Delessert, Étienne 1941-

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Delessert, Étienne 1941-

Personal

Born January 4, 1941, in Lausanne, Switzerland; son of Ferdinand (a minister) and Berengère Delessert; married Rita Marshall (a graphic designer and art director), 1985; children: Adrien.

Addresses

Home—P.O. Box 1689, Lakeville, CT 06039. E-mail—[email protected].

Career

Painter, graphic designer, illustrator, film director, publisher, and author. Freelance graphic designer and illustrator in Lausanne, Switzerland, and in Paris, France, 1962-65; freelance author and illustrator, 1965—. Good Book (publishing house), co-founder, with Herb Lubalin, 1969-74; Societe Carabosse (animated film produc- tion company), Lausanne, co-founder, with Anne van der Essen, 1973-84; Record (children's magazine), Paris, art director, 1975-76; Editions Tournesol (publisher), co-founder, 1977. Exhibitions: One-man exhibitions include Art Alliance Gallery, Philadelphia, PA, 1970; California State College Gallery, Long Beach, 1972; Galerie Delpire, Paris, France, 1972; Galerie Melisa, Lausanne, Switzerland, 1974; Galerie Marquet, Paris, 1975; Musée des Arts Décoratifs du Louvre, Paris, 1975; Musée des Arts Décoratifs, Lausanne, 1976; Palais de l'Athenée, Geneva, Switzerland, 1976; Le Manoir, Martigny, France, 1985; Palazzio delle Espozizioni, Rome, Italy, 1991; Lustrare Gallery, New York, NY, 1991; Library of Congress, Washington, DC, 1994; Olympic Museum, Lausanne (touring retrospective), 1997; Tremaine Gallery, Lakeville, CT, 1997; School of Visual Arts, New York, NY, 1999; Galerie Cramer, Geneva, 2002, 2006; and Les Silos, Chaumont, France, 2003. Group exhibitions include Museum of American Illustration, New York, NY, beginning 1967; Galeríe Wolfsberg, Zurich, Switzerland, 1970; Brooklyn Museum, Brooklyn, NY, 1973-75; Galeríe Pauli, Lausanne, 1976; Centre Georges Pompidou, Paris, 1985; Art Institute, Boston, MA, 1985; Storyopolis Gallery, Los Angeles, CA, 1997; Hearst Center for the Arts, Cedar Falls, IA, 2002; Calcographia National, Madrid, Spain, 2004; and Norman Rockwell Museum, Stockbridge, MA, 2005.

Awards, Honors

American Society of Illustrators gold medals, 1967, 1972, 1976, 1978, and nine others, and twelve silver medals; New York Times Ten Best Illustrated Books of the Year designations, 1968, for Story Number One for Children under Three Years of Age, 1972, for Just So Stories; American Institute of Graphic Arts' Fifty Books of the Year inclusion, and Children's Book Show inclusion, 1971, for How the Mouse Was Hit on the Head by a Stone and So Discovered the World, and 1972, for Just So Stories; Brooklyn Art Books for Children citations, Brooklyn Museum/Brooklyn Public Library, 1973, 1974, and 1975, all for How the Mouse Was Hit on the Head by a Stone and So Discovered the World; Premio Europeo (Trente, Italy), 1977, for Thomas et l'infini; Gold Plaque, Biennale of Illustration, Bratislava, 1979, for Les sept familles du lac Pipple-Popple and Die maus und was ihr bleibt, and 1985, for La belle et la bête; Hans Christian Andersen Highly Commended Illustrator award, 1980; Prix Loisirs-Jeunes (Paris, France), 1981, for Quinze gestes de Jésus, and for Story Number One for Children under Three Years of Age, How the Mouse Was Hit on the Head by a Stone and So Discovered the World, Le roman de Renart, and L'eau; First Graphic Prize, International Bologna Book Fair, 1981, for "Yok-Yok" series, and 1989, for A Long Long Song; German Best Book of the Year awards for translations of Story Number One for Children under Three Years of Age and Story Number Two for Children under Three Years of Age; Hamilton King Award, 1996, for I Hate to Read! by Rita Marshall; Connecticut Book Award, 2005, for Who Killed Cock Robin?; Hans Christian Andersen Award finalist, 2005.

Writings

FOR CHILDREN

L'arbre, illustrated by Eléonore Schmid, Harlan Quist/Ruy Vidal (Paris, France), 1966, translated as The Tree, Harlan Quist (New York, NY), 1966.

(With Eléonore Schmid; and illustrator) Sans fin la fête, Harlan Quist (Paris, France), 1967, revised edition translated by Jeffrey Tabberner as The Endless Party, Oxford University Press (New York, NY), 1981.

Comment la souris reçoit une pierre sur la tête ed découvre le monde, foreword by Jean Piaget, Ecole des Loisirs, (Paris, France), 1971, translated as How the Mouse Was Hit on the Head by a Stone and So Discovered the World, Doubleday (Garden City, NY), 1971.

(With Anne van der Essen) La souris s'en va-t'en en Guerre, Gallimard (Paris, France), 1978.

(With Christophe Gallaz) L'amour-petit croque et ses amis, Tournesol-Gallimard (Paris, France), 1982.

Happy Birthdays: A Notebook for Everyone's Birthday, designed by wife, Rita Marshall, Stewart, Tabori (New York, NY), 1986.

(And illustrator) A Long Long Song, Farrar, Straus (New York, NY), 1988.

(And illustrator) Ashes, Ashes, Stewart, Tabori (New York, NY), 1990.

(With Rita Marshall; and illustrator) J'aime pas lire, Gallimard (Paris, France), 1992, translated as I Hate to Read!, Creative Education (Mankato, MN), 1992.

(Adaptor) The Seven Dwarves, Creative Education (Mankato, MN), 2001.

(Adaptor) Who Killed Cock Robin? (folk song), Creative Editions (Mankato, MN), 2004.

(Adaptor) A Was an Apple Pie: An English Nursery Rhyme, Creative Editions (Mankato, MN), 2005.

Hungry for Numbers, Creative Editions (Mankato, MN), 2006.

Jeux d'enfant, Gallimard (Paris, France), 2006.

(Adaptor) Humpty Dumpty, Houghton Mifflin (New York, NY), 2006.

Alert!, Houghton Mifflin (Boston, MA), 2007.

Also author of animated films and children's films.

Author's works have been translated into fourteen languages.

ILLUSTRATOR; FOR CHILDREN

John Steinbeck, Tortilla Flat (French edition), Club Français du Livre (Paris, France), 1964.

Eugène Ionesco, Story Number One for Children under Three Years of Age, translated by Calvin K. Towle, Harlan Quist (New York, NY), 1968.

Betty Jean Lifton, The Secret Seller, Norton (New York, NY), 1968.

George Mendoza, A Wart Snake in a Fig Tree, Dial (New York, NY), 1968.

Eugène Ionesco, Story Number Two for Children under Three Years of Age, translated by Calvin K. Towle, Harlan Quist (New York, NY), 1970.

Rudyard Kipling, Just So Stories (anniversary edition), Doubleday (Garden City, NY), 1972.

Gordon Lightfoot, The Pony Man, Harper Magazine Press (New York, NY), 1972.

Joseph G. Raposo, Being Green, Western Publishing (Racine, WI), 1973.

Michel Déon, Thomas et l'infini (title means "Thomas and the Infinite"), Gallimard (Paris, France), 1975.

Anne van der Essen, La souris et les papillons (title means "The Mouse and the Butterflies"), Gallimard (Paris, France), 1975.

Anne van der Essen, La souris et les poisons, Gallimard (Paris, France), 1975, translation published as The Mouse and the Poisons, Middelhauve, 1977.

Anne van der Essen, Die maus und der Lärm, Middelhauve, 1975.

Anne van der Essen, Die maus und was ihr bleibt, Middlehauve, 1977, translation published as Amelia Mouse and Her Great-Great-Grandchild, Evans, 1978.

Oscar Wilde, Le prince heureux (translation of The Happy Prince), Gallimard (Paris, France), 1977.

Edgar Allan Poe, Le scarabée d'or (translation of The Gold Bug), Gallimard (Paris, France), 1977.

Edward Lear, Les sept familles du lac Pipple-Popple (translation of The Seven Families from Lake Pipple-Popple), Gallimard (Paris, France), 1978.

Andrienne Soutter-Perrot, Les premiers livres de la nature (title means "My First Nature Books"), 4 volumes, Tournesol-Gallimard (Paris, France), 1979, translated by Kitty Benedict as The Earth, Water, Air, and Earthworm, Creative Education (Mankato, MN), 1993.

Jacques Prévert, Paroles, Gallimard-Rombaldi (Paris, France), 1979.

Pierre-Marie Beaude and Jean Debruyne, Quinze gestes de Jésus, Centurion Jeunesse (Paris, France), 1981.

Jean Touvet Gallaz and François Baudier, Petit croque et ses amis, Tournesol (Paris, France), 1982.

Marie Catherine D'Aulnoy, La belle et la bête, Editions Grasset (Paris, France), 1983, translated as Beauty and the Beast, Creative Education (Mankato, MN), 1985, reprinted, 2000.

Truman Capote, A Christmas Memory, Creative Education (Mankato, MN), 1984.

Henri Dès, Chanson pour mon chien, Script & Mille-Pattes (Lausanne, Switzerland), 1986.

Henri Dès, La petite Charlotte, Script & Mille-Pattes (Lausanne, Switzerland), 1986.

Henri Dès, On ne verra jamais, Script & Mille-Pattes (Lausanne, Switzerland), 1986.

Willa Cather, A Wagner Matinee, Redpath Press (Minneapolis, MN), 1986.

Roald Dahl, Taste, Redpath Press (Minneapolis, MN), 1986.

A.A. Milne, The Secret, Redpath Press (Minneapolis, MN), 1986.

William Saroyan, The Pheasant Hunter: About Fathers and Sons, Redpath Press (Minneapolis, MN), 1986.

Zora Neale Hurston, The Gilded Six-Bits, Redpath Press (Minneapolis, MN), 1986.

Mark Twain (pseudonym of Samuel Clemens), Baker's Bluejay Yarn, Redpath Press (Minneapolis, MN), 1986.

Daniel Keyes, Flowers for Algernon, Creative Education (Mankato, MN), 1988.

Susan McCloskey, The Joke, D.C. Heath (Boston, MA), 1995.

Christophe Gallaz, La Parole détruite, Editions Zoé (Geneva, Switzerland), 1995.

Alistair Highet, Lucas, Creative Education (Mankato, MN), 2000.

Patricia Kirkpatrick, John Keats, Creative Editions (Mankato, MN), 2006.

Rita Marshall, I Still Hate to Read!, Creative Editions (Mankato, MN), 2007.

ILLUSTRATOR; "YOK-YOK" SERIES

Anne van der Essen, The Caterpillar, Tournesol-Gallimard (Paris, France), 1979, Merrill, 1980.

Anne van der Essen, The Magician, Tournesol-Gallimard (Paris, France), 1979, Merrill, 1980.

Anne van der Essen, The Night, Tournesol-Gallimard (Paris, France), 1979, Merrill, 1980.

Anne van der Essen, The Blackbird, Tournesol-Gallimard (Paris, France), 1979, Merrill, 1980.

Anne van der Essen, The Frog, Tournesol-Gallimard (Paris, France), 1979, Merrill, 1980.

Anne van der Essen, The Rabbit, Tournesol-Gallimard (Paris, France), 1979, Merrill, 1980.

Anne van der Essen, The Shadow, Tournesol-Gallimard (Paris, France), 1981.

Anne van der Essen, The Circus, Tournesol-Gallimard (Paris, France), 1981.

Anne van der Essen, The Cricket, Tournesol-Gallimard (Paris, France), 1981.

Anne van der Essen, The Snow, Tournesol-Gallimard (Paris, France), 1981.

Anne van der Essen, The Violin, Tournesol-Gallimard (Paris, France), 1981.

Anne van der Essen, The Cherry, Tournesol-Gallimard (Paris, France), 1981.

Anne van der Essen, Le grand livre de Yok-Yok, Tournesol-Gallimard (Paris, France), 1981.

Marie Agnès Gaudrat, Yok-Yok et les secrets de la nuit, Bayard Editions (Paris, France), 1998.

Marie Agnès Gaudrat, Yok-Yok et les secrets des saisons, Bayard Editions (Paris, France), 1998.

AND ILLUSTRATOR; "YOK-YOK" SERIES

Best Friends, Creative Education (Mankato, MN), 1994.

At Home, Creative Education (Mankato, MN), 1994.

Dance!, Creative Education (Mankato, MN), 1994.

For the Birds, Creative Education (Mankato, MN), 1994.

Let's Play, Creative Education (Mankato, MN), 1994.

Magic Tricks, Creative Education (Mankato, MN), 1994.

Moonlight, Creative Education (Mankato, MN), 1994.

Nonsense, Creative Education (Mankato, MN), 1994.

Nuts!, Creative Education (Mankato, MN), 1994.

Snowflakes, Creative Education (Mankato, MN), 1994.

Surprises, Creative Education (Mankato, MN), 1994.

Weird?, Creative Education (Mankato, MN), 1994.

What a Circus!, Creative Education (Mankato, MN), 1994.

ILLUSTRATOR; FOR ADULTS

Joel Jakubec, Kafka contre l'absurde, CRV (Lausanne, Switzerland), 1960.

Maurice Chappaz, Le match Valais-Judée, CRV (Lausanne, Switzerland), 1968, new edition, Plaisir de Lire-Empreintens (Lausanne, Switzerland), 1994.

Jacques Chessex, La confession du Pasteur Burg, Le livre du mois (Lausanne, Switzerland), 1970.

Le roman de Renard, Gallimard (Paris, France), 1977.

Maurice Chappaz, Entre dieu et diable, Editions Scarabée (Lausanne, Switzerland), 1981.

François Nourissier, Le temps, Le Verseau-Roth & Sauter (Lausanne, Switzerland), 1982.

Jacques Chessex, Des cinq sens, Le Verseau-Roth & Sauter (Lausanne, Switzerland), 1982.

Anne Morrow Lindbergh, Hour of Lead: Sharing Sorrow, Redpath Press (Minneapolis, MN), 1986.

Maya Angelou, Mrs. Flowers: A Moment of Friendship, Redpath Press (Minneapolis, MN), 1986.

Woody Allen, The Lunatic's Tale, Redpath Press (Minneapolis, MN), 1986.

Bob Greene, Diary of a Newborn Baby, Redpath Press (Minneapolis, MN), 1986.

P.G. Wodehouse, The Clicking of Cuthbert, Redpath Press (Minneapolis, MN), 1986.

John Updike, A & P, Redpath Press (Minneapolis, MN), 1986.

William Saroyan, The Pheasant Hunter: About Fathers and Sons, Redpath Press (Minneapolis, MN), 1986.

Sonoko Kondo, The Poetical Pursuit of Food, C.N. Potter (New York, NY), 1986.

Ogden Nash's Zoo, edited by Roy Finamore, Stewart, Tabori (New York, NY), 1987.

John Cheever, Angel of the Bridge, 1987.

Ernest Hemingway, Christmas on the Roof of the World: A Holiday in the Swiss Alps, Redpath Press (Minneapolis, MN), 1987.

Saki (pen name of H.H. Munro), The Story-Teller, Redpath Press (Minneapolis, MN), 1987.

Ogden Nash's Food, edited by Roy Finamore, Stewart, Tabori (New York, NY), 1989.

Mary Gordon and others, Deadly Sins (essay anthology), Morrow (New York, NY), 1994.

Les chats, Gallimard (Paris, France), 1998, translated as The Cat Collection, Creative Education (Mankato, MN), 1998.

Contributor of editorial illustrations to magazines, including Atlantic Monthly, New York Times, Le Monde, Fortune, Rolling Stone, Redbook, McCall's, Fact, and Elle.

Adaptations

How the Mouse Was Hit on the Head by a Stone and So Discovered the World was adapted for the stage by Nathalie Nath and produced in Geneva, Switzerland, then filmed for Swiss television; Delessert designed the production's costumes and sets.

Sidelights

An award-winning Swiss-born children's writer, illustrator, publisher, and filmmaker, Étienne Delessert is credited by many as one of the fathers of the modern picture book for children. Self-taught, Delessert has channeled his artistic talent, his vivid imagination, and his understanding of children into dozens of books. In addition to writing and illustrating such well-respected books as How the Mouse Was Hit on the Head by a Stone and So Discovered the World, Humpty Dumpty, and The Long Long Song, he has created the popular character Yok-Yok, star of both picture books and animated films, as well animation for the Sesame Street television program. Reviewing Delessert's illustrations for I Hate to Read!, a collaboration with the artist's wife, author Rita Marshall, a Publishers Weekly con-

tributor characterized them as "inventive," noting that Delessert "wreaks playful havoc with perspective and scale, and features striking earthtone pastels punctuated with splashes of vibrant color." An internationally respected artist, Delessert has exhibited his work in museums and galleries around the world.

Born in Lausanne, Switzerland, in 1941, Delessert traces his interest in storytelling to his early childhood. "I was raised by my stepmother, who was a great storyteller, and who influenced my creative development tremendously …," he once recalled. "The stories she told were of her own invention; she was best at dialogue and situation. I'm sure she would have made a fine playwright. We often acted out simple scenarios together …—no sets, no props, no costumes—just long, endless monologues in which I would attempt to become a tree or animal…. If my stepmother had to stop this activity to run an errand, I would go on for hours by myself. It was very good training for my imagination, and as an only child, it taught me how to play by myself."

As he grew into a reader, Delessert became interested in the fairy tales of Northern and Eastern Europe, and the rich images conjured up by these stories have continued to influence his artistic vision. "Much like in the northern fables," he once remarked, "I have looked into the shadows and the fog for monsters and witches." Delessert recaptured the mood of such stories in the late 1960s, when he co-founded the publishing house Good Book. At Good Book he collaborated with American-born graphic designer and art director Marshall to supervise the production of a series of fairy-tale books, illustrated by a stable of artists. Although Delessert left Good Book in the mid-1970s, he and Marshall have continued their collaboration in several picture books and the two were married in 1985. In his work, Delessert continues to draw inspiration from fairy tales.

One of Delessert's earliest original books, How the Mouse Was Hit on the Head by a Stone and So Discovered the World, was inspired by the work of noted Swiss educational psychologist Jean Piaget. Working from Piaget's stages of children's mental development, Delessert geared the book's illustrations and text to the cognitive level of five-and six-year-old children. In his story, Delessert describes features of the natural word, such as the sun and moon, using the same language as did the children Piaget interviewed during the 1950s. The book's text was read to several groups of children by Piaget's assistants, who checked for comprehension of single words and concepts. "One of the most interesting discoveries was that five and six year olds have their own interpretation of how the sun and moon rise and set," the author/illustrator recalled of the project, adding that these "interpretations … are somewhat similar to some ancient Mexican and African legends. Big hands, for example, throw the sun into the sky at dawn, and catch it back at sunset. We asked children to

make their own drawings illustrating the story we had built together. Without knowing it, the children made drawings very similar to my own."

Delessert takes between three and four months to produce the drawings needed for each picture book. "In some ways, I get more pleasure out of conceiving an idea than executing it," he once admitted. "I love to make the little thumbnail sketches. But after that, there is a long period which is simply craft—slowly executing what you intended—which sometimes makes me impatient. The very last part of drawing—the polishing, the ‘making it work’—interests me again, but I don't like that in-between, very technical and painstaking stage." Although he has become experienced with computerized renderings, he prefers working with pen and ink and pastel. "I think that one of the basic satisfactions [of making art] is just to create a little object," he explained to MacWeek contributor Rick LePage. "This satisfaction doesn't exist when you work on a computer because [the image] is behind a glass. You cannot own it; you cannot have it; you cannot put it into your pocket."

In addition to experimenting with computerized graphics in his work, Delessert has also worked in animated feature-film production. Working with Anne van der Essen, he ran the Lausanne-based Carabosse Studios from 1973 to 1984, producing Supersaxo, an animated film adaptation of a fantasy novel by Swiss writer Maurice Chappaz. In Phaedrus, Denise Von Stockar observed that "many French-Swiss illustrators … started their careers at Delessert's studio," where they were given the chance to develop their own creative style. Reflecting on his interesting a variety of creative forms—another is sculpture—Delessert noted: "I'm a storyteller, and I love to tell stories. I was attracted to children's books because they are a medium in which I can develop a story through text and illustrations on several levels. Picture books are closely related to film, which also play with images and text."

One of Delessert's most enduring characters, Yok-Yok, had its start in the films of Carabosse. Picture-book adaptations were made of of the "Yok-Yok" films, 150 ten-second animated shorts which, according to the artist, "answer such questions as "Why does a woodpecker tap on a tree trunk?’ and ‘What do frogs eat?’ with animation." Featuring texts by van der Essen and illustrations by Delessert, the "Yok-Yok" books were published by Editions Tournesol, a company Delessert and van der Essen cofounded in 1977. Apart from the "Yok-Yok" books, which Delessert eventually wrote and illustrated, Tournesol also printed children's books by a host of other authors and illustrators, making a significant contribution to European picture books. Reviewing Dance!, a book in the "Yok-Yok" series, a Publishers Weekly contributor wrote that Delessert's "striking design and inventive art … effectively meshes soft pastels and brilliant hues."

Appearing in books for both children and adults that feature texts by writers as varied as Eugène Ionesco, Rudyard Kipling, Ogden Nash, Willa Cather, A.A. Milne, and Nora Zeale Hurston, Delessert's "bulbous-shouted, glittery-eyed creatures are instantly recognizable," according to a Publishers Weekly writer. His original self-illustrated picture books allow him even more creative latitude, and his quirky visual images pair with texts that weave darker, sometimes sinister fairy-tale elements into more lighthearted fare. A little mole overwhelmed by fears that his prized collection of tiny stones will be taken by robbers is the focus of Alert!, which features "expressionistic" illustrations that a Kirkus Reviews contributor insisted are "always worth a look." Life after the end of the fairy tail and marriage to the handsome prince is the focus of The Seven Dwarves, as Snow White's dwarf companions join her briefly at the palace before deciding that the life of a courtier is not for any one of them. Delessert attracts more sophisticated readers by creating "fanciful, cinematic" images that a Publishers Weekly critic described as "grotesque and delicate at the same time," while his "unique twist on the universally known tale will divert younger listeners." In Booklist GraceAnne A. DeCandido dubbed The Seven Dwarves a "compelling bridge from picture book to fairy tale" that features the author/illustrator's "signature combination of rubbery exaggeration, painstaking detail, and startling perspectives."

Traditional nursery rhymes and stories are adapted and brought to life in A Was an Apple Pie: An English Nursery Rhyme, Humpty Dumpty, and Who Killed Cock Robin? In A Was an Apple Pie the traditional text is "modernized with [Delessert's] vibrant fantastical figures," according to School Library Journal reviewer Carolyn Janssen, while in Booklist Gillian Engberg predicted that the artist's cast of "mysterious, expressive creatures may draw children's interest" to the centuries' old text. In School Library Journal, Robin L. Gibson described the visual landscape of Delessert's picturebook update on the well-known nursery rhyme about the roly-poly wall-sitter "surreal," and a Publishers Weekly reviewer dubbed Humpty Dumpty "a fascinating exercise in imagination." Called a "delightful version of a traditional ballad" by School Library Journal critic Marilyn Taniguchi, Who Killed Cock Robin? pairs the sad song of poor, unfortunate Cock Robin with paintings that depict smiling children in bird costumes, an "air of mystery" contained within Delessert's "alternately strange and lovely" art.

"Many fairy tales are illustrated and interpreted too sweetly, even when the story itself is quite strong," Delessert once explained, noting the importance of traditional stories among younger children. "I feel it is im-

portant to use visuals which are equivalent in strength to the text. Fairy tales usually work to open the reader up, to give him a kind of psychological help; while some images of the tale may be violent or bizarre, by the end, things are resolved and open. These great stories bring out the fears, loneliness, and violence that a person must face in order to move into peace and harmony." One "should not present children with sugarcoated versions of reality," the illustrator continued. "You have to expose them to all kinds of experiences, especially with a sense of humor and a sense of the bizarre with surrealistic situations which open them up to another kind of reality, another point of view…. After all, truth is not one-sided, not only what you see on T.V. or read in the papers, or what your parents tell you, or what you learn in school: truth is also what you see and how you perceive the unknown forces of the world, how you face birth, life, decay, and death. That has been, I believe, the essence of my books."

Biographical and Critical Sources

BOOKS

Catalogue du Musée des Arts décoratifs du Louvre, [Paris, France], 1975.

Chessex, Jacques, Les dessins d'Étienne Delessert, Bertil Galland (Lausanne, Switzerland), 1974.

Kingman, Lee, and others, compilers, Illustrators of Children's Books: 1967-1976, Horn Book (Boston, MA), 1978.

Marshall, Rita, Étienne Delessert (monograph), Stewart, Tabori (New York, NY), 1991.

Vassali, P., and A. Rausch, Étienne Delessert, Carte Segrete, 1992.

PERIODICALS

Booklist, November 15, 2000, review of Beauty and the Beast, p. 627; January 1, 2002, GraceAnne A. DeCandido, review of The Seven Dwarves, p. 851; January 1, 2006, Gillian Engberg, review of A Was an Apple Pie: An English Nursery Rhyme, p. 103.

Communication Arts, July, 1992, Amy Herndon, "Étienne Delessert," p. 190.

Graphis, number 128, 1967; number 208, 1979-80; number 235, 1985.

Horn Book, June, 1980, review of How the Mouse Was Hit on the Head by a Stone and So Discovered the World, p. 281; January-February, 2002, Roger Sutton, review of The Seven Dwarves, p. 66.

Idea (Japan), number 66, 1964; number 71, 1966.

Kirkus Reviews, April 1, 2006, review of Humpty Dumpty, p. 345; September 1, 2006, review of Hungry for Numbers, p. 902; January 15, 2007, review of Alert!, p. 71.

Library Journal, November 15, 1988, review of Flowers for Algernon, p. 28.

MacWeek, December 18, 1990, Rick LePage, "Artist Takes the Mac Back to School," p. 50.

New York Times, August 22, 1971.

New York Times Book Review, October 23, 1988, David Macaulay, review of A Long Long Song, p. 26; November 13, 2005, Karla Kuskin, review of A Was an Apple Pie, p. 28.

Novum gebrauchs graphik, January 1, 1976.

Phaedrus (annual), 1982, Denise Von Stockar, "From Töpffer to Delessert: The Picture Book Illustrators of French-speaking Switzerland," pp. 35-39.

Print, April, 1986; March-April, 1991, Rose de Neve, profile of Delesert.

Publishers Weekly, May 18, 1988, review of A Long Long Song, p. 85; June 29, 1990, review of Ashes, Ashes, p. 99; June 14, 1993, review of I Hate to Read!, p. 71; August 8, 1994, review of Deadly Sins, p. 406; September 26, 1994, review of Dance!, p. 70; June 26, 2006, review of Humpty Dumpty, p. 51; August 21, 2006, review of Hungry for Numbers, p. 68; January 22, 2007, review of Alert!, p. 183.

School Library Journal, March 20, 1981, Jean F. Mercier, review of The Endless Party, p. 63; January, 1982, review of The Endless Party, p. 62; September, 1988, Ruth K. MacDonald, review of A Long Long Song, p. 156; July, 1990, Christine Behrmann, review of Ashes, Ashes, p. 75; September 26, 1994, review of Dance!, p. 70; October 8, 2001, review of The Seven Dwarves, p. 63; January, 2006, Carolyn Janssen, review of A Was an Apple Pie, p. 96; January, 2005, Marilyn Taniguchi, review of Who Killed Cock Robin?, p. 118; August, 2006, Robin L. Gibson, review of Humpty Dumpty, p. 80; November, 2006, Wendy Lukehart, review of Hungry for Numbers, p. 87.