![]() ![]() They also gave me my palette.” He insisted that children like to be frightened in a safe place, although he did admit that some Slavic folk tales are pretty terrifying.īorn in Warsaw, Jan was the only child of Jerzy Pieńkowski, a country squire before the second world war, and Wanda (nee Garlicka), a scientist. As he put it, “the violence and hyperbole of the Old Testament stories found an echo in Desperate Dan and Dennis the Menace. ![]() Another inspiration for Pieńkowski was comics. One or two critics questioned the frightening nature of many of his picture books, and he certainly had a tendency towards the macabre and gothic. This deliciously scary yet funny pop-up book changed what could be achieved through paper engineering and he went on to explore this genre with titles including the inventive and funny Robot (1981) and the thrilling Little Monsters (1986).Ī page from Pieńkowski’s pop-up book Haunted House, 1979, which changed what could be achieved through paper engineering. The masterful Haunted House won Pieńkowski his second Greenaway award, in 1979. His interest in paper cut-outs, he said, stemmed from a wartime experience in an air raid shelter in Warsaw, where a soldier had kept the young Pieńkowski amused by cutting newspapers into wonderful shapes. Their first collaboration was the equally delicately illustrated A Necklace of Raindrops (1968). This was composed of the eastern European fairy tales that were close to Pieńkowski’s heart and featured an early appearance of his beautiful silhouette illustrations. ![]() He won the Kate Greenaway award in 1971 with the writer Joan Aiken for their second collaboration, The Kingdom Under the Sea. Pieńkowski said that he took his palette from comic strips such as Desperate Dan and Dennis the Menace. Mog, the stripy cat from the Meg and Mog stories. ![]()
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