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A N N A
A T

T H E

A R T M U S E U M
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A N N A

A T

T H E

A R T M U S E U M

H A Z E L H U TC H I N S & G A I L H E R B E RT I L L U ST R AT E D B Y L I L C R U M P
*

annick press

toronto berkeley
•
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A n n a w a s n o t h a p p y.
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Ev e r y t h i n g a t t h e a r t g a l l e r y s e e m e d o l d a n d b o r i n g .
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Anna would have to entertain herself.

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“ROAR!” she said to the lion.

“ Q u i e t p l e a s e ,” s a i d t h e a t t e n d a n t .
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r
r r
i

r
n

r
r
i

g
n
g

“ P e e k a b o o ,” s h e w h i s p e r e d t o t h e b a b y .

“ Ca r e f u l ! ” s a i d t h e a t t e n d a n t .
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When A n n a c a r e f u l l y l i ft e d h e r f o o t o n t o s o m e t h i n g

t h a t l o o k e d l i k e i t w a s f o r c h i l d re n , t h e a tt e n d a n t s h o o k

his head, n o, and pointed to the sign.

AT T E N T I O N

Do not

touch!
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S o, A n n a a n d h e r m o t h e r h a d a t a l k . It was one they’d

h a d e a r l i e r, but perhaps Anna had not listened quite

as closely as she should have.

No shouting.

No running.

No climbing.

No touching.
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A ft e r t h a t , A n n a p r e t e n d e d s h e w a s

a small bush in a forest of tall trees.

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One of t h e t r e e s s w a y e d t o t h e s i d e . T h e re

was something interesting beyond. Anna

moved closer and closer . . .

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B
i

n
B
i

g
n
B
i

g
n
B
i

g
n

Anna didn’t know paintings could have alarms! g

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E v e r y o n e t u r n e d a n d s t a r e d . A n n a q u i c k l y r a n a w a y.
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O n t h e s e c o n d f l o o r, A n n a f o u n d

a window nook. While her mother looked

at paintings, Anna gazed longingly out at the street

and the harbor beyond.

If only the museum could be turned inside out.

Or the world outside in.

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I n t h e n e x t g a l l e r y, she pulled out her snack.

B u t w h y w a s t h e a tt e n d a n t l o o k i n g a t h e r t h a t w a y ?
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“A r e y o u h u n g r y ? ” s h e a s k e d . “ W e c a n s h a r e .”

H e w a s n o t h u n g r y. “ N o e a t i n g ,” h e s a i d w i t h a f i r m v o i c e .

She could only drink at the water fountain in the hall.

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No

ry
Ent

A n d t h e n s h e s a w t h e h a l f - o p e n d o o r.

When a door is half open, i t i s v e r y h a rd

not to wonder what lies on the other side.

“A n n a ,” c a u t i o n e d h e r m o t h e r s o f t l y.

“ ‘ N o E n t r y ’ m e a n s w e a r e n ’ t a l l o w e d .”

“But . . .” Anna began.

Once again, the attendant was walking

t o w a r d h e r. T h i s t i m e ,

h o w e v e r, h e s u r p r i s e d h e r.

“ I t ’s n o t b u s y t o d a y . T h e y m i g h t l e t y o u

i n . W o u l d y o u l i ke m e t o a s k ? ”
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I t w a s l i k e a s e c r e t w o r k s h o p.
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Here, art was studied, repaired, and cleaned.

As years of g r i m e w e r e re m o v e d , the face of a young

girl slowly emerged. It was a bored face, a grumpy face.

Anna knew that young girl.

S h e h u r r i e d t o t h a n k t h e a tt e n d a n t .

“ S h e ’s j u s t l i k e m e ,” Anna told him. “ O r I ’ m j u s t l i k e h e r .”

W h i c h m a d e t h e a tt e n d a n t s m i l e .
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A n d n o w, something had changed. On the floor

above, Anna danced patterns of her own.

S h e f e l t c o l o r s w i r l a r o u n d h e r.
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B u t i t h a d b e e n a l o n g a ft e r n o o n .

Ev e n h e r m o t h e r w a s r e a d y t o g o h o m e .
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They took the fast way down . . .

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pausing only long enough for Anna

to whisper to the lion, “ I ’ l l b e b a c k .”

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Then they pushed open the wide gallery doors

and Anna skipped through, l e tt i n g i n s i d e

a n d o u t f l o w t o g e t h e r.
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A B O U T T H E A R T

A n n a’ s a r t m u s e u m i s f i l l e d w i t h a w i d e r a n g e o f a r t b y a r t i s t s T H E T H I R D I C H I K AWA YA O Z Ō A S A D A I M YO

f r o m m a n y d i f f e re n t e r a s a n d c o u n t r i e s . Some of the pieces S TA N D I N G U N D E R A M A P L E T R E E ,

A n n a s e e s a r e f a m o u s a n d s o m e a r e l e s s e r- k n o w n . Here is
circa 1783,by Katsukawa Shunshō.

some information about the artworks and the people who

Japanese. Woodblock print on paper.

created them:
Metropolitan Museum of Art, New York.

HEAD OF A WOMAN,
T H E F I R ST N A K A M U R A N A K A ZO A S A

circa 1650—1700, by Anonymous. French.

S A M U R A I S TA N D I N G N E A R A

Black chalk on grey paper.

W I L LO W T R E E , 1768 or 1769,

Metropolitan Museum of Art, New York.

by Katsukawa Shunshō. Japanese.

Woodblock print on paper.

Metropolitan Museum of Art, New York.

N U B I A N T R I B U T E P R E S E N T E D TO T H E K I N G ,

TO M B O F H U Y, circa 1353-1327 BCE.

Egyptian. Tempera facsimile by

Charles K. Wilkinson, circa 1923-27.

Metropolitan Museum of Art, New York. K A B U K I A C TO R I C H I K AWA D A N J Ū R Ō V ,

1774,by Katsukawa Shunshō.Japanese.

Woodblock print on paper.

N E B A M U N S U P E R V I S I N G E STAT E A C T I V I T I E S ,
Metropolitan Museum of Art, New York.

TO M B O F N E B A M U N , circa 1400-1352 BCE.

Egyptian. Tempera fascimile by

Charles K. Wilkinson, circa 1928.

Metropolitan Museum of Art, New York.

M OT H E R A N D C H I L D R E N AT T H E N E W Y E A R ,

PA N E L W I T H ST R I D I N G L I O N , circa
18th century, by Utagawa Toyoharu.

Japanese. Ink and color on silk.

604–562BCE. BabylonianfromMesopotamia

Metropolitan Museum of Art, New York.

(Modern Hillah). Glazed ceramic.

Metropolitan Museum of Art, New York.

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T H E S U P P E R AT E M M A U S , 1601,

A D O L E S C E N C E , O R S I ST E R S ,
by Michelangelo Merisi da Caravaggio.

1976, by Daphne Odjig. Canadian.

Italian. Oil and tempera on canvas.

Acrylic on Canvas.

National Gallery, London.

Private collection.

D E R S C H R E I D E R N AT U R ( T H E S C R E A M ) ,

circa 1893, by Edvard Munch. Norwegian.

Tempera and crayon on cardboard.

National Museum, Oslo.

BROKEN EGGS,

1756, by Jean-Baptiste Greuze.

French. Oil on canvas.

Metropolitan Museum of Art, New York.

R E G AT TA AT S A I N T E - A D R E S S E ,

1867, by Claude Monet.

French. Oil on canvas.

Metropolitan Museum of Art, New York.

T H E F O R E S T AT P O N TA U B E RT ,

1881, by Georges Seurat. French.

Oil on canvas.

Metropolitan Museum of Art, New York.

B R I D G E O V E R A P O N D O F WAT E R L I L I E S ,

1899, byClaudeMonet. French. Oiloncanvas.

Metropolitan Museum of Art, New York.

W E ST E R N FO R E ST ,

circa 1931, by Emily Carr. A P P R O AC H TO V E N I C E ,

Canadian. Oil on canvas. 1844, by J.M.W. Turner.

Art Gallery of Ontario, Toronto. British. Oil on canvas.

National Gallery of Art, Washington, DC.

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W AT E R - M O O N AV A L O K I T E S H V A R A ,
N AT U R A L E Z A M U E R TA / S T I L L L I F E , 1908,

first half of 14th century, unidentified

by Diego Rivera. Mexican. Oil on canvas.

artist. Korean. Hanging scroll,

Government of the State of Veracruz,

ink and color on silk.

Xalapa, Mexico.

Metropolitan Museum of Art, New York.

ST I L L L I F E W I T H O N I O N S , J U G A N D F R U I T ,

THE SINGER IN GREEN,

circa 1930-38, by William H. Johnson.

circa 1884, by Edgar Degas.

American. Oil on burlap.

French. Pastel on paper.

Smithsonian American Art Museum,

Metropolitan Museum of Art, New York.

Washington, DC.

T H E P E P P E R M I N T B OT T L E , A W O M A N S E AT E D B E S I D E A V A S E O F

1893/95, by Paul Cézanne. F LO W E R S , 1865, by Edgar Degas.

French. Oil on canvas. French. Oil on canvas.

National Gallery of Art, Washington, DC. Metropolitan Museum of Art, New York.

DANCERS, PINK AND GREEN,

LITTLE GIRL IN A BLUE ARMCHAIR, 1878,

circa 1890, by Edgar Degas.

by Mary Cassatt. American. Oil on canvas.

French. Oil on canvas.

National Gallery of Art, Washington, DC.

Metropolitan Museum of Art, New York.

GIRL IN A GREEN DRESS,

T W O D A N C E R S AT R E S T O R , D A N C E R S

1930, by William H. Johnson.

IN BLUE, circa 1898, by Edgar Degas.

American. Oil on canvas.

French. Pastel on paper.

Smithsonian American Art Museum,

Musée d’Orsay, Paris.

Washington, DC.

U N D E R T H E WAV E O F F K A N A G AWA O R , T H E
P O RT R A I T O F A Y O U N G W O M A N ,

G R E AT WAV E , circa 1830-32, by Katsushika

late 18th century, unknown artist. Pastel.

Hokusai. Japanese. Woodblock print.

Saint Louis Art Museum, Saint Louis.

Metropolitan Museum of Art, New York.

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I M AG E C R E D I T S

Pages 30 to 33 constitute an extension of these credits and this copyright page.

All gallery art is public domain (Creative Commons Zero license) and can be found at the

Metropolitan Museum of Art, with the following exceptions: Adolescence, or Sisters, by

Daphne Odjig. © Odjig Arts. Used with permission; Western Forest, by Emily Carr, Art Gallery

of Ontario, Toronto, Canada / Bridgeman Images; The Supper at Emmaus, by Michelangelo

Merisi da Caravaggio, National Gallery, London, UK / Bridgeman Images; Der Schrei der

Natur / The Scream, by Edvard Munch, World History Archive / Alamy Stock Photo; Approach

to Venice, by JMW Turner, public domain, Courtesy National Gallery of Art, Washington,

DC; Still Life with Onions, Jug and Fruit, by William H. Johnson, Smithsonian American Art

Museum, Washington, DC / Art Resource, NY;Naturaleza Muerta / Still Life, 1908, by Diego

Rivera, (scan) © Schalkwijk / Art Resource, NY, (artwork) © (2018) Banco de México Diego

Rivera Frida Kahlo Museums Trust, Mexico, D..F/ SODRAC; The Peppermint Bottle, by Paul

Cézanne, public domain, Courtesy National Gallery of Art, Washington, DC; Little Girl in a

Blue Armchair, by Mary Cassatt, public domain, Courtesy National Gallery of Art, Washington,

DC; Girl in a Green Dress, by William H. Johnson, Smithsonian American Art Museum,

Washington, DC / Art Resource, NY; Two Dancers at Rest or, Dancers in Blue, by Edgar Degas,

Fo r T h e o a n d I s a a c , w i t h l o v e . — H . H .

Musée d'Orsay, Paris, France / Bridgeman Images; Picture frames (various, throughout)

© gillmar / Shutterstock.com, and © 501room / Shutterstock.com, and © stevemart /

Fo r B e n j a m i n , w h o i s a l w a y s a n i n s p i r a t i o n . — G . H . Shutterstock.com, and © Wittayayut / iStockphoto.com.

“ Yo u u s e a g l a s s m i r r o r t o s e e y o u r f a c e ; y o u u s e w o r k s o f a r t

Cataloging in Publication

t o s e e y o u r s o u l . ” —G e o r g e B e r n a r d S h a w

Fo r R a c h a e l , m y f a v o r i t e a l w a y s , a n d f o r B r u c e , m y r o c k . S p e c i a l Hutchins, H. J. (Hazel J.), author

m e n t i o n t o C e i l i d h , t h e f u r r y y e l l o w d o g t h a t m a d e m y s t u d i o s o Anna at the art museum / Hazel Hutchins, Gail Herbert ; illustrated by

Lil Crump.

w a r m a n d i n v i t i n g . — L . C .

Issued in print and electronic formats.

ISBN 978-1-77321-043-8 (hardcover).--ISBN 978-1-77321-042-1 (softcover).--

© 2018 Hazel Hutchins and Gail Herbert (text)

ISBN 978-1-77321-045-2 (ePUB).--ISBN 978-1-77321-044-5 (PDF)

© 2018 Lil Crump (illustrations)

Second printing, January 2019

I. Herbert, Gail, author II. Crump, Lil, illustrator III. Title.

Designed by Antonia Banyard and Alexandra Niit

Cover designed by Alexandra Niit

PS8565.U826A83 2018 jC813'.54 C2018-901610-8

C2018-901611-6

Annick Press Ltd.

All rights reserved. No part of this work covered by the copyrights hereon may be

Published in the U.S.A. by Annick Press (U.S.) Ltd.

reproduced or used in any form or by any means—graphic, electronic, or mechanical—

Distributed in Canada by University of Toronto Press.

without the prior written permission of the publisher.

Distributed in the U.S.A. by Publishers Group West.

We acknowledge the support of the Canada Council for the Arts and the Ontario

Printed in China.

Arts Council, and the participation of the Government of Canada/la participation du

www.annickpress.com

gouvernement du Canada for our publishing activities.

Find Hazel Hutchins at www.hazelhutchins.net

Find Lil Crump at www.ideahousedesign.com

an Ontario government agency

un organisme du gouvernement de l’Ontario

Also available as an e-book. Please visit www.annickpress.com/ebooks.html for more details.

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I f o n l y t h e m u s e u m c o u l d b e t u r n e d i n s i d e o u t .

O r t h e w o r l d o u t s i d e i n .

Hazel Hutchins is the author of over

Gail Herbert ’s f i r s t c o l l a b o r a t i o n w i t h
Lil Crump is a graphic and visual

50 books for children and young design artist, with training in fine art
H a z e l H u t c h i n s p r o d u c e d M a tt l a n d

adults. Snap!, her most recent book and bookmaking.

(2008), winner of the Marilyn Baillie

with Annick, received multiple

Pi c t u r e Book Award.

award nominations and distinctions.