The animated still life. Ingrid Vang Nyman's use of self-contradictory spatial order in Pippi Longstocking

Ingrid Vang Nyman’s illustrations to Astrid Lindgren’s books about Pippi Longstocking seem to contradict customary perspective logic. In her interior images, Vang Nyman displays curiously assorted objects, animate and inanimate, in a range of textures, colours and shapes. The elements in her composi...

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Main Author: Elina Druker
Format: Article
Language:Danish
Published: Svenska Barnboksinstitutet 2011-11-01
Series:Barnboken: Tidskrift för Barnlitteraturforskning
Online Access:https://www.barnboken.net/index.php/clr/article/view/48
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author Elina Druker
author_facet Elina Druker
author_sort Elina Druker
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description Ingrid Vang Nyman’s illustrations to Astrid Lindgren’s books about Pippi Longstocking seem to contradict customary perspective logic. In her interior images, Vang Nyman displays curiously assorted objects, animate and inanimate, in a range of textures, colours and shapes. The elements in her compositions are often presented at tipped angles, where everything is observed without overlapping perspectives. Why this constant defiance of gravity, the free distortion of proportions and multiplicity of details? Everything seems to be in motion, in a state of flux and turmoil, pointing to the adventurous potential of everyday places and objects. In this paper, I discuss Ingrid Vang Nyman’s use of pictorial effects and her way of playing with perspective and spatial order, and I will place this technique in the larger context of art history.
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spelling doaj.art-965231a1981e4a7c89da7c4f4c45ee5b2022-12-22T01:18:48ZdanSvenska BarnboksinstitutetBarnboken: Tidskrift för Barnlitteraturforskning0347-772X2000-43892011-11-01301-210.14811/clr.v30i1-2.48The animated still life. Ingrid Vang Nyman's use of self-contradictory spatial order in Pippi LongstockingElina DrukerIngrid Vang Nyman’s illustrations to Astrid Lindgren’s books about Pippi Longstocking seem to contradict customary perspective logic. In her interior images, Vang Nyman displays curiously assorted objects, animate and inanimate, in a range of textures, colours and shapes. The elements in her compositions are often presented at tipped angles, where everything is observed without overlapping perspectives. Why this constant defiance of gravity, the free distortion of proportions and multiplicity of details? Everything seems to be in motion, in a state of flux and turmoil, pointing to the adventurous potential of everyday places and objects. In this paper, I discuss Ingrid Vang Nyman’s use of pictorial effects and her way of playing with perspective and spatial order, and I will place this technique in the larger context of art history.https://www.barnboken.net/index.php/clr/article/view/48
spellingShingle Elina Druker
The animated still life. Ingrid Vang Nyman's use of self-contradictory spatial order in Pippi Longstocking
Barnboken: Tidskrift för Barnlitteraturforskning
title The animated still life. Ingrid Vang Nyman's use of self-contradictory spatial order in Pippi Longstocking
title_full The animated still life. Ingrid Vang Nyman's use of self-contradictory spatial order in Pippi Longstocking
title_fullStr The animated still life. Ingrid Vang Nyman's use of self-contradictory spatial order in Pippi Longstocking
title_full_unstemmed The animated still life. Ingrid Vang Nyman's use of self-contradictory spatial order in Pippi Longstocking
title_short The animated still life. Ingrid Vang Nyman's use of self-contradictory spatial order in Pippi Longstocking
title_sort animated still life ingrid vang nyman s use of self contradictory spatial order in pippi longstocking
url https://www.barnboken.net/index.php/clr/article/view/48
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