This summary analyzes an illustration from Quentin Blake's 1995 wordless picture book "Clown". The illustration on page 13 depicts a wealthy mother throwing the toy clown out the window despite her daughter's interest in it. The summary analyzes the use of color and symbolism to contrast the wealthy home with indifference to the discarded clown, representing Blake's critique of societal indifference to the less fortunate.

1. HISTORY AND CRITIQUE ESSAY
A Detailed Analysis of Quentin Blake’s Clown.
INTRODUCTION
Quentin Blake’s Clown illustration appears in his book of the same title. Quentin
Blake, an established children’s book illustrator and first Children’s Laureate from
1999-2001, wrote and illustrated “Clown” in 1995.
Clown was unusual for both Quentin Blake and children’s literature, as it contains
no written narrative, even though there was originally written narrative during the
making. Despite this, it clearly tells the story of a toy clown who, having been
discarded by his previous owner, goes to find a new owner to help rescue the other
toys from the bin.
By applying different methodologies of analysis to an illustration, it is possible to
see beyond the illustration and read a deeper understanding of the story. It is also
easier to understand what was the story was all about.
This essay will analyse the illustration on Page 13 (Fig 01) from Quentin Blake’s
Clown (1995), discussing its meaning within the book. The essay will also discuss
some of the ideological content that was described in the illustration, including
colours, expressions and even the unspoken narrative that is not expressed in text.
BACKGROUND/ CULTURAL/ HISTORICAL CONTEXT TO PRODUCTION OF ARTWORK
Quentin Blake was born in Sidcup, Kent in 1932. He was then educated at
Chislehurst and Sidcup Grammar School from the age of 9. In 1949, he began
drawing cartoons for Punch magazine. In 1951, he began two years of National
Service, serving in the Royal Army Educational Corps. Afterwards, he went to
Downing College in Cambridge to study English.
In 1957, he did some part-time work, doing life-drawing classes at Chelsea Art
School, and then in 1960, he illustrated his first children’s book called A Drink of
Water, which was written by John Yeoman. Eight years later, he wrote his first
children’s book, Patrick, which he also illustrates in full colour.

2. In 1974, he began collaborations with such authors as Russell Hoban, Michael
Rosen, Joan Aiken and, four years later, Roald Dahl. In 2002, he was involved in
setting up The House of Illustration, a charity. In July 2014, the House of
Illustration opened its doors near St. Pancras International Station with an
exhibition of Quentin Blake’s work.
RELATION TO ART/ ILLUSTRATION OF PREVIOUS ERA
Quentin Blake draws his inspiration from everyday life situations and objects. Most
of Blake’s illustrations involve real life objects; making sense of the real world
through drawing it (Lawrence, 2009). Most of Blake’s illustrations were quite
similar to the earlier illustrator, Edward Ardizzone. In 1956, Ardizzone (1900-1979)
won the first Kate Greenaway Medal for his book, Tim All Alone. For many years,
Quentin Blake has illustrated many books for a variety of authors, but Clown
marked a change in direction to using his own art to tell his own story.
Stories have been illustrated since the earliest times but it was probably not until
the 18th century that artwork was being used regularly to decorate children’s
literature. It was the 19th century before illustration started to help to tell the
story rather than be separate from it. Salisbury and Styles (2012) think that the
first proper children’s book illustrator was Randolph Caldecott (1846-1886), who
Maurice Sendak ‘heralded the beginning of the modern picture book’ (Salisbury and
Styles, 2012).
Throughout the late 19th century and early 20th century, many classic children’s
books were written. Many of the characters of these books have become defined
by their illustrators (e.g. Alice in Wonderland, Winnie the Pooh and Paddington
Bear).
Only a few authors illustrated their own books and so had complete control over
how their characters looked. Perhaps, the best known of these would be Beatrix
Potter (1866-1943) and Jean du Brunhoff (Babar, 1899-1937, later to be continued
by his son, Laurent de Brunhoff in the same style.).
Other authors have had famous collaborations with illustrators (e.g. A.A. Milne and
E.H. Shepard) and it is now very hard to visualise the characters of the book as

3. looking different. Other books have been illustrated by more than one illustrator
(e.g. Alice in Wonderland (John Tenniel, Lisbeth Zwerger, Ralph Steadman and
Tove Jansson – better known for the Moomins) and Paddington Bear (Peggy
Fortnum, Fred Banbery, Ivor Wood, David McKee - better known for Mr. Benn,
Barry Macey and R. W. Alley).
Each generation might have its favourite illustrator of these stories.
Apart from the authors who did their own illustrations, the illustrators were telling
the authors’ stories. Salisbury and Styles (2012) say that in the 1950s, the line
between artists and authors became blurred. Famous graphic designers started to
write and illustrate picture books to explore visual thinking, and in the 1960s,
British artists started to make picture books, too.
In 1963, Maurice Sendak produced Where the Wild Things Are - its illustrations
were controversial at the time it was released - and many artists and illustrators
turned their attention to classic stories such as those by the Brothers Grimm. It
was at this time that Quentin Blake started illustrating for other authors and in
1968, produced his first solo book, Patrick.
INTENTION OF PRACTITIONER/ NARRATIVE CONTENT
The goals of the author were to entertain children and families, of all ages. In an
interview for Teachers TV (2009), Blake mentioned that even though there is no
written narrative, the original idea of the book was to include some text.
However, when Blake wrote the words for the first page he thought that, if the
main character were a clown, he would do a story in mime, as if it were in the
style of a silent comedy film.
So he would do the story, similar in style to one of his storyboards. The storyboard
was used to decide which illustrations to use and where to put them. The
illustrations would tell the story themselves. Blake would say ‘Using picture
books…you not only learn to read, but you learn to read experience as well at the
same time.’ (Blake, 2009)
IDEOLOGICAL CONTENT

4. The ideological effect in the story provides messages of friendship, loyalty,
generosity and kindness. However, the chosen illustration on page 13 differs from
that. Blake has made some comments on society, particularly how society can cast
aside the underdogs (e.g. homeless and hungry) and how some people consider
themselves better than others.
Also, the book shows how we have become a disposable society, like throwing
away perfectly good items in the rubbish. In contrast to this, other illustrations in
the book show how people can care and be kind to others, even though they have
little themselves.
Blake gives a message showing life’s differences, but suggests that a kinder society
creates a happier society. Blake has highlighted some differences between
affluence and poverty.
In the chosen illustration (page 13), it is the rich household (underlined by the use
of golds, purples and crystal chandeliers) that discards the homeless, unloved
clown, showing no respect, compassion nor interest; he is not even worth a look,
as she throws him out of the open window.
By including the child in the illustration, Blake shows the innocence and kinder
outlook on life that children often have, further demonstrating the contrasting
attitudes of society. The British Council for Literature (2012) mentioned that the
book has an underlying moral theme about rejection and connectedness.
CONSTRUCTION OF MEANING/ REPRESENTATION/ SIGNIFYING PRACTICES
The image of the clown developed during the process of illustration into a less
grotesque character. Blake decided that the clown should not have the red nose or
the glum look of conventional clowns. The clown in this story is opposite to how
the readers think of clowns – a positive character. Joanna Carey (2003) said that
‘…the gallant little clown is so minutely observed and so dashingly drawn that he is
a masterpiece of unsentimental anthropomorphism’.
The chosen illustration is made using watercolours and pen and ink, and Blake
usually does his illustrations, using the light box technique. Quentin Blake’s
relaxed and free–flowing lines create an impression of liveliness, humorously

5. reflecting the everyday trials of life, sometimes showing a sense of improvisation
(Joseph, 2004). The chosen illustration is framed by purple flowing curtains.
Purple, a colour that is often associated with royalty, is here representing wealth,
grandness and pride. The addition of gold frames and lights adds to the idea of
luxury. Some of the colours (including that for the curtains) feature some shading
and textures, which represents the realism of the illustrations. There are also
some other colours that are associated with royalty. These include the silver for
the chandelier and the oranges and yellows for the footstool.
The irony is that the reader is led to think that the daughter might keep the toy
clown and that this will be the happy ending. The sizes and perspectives used in
the drawing of the room are on a grand scale and the mother and daughter seem
insignificant by comparison. Within the chosen illustration, there was a lot of
space that Blake could fill with items associated with richness. The relationship
between the mother and the daughter is in contrast in this illustration to that of
the poor family. The mother is shown to have more power than the daughter. It is
clear that she was not interested in the clown or her daughter’s love of it. She is
more interested in alcohol and fashion as depicted by her jewellery and painted
nails, and the collection of bottles and glasses on the table by the window.
The readers do not see much of the toy clown, as it is halfway through the open
window. The emphasis is on the action of being tossed out of the mother’s hand -
without her looking at the clown. The red colour of the mother’s cheeks show that
she is quite cross with the daughter. Blake was apparently mocking the rich
society for being uncaring and not interested about the unloved and homeless toy.
AUDIENCE/ CRITICAL RECEPTION
The Guardian newspaper describes Quentin Blake as ‘a master of graphic
eloquence…’ while Margaret Clark from Books for Keeps describes Clown as ‘an
astonishing tour de force’ (Blake, Q. 1995: back cover).
Clown was shortlisted for the Kate Greenaway Medal in 1995 and the National Art
Library Illustration Award in 1996. In the same year, Clown won bronze for the 0-5
years category at the Nestlé Smarties Book Prize and won the International Bologna
Ragazzi Award of Italy in 1996.

6. Michael Rosen (2014, online) says: “This is a mysterious, funny, moving book, all
done with pictures. It gives children a chance to make a story. It is a Charlie
Chaplin film on a page”. One of the illustrations from page 10 of the book was
later used as a birthday card (Blake, 2012).
During his talk at the Hay Festival, Blake said “…I met one or two parents who said
to me, “But, it hasn’t got any words for us to read. What are we supposed to do
with it?” With Clown, because there are no words, you have to meet it. You have
to know that you’ve been involved in it”. (Blake, Q. 2013: online)
CONCLUSION
What was learnt from the illustration chosen is that, in the book, there is a
difference between a rich society and a poor society. The former society is shown
as careless and disinterested, while the latter society has a message of friendliness
and kindness. Colours associated with richness and royalty are used to show the
luxury associated with the rich society.
In contrast the colours used to show poverty are more muted. He uses colour to
express both status and emotions. Blake showed the readers a variety of messages
in Clown, including friendship, loyalty, generosity and kindness. Considering the
differences in his illustrations of rich and poor, it is difficult to decide which he
was more successful in portraying.
REFERENCE / BIBLIOGRAPHY
BLAKE, Q., 1995. Clown. London: Random House
BLAKE, Q., 2012. Beyond the Page. Tate
BLAKE, Q., 2013, Qb Timeline [online] [viewed 11th February 2015]
http://www.quentinblake.com/index.php/meet-qb/timeline
BLAKE, Q., 2013, Quentin Blake at the Hay Festival 2013 [online] [viewed 24th
February 2015] http://www.quentinblake.com/index.php/news/talks-and-
appearances/item/498-quentin-blake-at-the-hay-festival-2013

7. BRITISH COUNCIL, 2012, Quentin Blake | British Council Literature [online]
[viewed 10th February 2015] http://literature.britishcouncil.org/quentin-blake
CAREY, J., 2003, Joanna Carey on Quentin Blake | Books |The Guardian [online]
[viewed 10th February 2015]
http://www.theguardian.com/books/2003/apr/19/featuresreviews.guardianrevie
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LAWRENCE, M., 2009, Quentin Blake | The Illustration Watercooler [online]
[viewed 16th February 2015]
https://illustrationwatercooler.wordpress.com/tag/quentin-blake/
JOSEPH, M. S., 2004, Illustration [online] [viewed 16th February 2015]
http://comminfo.rutgers.edu/~mjoseph/Illustration.htm
PADDINGTON BEAR, 2014, Books [online] [viewed 24th February 2015]
http://www.paddington.com/gb/books/illustrators/
ROSE, G., 2007, 2012. Visual Methodologies. 3rd ed. London: Sage
ROSEN, M., 2014, Michael Rosen’s favourite books: Quentin Blake’s Clown, Coram
Boy and Captain Underpants| Books | Entertainment | Daily Express [online]
http://www.express.co.uk/entertainment/books/461025/Michael-Rosen-s-
favourite-books-Quentin-Blake-s-Clown-Coram-Boy-and-Captain-Underpants
SALISBURY, M. and M. STYLES, 2012. Children’s Picturebooks: The Art of Visual
Storytelling. London: Laurence King Publishing Ltd.
TEACHERS TV, 2009, Teachers TV: Quentin Blake: Power of Illustration [online]
[viewed 28th January 2015] https://www.tes.co.uk/teaching-resource/Teachers-
TV-Quentin-Blake-Power-of-Illustration-6047869