![]() ![]() ![]() All this is detailed with Wiesner's signature craft and wit, including an expressive chorus of tiny lizards that point up the fun in this ingenious complement to both Wiesner's own The Three Pigs (rev. Not only does Art get a whole new look, but so does his next chosen subject: both Art and his art have been liberated. After some false starts, however, he's able to reconstruct him, using that same line plus a Jackson Pollock spray of pigment. Next, a blast of air sweeps away the diaphanous residual color, reducing Art to a line drawing - which Max, clinging to this last vestige of his mentor, inadvertently unravels. And that's only the second transformation in this visual meditation on the effects of illustrative style. ![]() Presently, in an explosion of color, this paint shatters off along with Art's scales, leaving him pleasingly softer edged in character as well as appearance. Hoping to divert his irrepressible friend, Art provides him with canvas and paint, shortsightedly allowing that "you could paint me," only to have Max slather paint not on the canvas but all over Art himself. Art, a big horned lizard, is intent on finishing his portrait of a sinuous, formally posed little lizard when Max, another lizard zipping across the saguaro-studded desert, barges in. ![]()
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