Item description for Bruno Munari: Roses In The Salad (About the Workshop Series) by Bruno Munari...
Never mind potatoes. Using a radicchio stalk as a stamp (all it takes is a knife for cutting and an ink pad for coloring), one can discover the flowers in the vegetable garden. And then there are irises, peppers, cabbages, brussels sprouts, tomatoes (only very firm ones are recommended), lettuces, and so on.
Paperback, 5.75 x 8.25 in. / 64 pgs / 64 color.
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More About Bruno Munari
Bruno Munari was born in Milan in 1907. He exhibited with the second generation of Italian Futurists early in his career and was a cofounder of the Concrete Art movement. Throughout his life he worked as a graphic and product designer, and devoted progressively more energy to products for children. Numerous awards, including the Andersen prize for Best Children's Author, the Lego prize, the Japan Design Foundation prize, recognize his contributions to a myriad of cultural fields. Munari died in Milan in 1998.
Reviews - What do customers think about Bruno Munari: Roses In The Salad (About the Workshop Series)?
Very clever Dec 11, 2004
I admit, I just thumbed through this one in the store. It's cute, it's clever, it's thought provoking, and it gives decorative results. It just doesn't have the depth or breadth of Munari's "Tree," for example.
There are lots of good pieces here, some simple and some very subtle. The simple ideas are even simpler than a "potato print." To make a potato print:cut the spud half, incise the exposed flat surface, press the flat side into ink, then press the inked shape onto paper. Here, you just cut the end off the veggie, ink, and stamp. The veg defines its own shape, unique per individual cabbage or radicchio, but similar within a species.
What's cute is the simple stamping technique for creating many families of flower prints. What provokes thought is how the development of the species or individual creates such distinctive marks, and marks distinctive at such different levels. There is subtle biology at work here, made visible in the inked impression.
What lacks, however, is the direction in which a child artist may grow. Munari's "Trees", for example, starts even more simply, but gives even more directions to explore. "Trees" leaves open doors for the visual artist, fractal mathematician, or intelligent child. Munari just didn't rise to his own standard in this book.
This book is good, but Munari has done better. An art instructor may want this book, but amateurs like me can learn more elsewhere.