Quint BuchholzBorn in 1957 in Stolberg | Part-time studies of art history at the Ludwig-Maximillian University of Munich | Afterwards studies in painting and graphics at the Munich Art Academy | Has worked as a freelance painter and illustrator since 1979 | 1987 first illustration for fiction and children’s book publishing houses | 1988 series of drawings for the literature insert of DIE ZEIT for the Frankfurt Book Fair | 1989 series of posters for IG Medien | 1989 first book cover for the Carl Hanser Publishing House | 1993 first picture book with own text (“Schlaf gut, kleiner Bär” / Sleep Well, Little Bear) | 1993 book cover for “Sophie’s World” by Jostein Gaarder, which became an international success | 1995 illustrations for “Nero Corleone” by Elke Heidenreich | 2001/2002 series of approx. thirty object boxes and assemblages | 2005 and 2007 stage setting for “Der Golem” and “Caligula”, two stagings by Jochen Schölch at the Metropoltheater of Munich
Distinctions (selection)
1991 “Golden Badge” of the Bratislava Biennale | 1994 A New York Times "Outstanding Book of the Year" for “Sleep well, little bear” (Schlaf gut, kleiner Bär) | 1997 “Vlag en Wimpels” for Nero Corleone; Dutch award for the best children’s book for children six years and older | 1998 Bologna Ragazzi Award for “Der Sammler der Augenblicke” (The Collector of Moments) | 1999 “Prix Enfantaisie” French prize for the best children’s book of the year for “Le Collecfionneur d'Instants” (The Collector of Moments) | 1999 “One of the ten Best Illustrated Books of the Year” (The New York Times Book Review) for The Collector of Moments (Der Sammler der Augenblicke) | 2000 Mildred L. Batchelder Award (American prize for the best foreign book) for “The Collector of Moments” (Der Sammler der Augenblicke)
Stories become pictures and pictures tell stories
Illustration always has a motive and almost always aims to fulfil a purpose. Those who illustrate “illuminate” stories and “give light” to issues. They add their view or their “light” to something already given. By doing so, illustrators assist authors, fire their imagination and finally and above all paint their own good illustrations – illustrations that tell a lot, but do not reveal too much, illustrations that do not repeat a story, rather play around with it, clarify it, and expand it, illustrations that ask questions, and illustrations that make us want to look and not lose focus. How can we find our own illustrations in someone else’s text or in an issue we are faced with? In what work sequences can we get closer to a story? How can we consolidate a complex issue into a “legible” picture? What illustrative symbols can tell a story? And also: what perils loom in a typical work day of an illustrator?
Every participant should be willing to intensively dedicate him or herself to an illustration project of his/her choice, whether as a book or single sheets. One week is a relatively short time period for this. You are therefore recommended to work with a technique that you are already familiar with.
Participation requirements and application documents
Good knowledge of drawing/painting, approximately 5 – 10 revealing photos or prints of own work. Short CV and description of your own expectations. Max. number of participants: 12
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