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7 Developments of Picturebooks

       Bettina Kümmerling-Meibauer

      Introduction: Some Preliminary Considerations

      This chapter focuses on the historical development of the picturebook from 1945 to the end of the twentieth century. Such an enterprise cannot do justice to all relevant artistic, historical, political, and societal transformations that impacted on the changes that the picturebook has undergone during a time period of more than fifty years. Hence, this chapter emphasizes the most relevant turns in the conceptualization of the picturebook in North America and parts of Europe. A starting point for the period was the shifts in political and historical as well as cultural developments, since these caused more or less radical changes related to the concept of childhood as well as the artistic and narrative affordances of picturebooks. The first section concentrates on the first five years after World War II, when publishers and picturebook artists faced the multifaceted challenges of a postwar society. The second section focuses on the period of 1950–1965, which witnessed new trends in picturebook design and art. The subsequent time span, 1965–1980, saw the surge of the Pop Art picturebook and other experiments in picturebook design. The final decades of the twentieth century showed the growing impact of transmediation and media franchises as well as the increasing hybridization of the picturebook, which led to the emergence of the postmodern picturebook. Since these tendencies go hand in hand with a transgression of age boundaries, crossover picturebooks increasingly dominated the picturebook market.

      Looking Backward and Forward: The First Years after World War II

In the aftermath of World War II, publishers, educators, and picturebook authors, particularly in Europe, sought to publish and create picturebooks that were not explicitly ideological. In order to achieve this goal, they either relied on popular and traditional picturebooks devoid of any propagandistic effects or contacted already established picturebook makers as well as new talents in order to meet the increasing demand for aesthetically attractive picturebooks. A pioneering role can be attributed to the Swiss illustrators Alois Carigiet, Hans Fischer, and Felix Hoffmann, whose lavishly illustrated picturebooks introduced a new modernist style in European picturebook art. The same applies to some Scandinavian picturebook-makers, such as Lennart Hellsing, Tove Jansson, Egon Mathiesen, and Arne Ungermann (Christensen 2003; Druker 2008). While some European countries, such as the Nordic countries, France, and Italy, regarded the year 1945 as a new start – Sweden even claimed this year as the beginning of a new “Golden Age” in Swedish children’s literature – publishers as well as picturebook-makers in other countries, such as Germany, Poland, and Spain, struggled with difficult constraints due to paper restrictions, the poor quality of the printing press, and sometimes even censorship measures. In order to satisfy the hunger for ideologically innocuous picturebooks, publishers reprinted traditional picturebooks from the nineteenth and the beginning of the twentieth century, which were regarded as classics and therefore politically harmless.

      The

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