โซืืื ืืชืืโฌ
โซืืืืืืจืช ืืื ืืืฆืงืืืืฅโฌ โซื"ืกืคืจืืืช ืขืืคืจ"โฌ
โซืืืืืจืช ืื ืืืืืช ืืืืืก ืจืืืโช ,โฌืืืก ืื ื ืืกโฌ โซโชThis publication was made possible by Lois Rosen, Los Angelesโฌโฌ
โซืืืืืืื ืืฉืจืืโช ,โฌืืจืืฉืืืโฌ โซืืืฃ ืื ืืขืจ ืืืืื ืื ืืืื ืืช ืข"ืฉ ืจืืชโฌ โซืืื ืืชืืโช :โฌืืืืืืจืช ืืื ืืืฆืงืืืืฅ ื"ืกืคืจืืืช ืขืืคืจ"โฌ โซืกืคืจืืืช ืืืืืจโช ,โฌืชืฉืข"ื (ืื ืืืจโช-โฌืืืืืกื โช)2013โฌโฌ โซืืืฆืจืช ืืชืขืจืืืโช :โฌืืืจื ื ืืจื ืืชโฌ โซืขืจืืืโช :โฌืื ืจืช ืืคืจืโฌ โซืชืจืืื ืืื ืืืืชโช :โฌืืืจื ืคืืืโฌ โซืฆืืืื ืืืืืืจืชโช :โฌืฆืืจ ืงืืฆืจโฌ โซืขืืฆืืโช :โฌืกืืคื ื ืืจืืชื ืขืืฆืืโฌ โซืืคืงืโช :โฌืืืืืจื ืคืืืืืโฌ โซืืืคืกืโช :โฌืืคืขืื ืืคืืก ืืชืจ ืืข"ืโช ,โฌืืจืืฉืืืโฌ โซืขื ืืืจืืืโช :โฌืืืืจ ืืชืื ืืกืคืจ "ืืืื ืืืจืืฉืืื โฌ โซโชOn the cover: Illustration from the book A Visit to Jerusalemโฌโฌ
โซืืชืขืจืืื ืงืืฉืจืช ืืจืืฉืื ื ืืช ืฉืื ืฉื ืืืืืืจืช ืืื ืืืฆืงืืืืฅ ืขื ืืืืืจืื ืฉืืืื ืืช ืืืืืชื ืโฌ โซืื ืืขืืื ืื ืืืขื ื ืื ืืฆืจ ืืืชืโช .โฌืืืฉื ืืฉื ื ืขืฉืืจืืโช ,โฌืืฉื ืช โช 1957โฌืขื โช ,1975โฌืืืืจื ืืืฆืงืืืืฅโฌ โซืขืฉืจืืช ืกืคืจื ืืืืื ืืฉืืชืืฃ ืคืขืืื ืขื "ืกืคืจืืืช ืขืืคืจ" ืืขื ืืืืกื ืืืืฆืื ืืืืืฆืื ืืืืจ ืขืโฌ โซืืืื ืฉืืื ืืืืฃโช.โฌโฌ โซืืืฆืงืืืืฅ ื ืืืื ืืืื ืกืงืกืื ืื ืฉืืืจืื ืื ืืฉื ืช โช .1922โฌืื ืขืืจืื ื ืืฉืคื ืืืืืืื ืื ืืืฉืืืืชโช,โฌโฌ โซืืืฉื ืช โช 1939โฌื ืืืฆื ืืขืืื ืืช ืืืืืชื ืืืืืจ ืืืืืโช ,โฌืฉื ืืืื ืฆืืืจ ืืืืงื ืืืช ืืืงืืืื ืฉืโฌ โซืืชืื ืโช .โฌืโช 1945-โฌืขืืชื ืืืฉืจืืโช ,โฌืืืื ืืื ืืชืืืจืจืช ืขื ืืืืโช .โฌืืืืจืื ืืืืืื ืืช ืกืคืจืืื ืฉืโฌ โซืืืจืืื ืืืคืงโช ,โฌืืื ืคืืจโช ,โฌืืืืื ืฉืจืื ืืกืืคืจืื ืจืืื ืืืจืืโช .โฌืืืืงื ืืืืึนืืช ืืืืืืื ืืืืืืื ืฉืชืืืจืโฌ โซืืื ืืืืจ ืืืื ืฉื ืืืืื ืืืจ ืฉื ืื ืืจืืืืชโช ,โฌืืืขืืจืจ ืื ืืืืืืจืื ืืขืืืข ืืจืืฉ ื ืืกืืืืโช.โฌโฌ โซโ โฌ โซืืกืคืจ ืืึผืืึผืจ ืืืืชืจ ืฉืืืืจื ืืื ืืืฆืงืืืืฅ ืืื ืฉืืืช ืืฉืืช ืฉื ืื ื ืื ืืืช ืืฆืืง ืืืืืโฌ โซืฉืจืื ืืืจ ืืฉื ืช โช 1957โฌืืืืืคืก ืืืืืืจืืช ืจืืืช ืขื ืืืื ืโช .โฌืืจื ืืืืืจืื ืืคืฉืจ ืืขืงืื ืื ืงืโฌ โซืืืจ ืงืืจืืชืื ืฉื ืื ื ืื ืืืืงืจ ืืขื ืืื ืื ืืื ืืงืจืื ืืช ืืืืืช ืืกืืคืืจโช .โฌืืืืชื ื ืืฆืืชโฌ
โซืืชืืโช" :โฌืฉืืืช ืืฉืืช ืฉื ืื ื'ืื"โฌ โซโชFrom: Hannaโs Sabbath Dressโฌโฌ
โซโช3โฌโฌ
โซืืชืืโช" :โฌืืื ืืืฉืคืื"โฌ
โซืืชืืโช" :โฌืืื ืฉืื"โฌ
โซโชFrom: A Family Dayโฌโฌ
โซโชFrom: My Fatherโฌโฌ
โซืชืืื ืืืืงืโช ,โฌืืืช ืขืืงืจ ืชืฉืืืชโืืื ืืืฉืืืช ืืืขืืช ืคื ืื ืืืืฉืคืืช ืืช ืจืืฉืืชืื ืืื ืืคืืฉโฌ โซืืืืคืฉืจืืช ืืืชืืื ื ืืืืื ืืช ืืืชืจืืฉืืืืชโช .โฌืืื ืชืืื ืืชืื ืฉื ืืกืคืจ ืืืืจื ืืืืชืจ ืืืืชื ืืืืืชโฌ โซืืฉืืขืจ ืฉื ืื ื ืื ืฉืงืจื ื ืืืื ื ื ืฉืืืืช ืื ืฉืืืชื ืืืืืชืืช ืืืืคืืืช ืืืชื ืืฉืืืช ืืืืืืโฌ โซืืืืจโช .โฌืืืจืืช ืืืืื ืืคื ืืกืืโช ,โฌืืงืืฉืจ ืืื ืืืขืฉื ืืืื ืฉืขืฉืชื ืืืืื ืืืื ืืืืืจืช ืืฉืืชโช,โฌโฌ โซืืืืจืื ืฉื ืืืฆืงืืืืฅ ืคืฉืืืื ืืฉืืืจืื ืขื ืกืืจ ืืจืืจ ืฉืืื ื ืืชืืืโช.โฌโฌ โซืฉืื ืืื "ืฉืืืช ืืฉืืช ืฉื ืื ื ืื" ืืืชืืจ ืืชืจืืฉืืช ืคืืืืชโช ,โฌืจืื ืืกืคืจืื ืฉืืืืจื ืืืฆืงืืืืฅโฌ โซืืฆืืื ืืืืื ืืฉืจืื ืืช ืืฆืืืืช ืืืืื ืืืืืจื ืืื ืืฉืคื ืคืฉืืื ืืช ืืืชืจืืฉ ืืขืืืื ืฉืโฌ โซืืืืืืืโช .โฌืชืืื ืช ืืขืืื ืืืฉืืจืืืช ืืื ืืจืืจื ืืืืืจืืชโช ,โฌืื ืื ืฆืืขืื ืืช ืืืืคืืืืืชโช .โฌืืืจืืื ืฉืโฌ โซืขืืื ืื ื ืืฆืืช ืืืืช ืืืื ืื ืืืืืโช ,โฌืืืืกืืจืช ืืืฉืคืืชืืช ืืืงืืคื ืืืชื ืืฉืืฉืช ืื ืืืฃโฌ โซืืืืืืโช .โฌืกืื ืื ืืืืืจืื ืืืื ืจืฆืื ืื ืืคืฉืื ืืืืฆืจ ืืืขื ืืืืืื ืชืืื ืช ืืืืืืื ืืืจืืื ืื ืฉืืื ืโฌ โซืืืืื ืขื ืืืืืโช.โฌโฌ
โซโช4โฌโฌ
โซืืชืืโช" :โฌืืืื ืื ื ืืืื!"โฌ
โซืืชืืโช" :โฌืืืื ืื ื ืจืืคื!"โฌ
โซโชFrom: Hurrah! Iโm All Grownupโฌโฌ
โซโชFrom: Hurrah! I Am a Doctorโฌโฌ
โซืืื ืืืื ืืืืืจืื ืฉื ืืืฆืงืืืืฅ ืืืฆืงืื ืืืืืื ืืืฆืืืืช ืืขืืืื ืฉื ืืืืืื ืืืฉืืฉืื ืืื ืืืโฌ โซืืืืงืืโช .โฌืืืืืงื ืืืช ืืื ืืืื ืขื ืืจืืืช ืืกืคืจ ืืืื ืฉืื ืืืชืืื ืช ืืืช ืืืื ืขื ืืจืืืช ืืกืคืจโฌ โซืืื ืฉืื (ืฉื ืืื ืืืช ืืืืื ืฉืจืื) ื ืืืจืืช ืืืืจืืจ ืืฆืืคืืืช ืืืืจืชืืืช ืืืืืจื ืืืืืืืืืช ืฉืโฌ โซืชืคืงืืืโช ,โฌืืขืืื ืื ืืืืชืจืืช ืืกืคืจืื ืืจืืืฉื ืืืชโช.โฌโฌ โซืืืืืจืื ืืฉืจืืืื ืืืคืืจืฉ ืืช ืชืคืงืืื ืืืืืจ ืืืกืืจืชืืื ืืืืืืื ืขื ืืืื ืืืงื ืืืฉืคืืชืืชโฌ โซืืืืืืืืช ืฉื ืฉื ืืช ืโโช :60โฌืืึตื ืืื ืืืืคืืช ืืืืช ืืืืืืืโช ,โฌืืืื ื ืืฉื ืชืคืงืื ืคืขืื ืืืจืคืชืงื ืโฌ โซืืืืช ืืืืืฆื ืืโช.โฌโฌ โซืฉืืืคืชื ืฉื ืื ืืื ืงืื ืืืืืช ืืืื ืืืืืืืืช ืืืืืืจืื ืฉืกืืืื ืขืืืืช ืืืจืืื ืฉื ืกืคืจืืโฌ โซืจืืื ืฉืืืืจื ืืืฆืงืืืืฅ ื"ืกืคืจืืืช ืขืืคืจ"โช .โฌืืกืคืจ ืืืื ืื ื ืืืื! ืืฆืื ืกืืจืช ืฉืืืืช ืืชืฉืืืืชโฌ โซืืืืจืืืช ืืืืืืฉืืช ืืืื ืืช ืืืกืืืช ืืืืืโช" :โฌืืืืื ื ืืื ืืืจ ืืืื ืื ืืืืื ืขืืืื?"โฌ
โซโช5โฌโฌ
โซืืชืืโช" :โฌืื ื ืขืืื ืืื ืืื"โฌ โซโชFrom: I Work Like My Dadโฌโฌ
โซืืกืคืจ ืื ื ืขืืื ืืื ืืื (ืืขืืืืื ืฉื ืืืจืืื ืืืคืง) ืืืืืจืื ืืืืช ืืขืืกืงืื ืืืงืฆืืขืืช ืืืืื ืืโฌ โซ ืืืืโช ,โฌืจืืคืโช ,โฌืืืคื ืืขืื โช -โฌืืืฆืื ืืฉื ื ืฉื ืื ืขืืื ืืืคืืข ืืื ืืืืงื ืืช ืืืื ืืืจืกื ืืืงืื ืชโช:โฌโฌโซ"ืืื ืืืคื ืืื ืืจื ืืขืืืืช ืืขืืืืชโช ,โฌืืื ืื ื ืืฉ ืืฆืงโช ,โฌืืืคืืช ืืืื ืืืช ืงืื ืืช"โช.โฌโฌ โซืื ืืืืจื ืืกืคืจ ืืืื ืื ื ืจืืคื! ืืฆืืืื ืืืืื ืืืฉืืงืื ืืจืฆืื ืืช ืชืืืืืช ืืชืคืงืืื ืืืืืจืืโช:โฌโฌ โซืืืื ืืฉืืง ืืชืคืงืื ืจืืคืโช ,โฌืืืืืื ืืื ืึตื ืืืืืืชโช .โฌืืืชืจืืช ืืกืคืจืื ืืืืืืช ืืฃ ืื ืฆืืืื ืืโฌ โซืืืจืื ืืืืื ืืืืืจืืช ืืืืคืื ืขืฆืืืืโช ,โฌืืืืื ืฉืืืืจื ืืื ืื ืืืืื ืืฉื ืื ืืืโช.โฌโฌ โซืืขืื ืืื ืขืืฉืืืืืช ื ืจืืื ืืืืืจืื ืืฉืืจืืโช ,โฌื ืขืืจื ืฆืื ืืืช ืืคืฉืืืื ืืืืืจืโช ,โฌืื ืืื ืื ืืฉืงืคืืโฌ โซืืช ืชืคืงืืื ืฉื ืืกืคืจ ืืืื ืืชืืืื ืืึดืืจึผืืชโช .โฌืืืืืืจืช ืืื ื ืจืืื ืืขืืืืชื ืืื ืืช ืืืืื ืืืโฌ โซืกืืืจื ืฉืืืืจืื ื ืืขืื ืืืกืืจ ืืืื ืืืืข ืขื ืืืืฉืืื ืืืกืืกืืื ืฉื ืืืฆืืืืช ืืขื ืขืชืืืโช.โฌโฌ โซโ โฌ
โซโช6โฌโฌ
โซืืชืืโช" :โฌืืืืื ืืกืืื ืืขืืื"โฌ โซโชFrom: Children from Around the Worldโฌโฌ
โซืืกืคืจ ืืืืื ืืกืืื ืืขืืื (ืืืช ื ืืืืช) ืืกืคืจ ืื ืงืืืืืช ืืืืืื ืฉื ืืืื ืืืงืกืืงื ืโช,โฌโฌ โซืึถื ืึผืโืกึทืื ืืืคื ืืชโช ,โฌืงืจื ืืฉืืืืืฆืโช ,โฌืฉืืโืฉืื ืืกืื ื ืืืืืื ืืืจืื ืืจืืื ืชืืโช .โฌืืื ืืืืจ ืืืคืืข ืืื ืืโฌ โซืืืื ืืืืืฉ ืืกืืจืชืโช ,โฌืืืฆืื ืืืืืืื ืืืคืืื ืืื ืืกืืืืช ืืืืื ืฉืืโช .โฌืื ืืื ืืืกืจืื ืืืืื ืฉื ืืชโฌ โซืโโช 60โฌืืืืข ืฉืื ืืื ื ืืืฉ ืืื ืืืจืืื ืืืจืืชโช .โฌืืกืืคืืจ ืืืืืื ืืช ืืืืืจโช ,โฌืืื ืืืื ืืืฉืืจโฌ โซืฉื ืืืืืืืช ืืืืขืชื ืืืืืืืชโช ,โฌืืืืจืื ืืช ืืงืืจื ืืืจื ืจืืฉืืช ืืืืืืืชืืช ืืืืืข ืื ืืกืจ ืืโช.โฌโฌ โซืฉืืืื ืืืืื ืื ืืื ืคืจืืื ืืขืืืื ืืืื ืืืื ืืืืืข ืืื ืืืคืืื ืืจืืื ืฉื ืฉืืชืืฃ ืืคืขืืื ืืืโฌ โซืืืฆืงืืืืฅ ื"ืกืคืจืืืช ืขืืคืจ"โช.โฌโฌ โซืืืืืื ืขื ืืงืืืืช ืจืืืงืื ืฉืืืจืื ืขืจืืืโช .โฌืืืฉืโช ,โฌืืื ืืืืืื ืืืืืืจืื ืืจืืื ืืขืืื ืืืคืืขโฌ โซืขืืื ืืืชืืืจืจ ืืงืืืืฅ ืฉืืืจ ืืืึผืื ื "ืืฆืืจ ืืืืืฅ"โช.โฌโฌ โซืื ืืกืคืจ ืืืื ืืืจืืฉืืื (ืืืช ื ืืจืื) ืืืงืฉ ืืื ืืื ืขืจืื ืืืื ืืืชโช .โฌืืกืืคืืจ ืืชืืจ ืืืืโฌ โซืืฉืคืืชื ืฉื ืืืโช ,โฌืืืืโช ,โฌืืืกื ืืฉืืจื ืืืจืืฉืืื ืืืจืช ืืฉืจืื ืืืกืคืจ ืขื ืืชืจื ืืืจืฉืช ืืฉืจืืืืชโโฌ โซืืืืืืชโช .โฌืืืืจืื ืืืกืืคืื ื ืืคื ืจืืฉื ืืืืืข ืืื ืืกืืืขืื ืืืฆืืจ ืืืืื ืืืืืืชโช.โฌโฌ
โซโช7โฌโฌ
โซืืืชืืื ื ืืช ืืืืืจืื ืืืจืืง ืืืืืฉืื ืฉื ื ืืืืืฉื ืืช ืืงืืื ืฉื ืกืคืจ ืืืืืื ืืืืืืจ ืืืกืืโฌ โซืชืจืืืชื ืืืฉืงืฃ ืืช ืืขืจืืื ืืื ืืจืืืช ืฉืฉืืคื ืืื ื ืืืืจื ืืช ืืืืืืโช .โฌืืงืืจื ืืืงืืจืชื ืืโฌ โซืืืื ื ืืืืื ืืืื ืชืคืงืืื ืืืืืจ ืื ืืืืื ืืืืขืจืฆื ืืกืืื ืืืืืโช ,โฌืืืืืืฉืื ืืช ืืฉืื ืืืืโฌ โซืืืืจืชืืื ืืืชืจืืืชืืื ืฉืืชืจืืฉื ืืื ืืืฉืจืื ืืืขืืืโช .โฌืื ืืืจืืช ืืคืขืจโช ,โฌืืืืืจืื ื ืืืขืืโฌ โซืืื ืืืืืื ืืขืืฉืืืืช ืืืื ื ืขื ืืชืื ืืืืื ืืืฉืืจ ืืืชื ืืื ืืืคืฉืจโช .โฌืืืืื ืื ืืืืืืชโฌ โซืืืืืื ืืกืื ืืืืฆืื ืฉืฆืืืจื ืืขืืฆืื ืืืฆืงืืืืฅ ืืคื ื ืึนืืืโช :โฌืืืจืื ืืืืจ ืืโช ,โฌืฉืืื ืืืืงืื ืโฌ โซืืืืืช ืขืฆืืโช ,โฌืืืฉืืช ืืืื ืงืืจืืชโช ,โฌืืืืืืจืื ื ืืฆื ืขืืคืจโช .โฌืื ื ืืฆืจืช ืืื ืืฉื ืืื ืืงืืื ืกืืืืชโฌ โซืืืืืฆืืื ืฉื ืชืื ื ืฆืืโช.โฌโฌ โซืกืื ืงืกืื ืฉื ืืืืึผืืช ืื ืืืืช ืืืื ื ืืืืกืฃ ืืืืืจืื ืืืื ืืคืื ืืืงืื ืืืืืโช ,โฌืืขืืื ืืืืืจโฌ โซืฉืื ืืื ืืื ืชืคืงืื ืืฉืื ืืืืื ืขืจืื ืืกืืจ ืืืืืืจืจืืืโช .โฌืืืืจืืช ืืโช ,โฌืืืชืจ ืืื ืจืืื ืืืจ ืืืืืจืืโฌ โซืฉื ืืืฆืงืืืืฅโช ,โฌืืื ืืืืืืช ืืืืชืจ ืืขืืืช ืกืคืจื ืืืืืื ืฉื ืืืื ืโช.โฌโฌ
โซืืื ืืืฆืงืืืืฅโช2012 ,โฌโฌ โซโชEva Itzkowitz, 2012โฌโฌ
โซโช8โฌโฌ
as the charactersโ direct gaze and their smiley countenance, establish an emotional, experiential connection between the reader and the transmitted information (p. 7). The seamless integration of prose and fact, fiction and information, characterizes the collaboration between Itzkowitz and the Ofer Library. Values are interwoven into the narration about distant lands. For instance, among the illustrated children of the world is Oded, the kibbutz-dweller known as the โbrave sabra.โ The book A Visit to Jerusalem (by M. Carmi) also seeks to instill national and religious values. The book depicts a family visit to Jerusalem, Israelโs capital city, highlighting Jewish-Israeli heritage sites. Adding an emotional dimension to the informative aspects of the book, the illustrations contribute to the formation of national pride. โ Looking back at the illustrations half a century later, they demonstrate the place of illustrated childrenโs books as cultural documents reflecting the norms and values then instilled in children. The contemporary critical reader might be struck by the distinct gender roles and the admiration of national symbols, which have since undergone change. Yet, in spite of the time gap, the illustrations speak to the current yearning to protect and preserve the innocence of childhood. This yearning is evoked most strongly by the publishing houseโs signature illustration, designed and painted by Itzkowitz some fifty years ago, which has since become iconic in its own right. At its center sits a girl reading, with a fawn (ofer in Hebrew, as in the name of the publishing house) standing behind her. Thus is a symbolic parallel drawn between the two, as representatives of eternal innocence. The secret charm of childhood arising from the collection of illustrations lies, therefore, in the safety and lucidity of the world depicted, where each person plays a unique role and everything is arranged according to a set order and hierarchy. It is this clarity, more than any other aspect of Itzkowitzโs illustrations, that stands out in contrast to contemporary childrenโs books.
on the cover of My Father (both by Yemima Sharon) clearly demonstrate the social expectations placed upon parents and the totality of their role, also evoked by the possessive titles. The illustrations explicitly delineate traditional gender roles, reflecting the ideal family dynamics in the 1960s: the mother as the caretaker, both of the home and of the children, while the father plays an active, adventurous role at home and outside of it (p. 4). โ Every little kidโs desire to be grownup and to resemble the adults he or she admires is at the heart of many books illustrated by Itzkowitz on behalf of the Ofer Library. The book Hurrah! Iโm All Grownup presents a series of rhyming questions and answers demonstrating the relativity of size: โIs he actually a grownup or still a little child?โ (p. 5). The book I Work Like My Dad (adaptation: Uriel Ofek) portrays fathers engaged in a variety of occupations โ fisherman, physician, baker, and more โ while the flip side of each page shows a child imitating his or her father: โMy father bakes fresh bread and delicious cakes; I, too, knead dough, in order to bake little rollsโ (p. 6). The illustrations to Hurrah! I Am a Doctor also depict children playing adult roles with utmost solemnity: the boy enacts the part of the doctor, while the girl embodies the anxious mother (p. 5). The titles of the books urge the children to grow up quickly and gain independence, an ideal in light of which children of that era were raised. Contemporary eyes may perceive the straightforward, uncynical illustrations to be very simple, but it is thus that they exemplify the bookโs role as a tool in the process of socialization. The illustrator does not view her work as fine art, but rather as a means of informing children about the basic concepts of reality and the future. โ The book Children from Around the World (by A. Gadot) is a compilation of anecdotes from the lives of the Mexican Juan, the Japanese Heniu-San, Carl from Switzerland, the Chinese Shin-Chon, and other children across the globe. Each illustration portrays a girl or a boy in traditional attire, surrounded by imagery typical to their environment, offering the children of the 1960s information that would otherwise have been inaccessible to them. The stories accompanying the illustrations, as well
The exhibition ties Eva Itzkowitzโs name to the illustrations that have marked our childhood, but whose creator remained unknown until now. Over nearly two decades, from 1957 to 1975, Itzkowitz illustrated dozens of childrenโs books in collaboration with the Ofer Library and with its founder and director, Shlomo Aluf. Itzkowitz was born in Saxony, Germany, in 1922. The victim of anti-Semitism, she was forced to leave her homeland in 1939. She studied portraiture at the Academy of Athens in Greece, where she remained until the end of the Second World War, immigrating to Israel (then Palestine) in 1945. Her illustrations adorn the books written by Uriel Ofek, David Peโer, Yemima Sharon, and many others. The typical childhood portrait fashioned by Itzkowitz has touched childrenโs hearts for many years and continues to evoke longing and nostalgia in adults. โ Eva Itzkowitzโs best-known book is Itzhak Dmiโelโs Hannaโs Sabbath Dress, first published in 1957 and reprinted in numerous editions since. The illustrations enable us to easily follow Hannaโs whereabouts from morning to evening, even without consulting the words of the narrative. Her figure is always foregrounded, drawing the readerโs attention to her facial expressions. Revelatory of her feelings at every encounter, they facilitate the readerโs comprehension of her adventures. Most memorable is the figure of the golden-haired Hanna, whose coal-stained dress is whitened and illuminated by moon rays. Though the story contains a fantastic element linking the girlโs good deed to the Sabbath atmosphere, the illustrations remain simple, maintaining a clear order that does not aim at over-sophistication (p. 3). โ Unlike the marvelous occurrence described in Hannaโs Sabbath Dress, most of the books illustrated by Itzkowitz mirror the daily experiences of Israeli children, elucidating that which takes place in grownup society. The defined, material worldview they delineate is simultaneously colorful and optimistic. The figure of the boy or girl stands at its core, enveloped by the familial framework that offers a safe haven. The style of the illustrations reveals a sincere desire to create an idyllic, harmonious picture on behalf of the children, from which they may learn all about life. In Itzkowitzโs illustrations, the mother and father infuse a sense of security and stability into the lives of children, while serving as role models. The portraits of the mother and son on the cover of the book My Mother and the picture of the daughter and father
Days of Innocence Illustrator Eva Itzkowitz and the Ofer Library