:

A Daz­zling Gallery of Clock­work Orange Tat­toos

Meet Amer­i­ca & Britain’s First Female Tat­too Artists: Maud Wag­n­er (1877–1961) & Jessie Knight (1904–1994)

Why Tat­toos Are Per­ma­nent? New TED Ed Video Explains with Ani­ma­tion

Hear Kurt Von­negut Read Slaugh­ter­house-Five, Cat’s Cra­dle & Oth­er Nov­els

Kurt Von­negut Cre­ates a Report Card for His Nov­els, Rank­ing Them From A+ to D

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Her play, Fawn­book, opens in New York City lat­er this month. Fol­low her @AyunHalliday

Download Original Bauhaus Books & Journals for Free: Gropius, Klee, Kandinsky, Moholy-Nagy & More

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In 1919, Ger­man archi­tect Wal­ter Gropius found­ed Bauhaus, the most influ­en­tial art school of the 20th cen­tu­ry. Bauhaus defined mod­ernist design and rad­i­cal­ly changed our rela­tion­ship with every­day objects. Gropius wrote in his man­i­festo Pro­gramm des Staatlichen Bauhaus­es Weimar that “There is no essen­tial dif­fer­ence between the artist and the arti­san.” His new school, which fea­tured fac­ul­ty that includ­ed the likes of Paul Klee, Lás­zló Moholy-Nagy, Josef Albers and Wass­i­ly Kandin­sky, did indeed erase the cen­turies-old line between applied arts and fine arts.

Bauhaus archi­tec­ture sand­blast­ed away the ornate flour­ish­es com­mon with ear­ly 20th cen­tu­ry build­ings, favor­ing instead the clean, sleek lines of indus­tri­al fac­to­ries. Design­er Mar­cel Breuer reimag­ined the com­mon chair by strip­ping it down to its most ele­men­tal form. Her­bert Bay­er rein­vent­ed and mod­ern­ized graph­ic design by focus­ing on visu­al clar­i­ty. Gun­ta Stöl­zl, Mar­i­anne Brandt and Chris­t­ian Dell rad­i­cal­ly remade such diverse objects as fab­rics and tea ket­tles.

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Nowa­days, of course, get­ting one of those Bauhaus tea ket­tles, or even an orig­i­nal copy of Gropius’s man­i­festo, would cost a small for­tune. For­tu­nate­ly for design nerds, typog­ra­phy mavens and archi­tec­ture enthu­si­asts every­where, the good folks over at Mono­skop have post­ed online a whole set of beau­ti­ful­ly designed pub­li­ca­tions from the sto­ried school.

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Click here to pick out indi­vid­ual works or here to just get all of them. Sad­ly, though, you can’t down­load a teaket­tle.

The list of Books in the Mono­skop Bauhaus archive includes:

And here are some key Bauhaus jour­nals:

  1. bauhaus 1 (1926). 5 pages, 42 cm. Down­load (23 MB).
  2. bauhaus: zeitschrift für bau und gestal­tung 2:1 (Feb 1928). Down­load (17 MB).
  3. bauhaus: zeitschrift für gestal­tung 3:1 (Jan 1929). Down­load (17 MB).
  4. bauhaus: zeitschrift für gestal­tung 3:2 (Apr-Jun 1929). Down­load (15 MB).
  5. bauhaus: zeitschrift für gestal­tung 3:3 (Jul-Sep 1929). Down­load (16 MB).
  6. bauhaus: zeitschrift für gestal­tung 2 (Jul 1931). Down­load (15 MB).

Get more in the Mono­skop Bauhaus archive.

Relat­ed Con­tent:

The Home­made Hand Pup­pets of Bauhaus Artist Paul Klee

Time Trav­el Back to 1926 and Watch Wass­i­ly Kandin­sky Cre­ate an Abstract Com­po­si­tion

Bauhaus, Mod­ernism & Oth­er Design Move­ments Explained by New Ani­mat­ed Video Series

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow. And check out his blog Veep­to­pus, fea­tur­ing lots of pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

Bernie Sanders: I Will Be an Arts President

Art is speech. Art is what life is about. 

A rous­ing sen­ti­ment, and one rarely expressed by those run­ning for the nation’s high­est office.

Once a can­di­date has been safe­ly elect­ed, he may feel com­fort­able betray­ing a deep­er affin­i­ty, or ced­ing to the tastes of an arts-inclined First Lady. Sanders isn’t wait­ing, pledg­ing in the video above, that he will be an Arts Pres­i­dent.

The Amer­i­cans for the Arts Action Fund tracks the can­di­dates’ records with regard to arts advo­ca­cy, and it appears that Sanders has been walk­ing the walk for quite some time.

He filmed a half-hour long doc­u­men­tary about labor leader Eugene Debs.

He record­ed a 1987 folk album with the help of 30 Ver­mont musi­cians, stout­ly pro­nounc­ing the lyrics to “This Land is Your Land” and “Where Have All the Flow­ers Gone” a la Rex Har­ri­son.

Vice’s Paul Best made a com­pelling case for how Bernie Sanders shaped the north­east punk scene.

If Allen Gins­berg could vote from beyond the grave, I’m pret­ty sure I know which lever he’d be pulling…

With regard to liv­ing celebri­ties, it’s no big sur­prise to see that Will Fer­rell, Susan Saran­don, and John C Reil­ly are among the artists sup­port­ing Bernie Sanders. Hol­ly­wood has long embraced lib­er­al can­di­dates. They are joined on the ever grow­ing list of Artists and Cul­tur­al Lead­ers for Bernie Sanders by musi­cians Jel­lo Biafra and The Red Hot Chili Pep­pers, come­di­ans Mar­garet Cho and Sarah Sil­ver­man, and graf­fi­ti artists Ron Eng­lish and Shep­ard Fairey, cre­ator of the Oba­ma Hope poster.

As Sanders fans wait to see whether Fairey will per­form a sim­i­lar ser­vice for his 2016 pick, Sten­cils for Bernie is tak­ing up the slack with down­load­able images for the DIY-inclined.

I pre­sume that it’s only a mat­ter of time before some young ani­ma­tor puts him or her­self at Sanders’ dis­pos­al, though I kind of hope not. The candidate’s short video is reas­sur­ing­ly devoid of the snap­py visu­als that have become a sta­ple of the form, thanks to such pop­u­lar series as Crash Course, CGP Grey, The School of Life, and TED Ed.

via Hyper­al­ler­gic

Relat­ed Con­tent:

Bernie Sanders Sings “This Land is Your Land” on the Endear­ing­ly Bad Spo­ken Word Album, We Shall Over­come

Allen Ginsberg’s Hand­writ­ten Poem For Bernie Sanders, “Burling­ton Snow” (1986)

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Her play, Fawn­book, opens in New York City lat­er this month. Fol­low her @AyunHalliday

Akira Kurosawa Painted the Storyboards For Scenes in His Epic Films: Compare Canvas to Celluloid

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Appre­ci­a­tors of the finest works in cin­e­ma his­to­ry often liken their images to paint­ings. In the case of Aki­ra Kuro­sawa, mak­er of quite a few entries on that grand list of the finest works in cin­e­ma his­to­ry, that makes pro­fes­sion­al sense: he began as a painter, only lat­er turn­ing film­mak­er. “When I changed careers,” he writes, “I burnt all the pic­tures that I had paint­ed up until then. I intend­ed to for­get paint­ing once and for all. As a well-known Japan­ese proverb says, ‘If you chase two rab­bits, you may not catch even one.’ I did no art work at all once I began to work in cin­e­ma. But since becom­ing a film direc­tor, I have found that draw­ing rough sketch­es was often a use­ful means of explain­ing ideas to my staff.”

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That comes quot­ed on “Aki­ra Kuro­sawa: From Art to Film,” a roundup of such paint­ings by the Emper­or (a nick­name Kuro­sawa earned through his on-set man­ner), set beside the result­ing frames from his movies. “As a painter and film­mak­er, Kuro­sawa stuck to his own style,” writes Pop­mat­ters’ Ian Chant in an exam­i­na­tion of this facet of his career, “informed heav­i­ly by tra­di­tion­al Japan­ese paint­ing as well as Euro­pean impres­sion­ists and expres­sion­ists, anoth­er are­na of art where he answered to both east­ern and west­ern influ­ences. These painstak­ing­ly craft­ed paint­ings formed the visu­al back­bone of some of Kurosawa’s most last­ing achieve­ments.”

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The most vivid exam­ples of can­vas-turned-cel­lu­loid come from Kuro­sawa’s lat­er works, such as 1980’s Kage­musha, 1985’s Ran, 1990’s Dreams, and 1993’s Mada­dayo, selec­tions from each of which you see in this post. “I can­not help but be fas­ci­nat­ed by the fact that when I tried to paint well, I could only pro­duce mediocre pic­tures,” con­tin­ues the Emper­or him­self. “But when I con­cen­trat­ed on delin­eat­ing the ideas for my films, I uncon­scious­ly pro­duced works that peo­ple find inter­est­ing.” Hold­ing the paint­ed work up against his film work, only the strictest cin­e­ma purist could deny that, ulti­mate­ly, Kuro­sawa caught both rab­bits.

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Jux­ta­pose more paint­ed sto­ry­boards and frames from films here.

Relat­ed Con­tent:

The Paint­ings of Aki­ra Kuro­sawa

Aki­ra Kurosawa’s 80-Minute Mas­ter Class on Mak­ing “Beau­ti­ful Movies” (2000)

Aki­ra Kurosawa’s List of His 100 Favorite Movies

Aki­ra Kuro­sawa & Gabriel Gar­cía Márquez Talk About Film­mak­ing (and Nuclear Bombs) in Six Hour Inter­view

Col­in Mar­shall writes else­where on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­maand the crowd­fund­ed jour­nal­ism project Where Is the City of the Future? Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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