It takes a moment to realize that Max’s words are represented in a sans serif font, while Art speaks in a more traditional typeset. As the book begins it isn’t clear which character is speaking. The flat desert setting is inhabited by gangly lizards with some very human expressions and characteristics. Using acrylic, pastel, watercolor, and india ink (all of which figure into the story itself), Wiesner has concocted one of the more uniquely beautiful books of the year. If we’re looking at artistic merit, this book has it in Caldecott level spades.
When all that is left is a kinked black line piled on the ground, Max must use his artistic talent to put his mentor back together. Max’s attempts to fix the problem only make things worse, as Art transitions from acrylic to pastel to watercolor depictions. But Max takes Art’s instruction literally, using Arthur as his canvas and covering him in paint.
The eager Max wants to learn how to paint, and approaches an accomplished artist (the horned, hulking Arthur) to learn how. There are actually two narratives going on here – the first is the story of Max learning to become an artist, the second is an unspoken evolution of artistic media and styles. Like that book, it also manages to have a little fun along the way. His first book in four years, David Wiesner’s Art & Max brings to mind Chris Van Allsburg’s Bad Day at Riverbend in the way it deconstructs the concept of illustration.
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