Selected Monoprints and Monotypes
Patricia J. Wynne’s art has appeared in more than 200 books for children and adults. She has been publishing since she was eight years old, when her story about an old arrowhead found in her backyard appeared in an airline newspaper. She did her graduate work in printmaking at the University of Iowa, and attended the Iowa Writers Workshop at the same time. After teaching art and art history at the University of Windsor and Wayne State University, initiating a gallery career and working as the staff artist for the Museum of Zoology at the University of Michigan, Wynne moved to New York City and began freelancing. Her first book—an ABC board book edited by Ole Risom—was published by Random House. Other books quickly followed, including a Library of Knowledge series with Random House and Star Wars books illustrated in close collaboration with George Lucas. Wynne has published with more than 20 houses—including Norton, McGraw Hill and Simon and Schuster—creating books on everything from science, to fables. Her editorial art has appeared in publications such as the New York Times, Food and Wine, Cricket and Scientific American and her illustrations and expertise are consistently sought by researchers at the American Museum of Natural History, most recently for The Measure of Manhattan (Norton), The Brain, (Yale) Dark Banquet: The Curious Lives of Blood Feeding Creatures (Random House). Her books have won many awards, including honors from Parenting Magazine, the John Burroughs Association, The National Science Teachers Association and in 2008 Wynne received a Theodor Seuss Geisel Honor. Wynne’s research has taken her all over the world and to such settings as artificial heart labs and the heart of the rainforest. Wynne continues to work as a freelance artist, telling stories about what she loves: the natural world, science, discovery of all kinds and the faraway realms of the mind’s eye.
Praise for Patricia J. Wynne’s art
“Science education at its best.” Science Books and Films
“Beautiful and scientifically accurate. They communicate the excitement of being a scientist.” Dr Nancy Simmons American Museum of Natural History
“Clarity, simplicity and skill. The topnotch illustrations and diagrams are bound to excite would be scientists and browsers alike. A valuable tool.” ALA
“Engaging, informative.” Newsweek
“Extremely neat, wood-cut like illustrations.. Browse among the clear and colorful illustrations.” New Yorker
“An eye opener that will entrance kids from cover to cover.” Between the Lines
“Detailed, realistic drawings will pique the interest of armchair naturalists and active explores alike.” Publishers Weekly
“Bright accurate and beautiful illustrations.” Library Materials Guide
“I have never seen one (Manduca sphinx moth) done so well. The figure is just beautiful. It conveys more of the story than I can get across with a tray full of data slides.”
Dr. Lawrence Schwartz, University of Massachusetts
“Illustrations alone are worth the cost. The colorful artwork consistently clarifies the concept that is being discussed.” School Library Journal
“Combines beauty, simplicity and scientific accuracy to bring the world of nature to the home computer.” Technology and learning
“Color illustrations vividly bring each habitat to life.” Children’s book Insider
“The illustrations in this book are superb.” Kiddie Line
“Unique vision of the relationships of man and beast These finally executed works are a personal expression of ancient myths and legends, of men and animals, of land and sea.”
Marshville News Herald
“An enchanting drawing which I am sure has given pleasure to thousands.” Nicholas Wade, New York Times
“Thought, patience and skill are prerequisites of her work.” Dr Helen Zakin SUNY Oswego
“Her art is scientifically accurate, artistically impeccable and emotionally captivating.” World Jewish News Agency
“This superb design also blends words and images into a memorable distinctive account.” Edward R. Tuffe, Visual Explainations
Outstanding 2012 Title for Psychology: Brain
Kirkus Review 2011: Monkey Colors
Theodor Seuss Geisel Honor Award 2008: Hello, Bumblebee Bat and Meet the Meerkat.
Pennsylvania Center for the Book 2008: Baker’s Dozen, Meet the Meerkat.
Bank Street College of Education Best Books of the Year 2007: Hello, Bumblebee Bat and Meet the Meerkat.
The Association for Educational Publishing Distinguished Achievement Award 2006: Wired to Win (web site, activity guide, and educator brochure).
Junior Library Guild Selections 2005, 2006: The Bumblebee Queen and Birds: Nature’s Magnificent Flying Machines.
The John Burroughs Association Outstanding Nature Books for Children 2005: The Bumblebee Queen.
Teachers’ Choice Award, Learning Magazine: 2005: The Bumblebee Queen.
Cooperative Children’s Book Center Choice: 2004: Birds: Nature’s Magnificent Flying Machines.
National Science Teachers Association Outstanding Science books for Children: 1996: One Small Square Woods
Science Books and Films: Best Children’s Books 1995: One Small Square Backyard, One Small Square Seashore and One Small Square African Savanna.
Parenting Magazine, Reading Magic Certificate of Excellence 1994: One Small Square African Savanna.
Dinosaur Society Selected Books for Children 1992: When Dinosaurs Walked.
Science Books and Films: Best Children’s Books 1987: The Animal World.
National Science Teachers Association Outstanding Science books for Children 1982: The Human Body.
Recommended children’s books of the year lists: The New Yorker, Newsweek, Scientific American, Publishers Weekly, Parade Magazine, ALA Booklist, Kirkus Review, The Korbin Letter, Bank Street Children’s Book Committee
Patricia J. Wynne studied printmaking in the Iowa Print Group with Mauricio Lasansky. She taught prints and drawing at the University of Windsor, Canada and is currently teaching etching for the Bronx Botanical Garden. Collections include the Chicago Art Institute and the American Museum of Natural History and she has shown internationally for over forty years.
Over the years I have worked in several mediums: pencil and ink drawing, watercolor, intaglio printmaking, box construction, collage and most recently monoprints, but the over-arching unity is an aesthetic and visceral fascination with natural history. Raised in the countryside and spending decades drawing in museums and universities I used the shapes, textures, and connections between the objects surrounding me as yeast for the fermentation of my ideas.
Naturalism rather than realism is the basis my work, but I believe the realm of nature is not bordered so my imagination governs the composition. By this I mean, that after deciding upon an image, I let memory and invention decide the next moves
Line of all kinds is the tool. In the body of my work this has been an overall connection. My recent monoprints however have been a journey away from this. They are textural rather than linier, quick, rather than prolonged in execution, and largely symbolic of a mood rather than an exploration of natural form. They are mythic, drawing upon a form or an experience from somewhere in my past.
In the case of my ten Crow Series monoprints which all use the same basic shape, they differ greatly in mood, from mystery to fear. These works arise from the tension of isolation still alive within a place now changed beyond any semblance. All ten of the Crow Series are deeply personal, however I believe the mind of all Homo sapiens has a unified language that in the art is still heard.
Patricia J. Wynne
E-mail: [email protected]