Meet babar and his family copyright 1973

Babar: Meet Babar and His Family by Laurent de Brunhoff (, Paperback) | eBay

Publication Year. Publisher. Random House Books for Young Readers. Pages. Tags. 2, E, Seasonal activities of King Babar and his elephant family. Meet Babar And His Family (Babar, book 25) by Laurent de Brunhoff - book cover , Meet Babar And His Family. () (Book 25 in the Babar series) A Picture. Meet Babar and His Family has ratings and 17 reviews. Sara said: I loved Published April 1st by Harry N. Abrams (first published January 1st ).

Though two more of Jean's Babar books were published posthumously, the series would live on under the stewardship of Jean's eldest son Laurent. Born on August 30,Laurent was only twelve when his father died.

An accomplished artist in his own right, he pledged to take up his father's work and, inhe published his first original Babar story, Babar et ce coquin d'Arthur Babar's Cousin: Under Laurent's hand, Babar's legacy has grown to include over sixty books, an animated movie, two cartoon series, and an extensive and profitable line of consumer goods.

Furthermore, he has released several children's books of his own inspiration that are unrelated to the Babar universe, including Serafina the Giraffe and Bonhomme In de Brunhoff took an extended break from Babar to rededicate himself to his art, a period that culminated with a public showing of his abstract paintings at a New York gallery.

He ended his self-imposed vacation from Babar with Babar and the Succotash Birda story that infused elements of magic into Babar's kingdom for the first time. Laurent splits his time between his native Paris and New York City, where he emigrated in Married to Phyllis Rose, an American author, Laurent continues to release new Babar stories, including three new titles in alone.

Sadly, in an unusually tragic scene for the picture book genre, Babar's mother is murdered by a wicked hunter, and Babar is left on his own. The resourceful young elephant travels to the city, where he meets "La Vieille Dame" "The Old Lady" who becomes both his patron and his substitute mother figure. She buys Babar his signature green suit and melon-colored hat, and he becomes educated both in the world of books and the ways of man.

He duplicates the Old Lady's generosity and buys his cousins clothes and offers them an education. Shortly after Babar arrives back in the jungle, the king of the elephants dies from an accidental ingestion of a poisoned mushroom, and the elephants clamor for Babar to become their new king due to his keen intelligence, education, and human mannerisms. As the new king, Babar nurtures a cultural renascence among the elephants, bringing human customs and technology to their lands.

Further books by Jean de Brunhoff expand Babar's circle of friends to include such characters as Cornelius, his wise and aged advisor; Pom, Alexander, Flora, and Isabelle, Babar's children; and Zephir, the prince of the monkeys and a close family friend who lives with the Old Lady.

Babar: Meet Babar and His Family by Laurent de Brunhoff (1973, Paperback)

After assuming control of the Babar legacy, Laurent de Brunhoff's stories initially followed the same narrative style, with Laurent seeking to duplicate his father's artistic patterns.

However, over the course of his expanding list of titles, Laurent has contemporized Babar for both educational and entertainment purposes. As a result, while the artwork remains faithful to Jean's original pictorial sensibilities, several of the newer stories themselves serve tutorial purposes, teaching aspects of language and natural sciences. Additionally, while Laurent continues to pen Babar stories with themes reminiscent of his father's books, the plots are generally looser, taking Babar on a wide range of adventures across many foreign countries and, on one occasion, the moon.

Jean de Brunhoff's early stories, meant to serve as the foundational blocks for the continuing Babar saga, evince particularly surprising levels of emotional depth and frank depictions of tragedy. Histoire de Babar originates with a young Babar bonding with his mother in several deliberately tender images, a scene that is suddenly jarred by the depiction of the loss of his mother at the hands of the hunter.

Within this same book, further harrowing elements emerge, such as the death of Babar's predecessor from a poisoned mushroom and the threat of war with the neighboring rhinoceroses. And yet, in the gentle hands of de Brunhoff and Babar himself, the reader can feel secure that the resourceful elephant will somehow emerge triumphant.

Payne has suggested that this willingness to venture into difficult emotional territory is "in part a father's way of talking to his children about the world, its anxieties, and its powers of restoration.

It is, no doubt, in part the work of someone who instinctively knew not to hide trouble from children but, in the end, wanted to reassure and amuse them. Famed picture book author Maurice Sendak has argued that Jean's "devotion to family and the circumstances of life that produced Babar must account for the special power and honest sentiment that are the essence of de Brunhoff's work.

Another major theme throughout the Babar series is the elaborate social strata within the animal communities, comparable to the human society of Babar's "Old Lady. Bringing home mankind's culture, the elephants advance quickly, leaving their more primitive homes and society behind them to build a shining new city on a hill. Some species are almost on par with the humans, though clearly a step behind culturally and technologically, such as the elephants and the rhinoceroses. Edmund Leach suggests a hierarchy of species exists, with man, monkey, rhino, and elephant situated at the top.

Beneath them are what he terms the "servile" classes, a status represented by de Brunhoff's depiction of hippos, kangaroos, and dromedaries working as assistants to the higher classes. Farther down the scale are lesser-humanized animals; wild beasts, such as snakes who seem to lack social intelligence; and finally the "domestic animals" like dogs and cats, the animal pets to the humans in Paris who lack anything other than basic intelligence.

Arguably, these classifications invite comparisons to the colonialism and social stratification that were emblematic of the period. Whether these ideals were intentional in de Brunhoff's molding of his elephantine-centered universe remains cause for speculation, although no definitive proof exists.

Maurice Sendak has commented that, "Babar is at the very heart of my conception of what turns a picture book into a work of art. The graphics are tightly linked to the 'loose' prose-poetry, remarkable for its ease of expression. In her review of de Brunhoff's first two Babar volumes, Marguerite MacKellar remarked, "Lucky youngsters, to have had their tastes so cleverly considered. Scholars such as Edmund Leach have suggested that the series is rife with colonialist and social elitist themes, arguing that, for de Brunhoff, it was "important that the comfortable bourgeois adult readers should not have their basic assumptions about social relationships in any way disturbed.

Babar has the prejudices of a middle class colon of the s. Herbert Kohl has found Histoire de Babar particularly worrisome because it represents the "perfect model of the genre of illustrated children's books meant to be read aloud. And, if offensive, it is a masterpiece of propaganda, since it is easy to accept the whole of it unquestioned and even to internalize some of the attitudes and ideas it presents. Laurent de Brunhoff's picture books have never received the same critical praise as Jean's works, although many have credited Laurent for widely expanding and enriching the literary universe created by his father.

In attempting to summarize the innate qualities of Babar that have aided his enduring legacy, Annie Pissard has suggested that, "Whatever their individual differences, their particular richness, the pictures of Babar over a history spanning some fifty years are strong and sweet images that imprint themselves in the memory, carrying dreams with them.

Horn Book Magazine 9, no. We probably do, and let us all joyfully take it. If we cannot buy a ticket to go adventuring we can perhaps buy a book and travel through its fresh, unexplored pages.

For human staleness there is no remedy more magical in its results than a fine dose of foolishness. These two French books [Histoire de Babar, le petit elephant and Le Voyage de Babar ], written and illustrated by Jean de Brunhoff, are distinguished nonsense.

They relate the story of Babar, the little elephant, who wanders by chance into a town and at once longs to be dressed as tastefully as the citizens he sees about him. Fortunately he meets a very rich old lady who likes little elephants and "comme elle aime faire plaisir elle lui donne son porte-monnaie.

He is so pleased with the elevator that he rides up and down many times until the boy is obliged to reproach him: The rich old lady generously shares her home with him.

It is now time that the reviewer admits, rather reluctantly, that these books are intended, probably, only for children. Lucky youngsters, to have had their tastes so cleverly considered. The books have nice, stiff backbones so that they prop up perfectly if the reader prefers a seat on the nursery floor, and the covers are broad enough to hide behind if a bothering governess is near. The illustrations, done with that dashing simplicity which looks "so easy" to those who have never tried to draw, are clear in color and explicit in theme.

The story is related with such directness that even children who do not read French easily will not be too bewildered. Horn Book Magazine 38, no. The Babar books excel in brilliance of color, in animation of plot, and above all in abundance of fascinating detail in the active pictures. Babar's Fair comes up to expectation on all these counts. In fact, the fair to celebrate the anniversary of the founding of the elephants' city, Celesteville, provides an unusually fine opportunity for color and humorous invention.

Pom, Flora, Alexander, and Cousin Arthur explore a wide range of exhibits, from the Kangaroo booth to the Promenade au Fond du Lac, for which they all don diving helmets. Hours will be needed to take in each page and appreciate all that is going on. The exhibition which is due to tour internationally 1 set out to restore with care the graphic richness of the original drawings. The intention of those who mounted the exhibition was clear: The sketch is a watercolor of tender pale gray and washed emerald green, the famous costume "of a becoming shade of green.

They appear on the first dummy of the cover, but it isn't yet him: On the second dummy, he is there. There had been—measuring tape in hand—3 millimeters too many between the eyes on the earlier dummy. It is striking to see that the text appears very early, that no distinction is made between writing and drawing. The line becomes writing or drawing according to the artist's will. Babar's roundness rejoins that of the letters. The writing is an element of the setting and recalls its use by Cocteau in several decorative works: Here is no laborious work of assembling text and drawings: The details are still all fuzzy; Babar's feet scarcely rest on the ground.

But the positioning, as in a mock-up for a stage set, has been established. A character is born, a creation has taken place before our very eyes.

In a picture book it is always interesting to linger over the representation of the animal or human character's gaze. Babar has only two dots for eyes. That is to say, Jean de Brunhoff does not give his character a critical way of looking at the world—a way that he would thereby impose on the reader. In contrast, the glance of the animals drawn by the turn-of-the-century French artist Benjamin Rabier consists of a wink, a foxy look, an adult expression which passes judgment and says to the reader: Rabier works in the realm of caricature.

Babar's elephants are situated elsewhere. The "innocence" of their gaze, which protects them from all vulgarity, the round suppleness of their shapes, locate them with certainty in the realm of childhood.

Babar is no more an elephant than Sendak's Little Bear is a bear; they are both figures of childhood. Not many illustrators of children's books have succeeded in representing a child a real child or a child-animal. Many drawings in fact show miniature adults, dwarfs, or fashion sketch silhouettes, all very cold, lifeless.

The children's pictures that are alive borrow traits from animals: Max of Sendak's Where the Wild Things Are has a human face, but the body of an animal thanks to the clever device of his wolf costume.

These characters, which children identify with so well, are man and animal, their traits confused through a certain deliberate lack of precision about shapes as if to allow the reader to slip in and out of the character more easily; the costume body of Max has nothing of the wolf about it.

It is an animal costume only in the text is it actually specified as wolf. The human babies drawn by Sendak as in Outside Over There are rather ugly, while a little boy learning to walk—on two or four feet—plump, lumpish, and dragging his fat behind, finds a droll representation in the guise of Babar.

Even his sex is in evidence—not, it is true, in the usual place. Jean de Brunhoff's talent consists precisely in having found a feasible representation of the child in the guise of a little elephant. The Babar exhibit has also made it possible to give Laurent de Brunhoff his due, for the current produc-tion of his books with the exception of Babar's Little Library in no way gives a true accounting of the painter's and colorist's excellent work.

His sketches show him working directly in color. In the drawings for Babar's Birthday Surprise and Babar and That Rascal Arthur, underscored in the exhibit by a choice selection, the blues, the oranges, and reds burst forth. Furthermore, the drawing of the characters has taken on great flexibility. The elephants are in motion, funnier, less rooted to the ground see the charge of the C.

Undertaken at the prompting of the Swiss publisher Diogenes who had already published the Sendak Nutshell Librarythe Little Library is perfectly successful. Very small in format, as fully realized in their diminutive size as the larger books are in their contrasting dimensions, the four little books boxed together are printed on very smooth paper that is soft to the touch. They present no new adventures, but rather variations on four themes—water, air, earth, fire, each well enough evoked to let the child build his or her own stories while handling the toy-book; the pictures are full of winks to readers of the other Babars.

Laurent de Brunhoff abandoned a classic conception of the picture book, that of the "Christmas gift book" adhered to by his father, in which each page, forming a whole, followed in the wake of the preceding page, bearer of a new source of astonishment a ski station, one's parents on a sofa, Zephir dreaming in front of the open window ….

Laurent de Brunhoff's characters no longer pose for portraits. They are caught as they evolve, are multiple-like figures in strip cartoons. What-ever their individual differences, their particular richness, the pictures of Babar over a history spanning some fifty years are strong and sweet images that imprint themselves in the memory, carrying dreams with them. The homage given Babar this year has not given rise to any new analysis of the books' contents.

The newspaper articles devoted to the exhibit briefly alluded to the question: In their own original manner the Babar books, especially the early ones, present children with a clearly defined, complete model of society.

Opinions about the model set forth have often diverged, but the only serious work available on the subject is a long article by the Chilean sociologist Ariel Dorfman. Dorfman saw in Babar an antiprogressive influence bringing white imperialism to Latin America. In capitalist countries, says Dorfman, children's literature fulfills one function: From this point of view, the story of Babar is transparent. The little elephant Babar is a little barbarian Dorfman finds a pun in Babar-Barbare.

He comes from a "state of nature," that is, an ageless Africa devoid of history. Thanks to human civilization he becomes King of the Elephants, saving his land and transforming it into a "modern" country. From walking on all fours, he walks on two legs, transforms himself into a human being without losing his animal appearance: He studies; his instinct is changed into knowledge. Babar serves his child's apprenticeship in adult living: But this apprenticeship takes place on two levels.

The child reading Babar also learns history. In Babar two worlds interrelate: In the jungle, in place of a Black or Indian, there is an elephant, in place of a church there is an old Lady, in place of a triumphant bourgeoisie there is Babar, in place of Africa there is the land of the elephants.

The town will replace the jungle, and the child Babar, like the underdeveloped countries, will have to make progress.

Sure, there will be violence, captivity, an evil huntsman, but these negatives will always be corrected by positive elements.

Meet Babar and His Family

For Ariel Dorfman, Babar thus realizes the dream of the bourgeoisie: Within the context of those years in Latin AmericaBabar is the bearer of a message to the sons of the bourgeoisie, thus prepared to receive the benefits of the system, but also to the children of the proletariat who, thanks to television, will internalize these same values. The design thus brought to light permeates all of children's literature; children's books will change when the revolution occurs, and Babar, to break his bonds, will have to kill the old Lady.

This "reading" of Babar, which gives rise to an extended development of some fifty-odd pages, is not done without stretching a point here and there. Thus, in connection with The Story of Babar, on the page where Babar goes up in the elevator of a department store, Dorfman sees a desire to rise in society.

The text, however, like the accompanying pictures, under-scores the pleasure Babar experiences in riding down as much as in riding up the verbs to go up and to go down appear the same number of times. Dorfman's analysis is always morally very much to the point, as apt in its denunciation of the colonialist aspects of Babar in the books of Jean de Brunhoff as in Babar and Professor Grifaton, but one can see its limitations in his desire to provide a global and uniform analysis of Babar which does not take into account the modifications brought to bear by Laurent de Brunhoff over the years—for instance in the positive evolution of the feminine characters.

He forgets the publication date of the first book: Dorfman would like to write into the picture books a different kind of apprenticeship: His analysis makes a stage in the criticism of the picture book, but it gives us no key for an analysis of its artistic merits. As a masterful realization in the realm of the picture book, Babar must be reread and looked at anew today. When compared with others published before the war by Hachette, its originality is obvious.

Thus the character of the old Lady, so unbearable to Dorfman, is altogether astonishing. It is quite rare to find in a picture book images of tenderness and friendship with someone not-of-the-family. What's more, from the point of view of graphics, the absolutely thin old Lady forms an amusing counter-point to the fat elephants. Embodying at times, it is true, wisdom and knowledge, she comes and goes in the later volumes at the illustrator's whim, without any weighty pedagogic intent.

With this same casualness—which worries Sendak somewhat! It is an image of pure tenderness without hidden motives, which is altogether rare in picture books. The mother's disappearance may indeed be seen as a supremely skillful stroke: Maurice Sendak did exactly the same thing in Where the Wild Things Are, where motherly tenderness—if present at all—is not signaled by a representation of the mother, but by a symbolic image.

One aspect of Babar's richness of illustration is seen in the rendering of characters' costumes. They always wear the clothes appropriate to the situation with natural ease; whereas in the books illustrated by Jean de Brunhoff's British contemporary G.

Thompson and published in France by Hachette, one sees a family of elephants heavily rigged out in getups and sundry accessories, overlain on their animal nature in what might pass for an illustration of the meaning of kitsch. The clothes of the Babar family are part and parcel of their bodies; they are "born dressers. In the abundance of its imagining, Babar speaks to the child's enjoyment of enumeration and detail.

Luggage, suitcases, packages are always drawn with great precision and concern for detail. We know the contents of Zephir's knapsack: Jean and Laurent de Brunhoff know well that without rules there is no game; that, to a child, to play at wearing a crown is not to praise monarchy, but to express symbolically—King of the Wild Things or King of the Elephants—the wish to assert oneself and to grow, to gain mastery over one's personal demons.

All childhood mythologies can discover the wherewithal to be satisfied in the pictures of Babar. What must be underscored when speaking of Jean and Laurent de Brunhoff's books—without ignoring the contents—is the characteristic artistic form in which, as Sendak has observed, "the pictures, rather than merely echoing the text, enrich and expand Babar's world. Notes This article, a review of the exhibition "Fifty Years of Babar," was originally published in French in La Revue des livres pour enfants Decemberpp.

The exhibition will run at the Baltimore Museum of Art from December 11 of this year to January 27,and will make its final American stop at the Toledo Museum of Art from March 1 to April 15, Since this article originally appeared, Dorfman's article has been published in the United States in revised form, as part of his book The Empire's Old Clothes: Pantheon,especially pp. Random House,p. The Babar Books as Books of Courtesy. They have been translated into many languages, changed in size and typeface, and reprinted in varying editions.

Underlying their pure delight, adventurous plots, lively characters, evocative settings, and whimsical style is their essentially serious theme: Failure to perceive this concern and the traditional mode in which it is expressed has led one critic to suggest that the books lack "a narrative proposition to guide or offer power" and to imply that they have no unifying principle, "the task not being to get somewhere in particular.

Librarika: Meet Babar and His Family

At the end of Babar and His Children, the elephant-king sighs, "Truly it is not easy to bring up a family. I do not imply that Brunhoff set out deliberately to modernize the traditional book of parental advice and so merely adapted that genre, point by point, to his purposes.

But the similarities between the Babars and the old courtesies are more than passing or occasional. The systematic attention to morals and manners that structures the early books also shapes Brunhoff's series. His style is not didactic like that of the traditional courtesies nor his purpose only to instill worth-while behavior, yet his narrative and form, words and pictures, are balanced to delight and shape young personalities.

The books' critical worth, the series' unity, and perhaps the universal and lasting appeal of the Babars are illuminated if seen as the thoughtful, solicitous wisdom of a father speaking to his own children. The ideals reflect Brunhoff's own Gallic tradition, central to which is the family group le foyerthe ambience of "familyness" en familleand the inter-relation of distinct roles. Mother-father interaction is crucially influential on children and must be loving and constant; mother-child relationships are different from father-child bonds; sibling relationships are equally delineated.

Children are taught to behave within a controlled structure of expectations and not to question parents' authority or discipline within the foyer. This insistence on control at the earliest age leads the child to exercise self-control when his world expands beyond the foyer. That world also has special behavioral expectations, and so French children learn to model the rules of correct social conduct. Freedom and true individuality, say French parents, are but the development of new variations on culturally accepted designs.

They still love and indulge their children and understand childhood's unique charms, but they insist that childhood [be] a long apprenticeship in becoming a person. Through training, the child gradually is transformed from a small being into an individual, an adult with an awakened spirit, a developed imagination, and a critical intelligence, who knows the behavior appropriate to a man and a woman, and who has acquired the skills and control necessary for well-being….

The experiences of childhood are conceived as necessary preparations to achieve bonheur. The family moved in cultured, courteous circles with, no doubt, the customary loving expectations of French parents for their children.

Babar first appeared in bedtime stories told by mama; the boys retold the tales to papa, who caught their delight and began to draw the huge, gentle hero. Certainly the enforced fresh-air therapy kept him away from an active, day-to-day paternal role. But the books, begun in happier times when the family was together, provide more than an absent father's daily link with his sons; they present a vision of civilized life, an ideal of loving, courteous maturity.

And the determined urgency of a man who knew he might not live long marks their regular production—almost one a year from to —and comprehensive subject matter: Inbefore his third son, Thierry, was two, Jean de Brunhoff died of tuberculosis, leaving his wife with three small sons—and seven books filled with objects and events dear to the Brunhoff family as the background for a father's affectionate counsel.

Brunhoff wanted his children to acquire the experiences and develop the control necessary for bonheur. Suddenly, the public, too, was entranced by the goings on of this friendly elephant, and six more books followed. After being rescued by the Old Lady, Babar returns to his jungle home as king of the elephants and makes his cousin Celeste his queen, setting up home in Celesteville, where the Old Lady comes to live with them.

He fathers children, including Flora, Pom, Alexander, and Isabelle, makes the friendship of the monkey Zephir, and of the wise old elephant Cornelius. Then, inJean de Brunhoff died of tuberculosis. His son, Laurent, was only twelve. World War II came inand the young Brunhoff finished his studies in Paris and began painting, setting up a studio in Paris. By the end of the war, he began to think of continuing the "Babar" series, something the publishers had been arguing for since the death of Jean de Brunhoff; however, the mother, Cecile, would not allow it.

When her own son broached a story idea to her, though, it was a different matter. Brunhoff hit on the idea of introducing a cousin, Arthur, into the milieu, and thus was born the second coming of "Babar. There is always a good end. Numerous other titles followed: Babar takes up skiing, or goes on a picnic or to the seashore or camping, or visits a doctor. Both mix the farfetched and the familiar, elephant life and human life, with the same easy assurance. Laurent sometimes lets his fancy fly a little freer than his father ever did.

His compositions are less symmetrical, often straining to soar off the page. Brabander found that Babar and company "offer a comforting familiarity. Reviewing the same title, Janis Campbell noted in the Detroit Free Press that the "classic is as fresh and fun as ever. Babar's popularity on the printed page has made the character a hot merchandizing item for retailers.

The pachyderm's image has appeared on an assortment of toys, including stuffed likenesses, as well as T-shirts and a range of other items. Brunhoff's Babar has also been featured on television in a series. A motion picture, Babar: The Movie, was released inbased on the characters of the books, not the works themselves. Amid his successes with Babar, Brunhoff has found time to create original stories featuring animal protagonists.

In Babar's Little Girl, baby Isabelle is introduced. Her first big adventure ensues when the family believes she is lost, but in fact the child knows exactly where she is. In Babar's Battle, the elephant manages to avert a war with Rataxes, ruler of the rhinoceroses. Though finding the tone a bit "moralistic," a reviewer for Horn Book Guide found Babar and his clan as "engaging as ever" in this title.

Isabelle makes another appearance in The Rescue of Babar. She is aided by a snake, lion, and monkey in her efforts to free her father from the striped elephants. However, when found in a massive city in the inside of a volcano, Babar at first refuses to go home with Isabelle. Discovering that someone is drugging his watermelon smoothie and clouding his judgment, Isabelle manages to prevail in this story that should be a "favorite with Babar fans," as Janice M.

Del Negro wrote in Booklist. The return of Babar and Isabelle to Celesteville makes for "a festive close" to this "particularly charming caper," wrote a reviewer for Publishers Weekly. Brunhoff took a vacation from the "Babar" series between andreturning to his fine arts painting which he had long put on hold. An abstract painter and avid hiker, Brunhoff found plenty to occupy himself. A camping trip into the High Sierras of Yosemite, however, reawakened his desire to work on his favorite elephant.

As he told McAlister, "'Suddenly I had an idea for [a] book, and it was very fast, it came very strongly in my mind. Out hiking the next day, the boy thinks that he meets the same bird again, an animal that makes a call that sounds like "succotash.

Babar and the family, helped by wise Cornelius, go in search of Alexander, and through the assistance of a good wizard—who was actually the original bird—they are able to rescue him. Despite some reservations about the premise of the tale, Piper L.

Nyman, writing in School Library Journal, felt that "children will flock to this new adventure.

Meet Babar And His Family (Babar, book 25) by Laurent de Brunhoff

With the Babar's Yoga for Elephants, the king of the elephants presents a "lighthearted guide to yoga for pachyderms and people ," according to a contributor for Publishers Weekly. Babar points to cave drawings that prove that even the woolly mammoth practiced yoga.

He and Celeste resurrect the practice in Celesteville, and then go on a worldwide tour to spread the word. This introduction is followed by a practical guide to basic yoga movements.

The reviewer for Publishers Weekly felt that Brunhoff's "signature watercolor renderings" would allow young readers to follow Babar's movements in this "diverting volume. In this tale, Babar and Celeste convert the old Celesteville train station into a museum that will display all the various artworks they have gathered on their many trips abroad.

Building the museum is hectic, but opening day finally arrives. Other great artists—thirty in all—are also included. The only difference from the originals is that in Babar's collection, all the human figures in the paintings have been replaced by elephants.

The contributor for Publishers Weekly praised Brunhoff's "gentle artistic makeovers," further observing that this artwork "skillfully allows young readers an entree to the world of fine art. For them there is no border between dream and reality. And I believe that these traits are common both in my father's books and in my own.

This is a world where misfortune can arrive at any time, but … you can always count on a flight of winged elephants … to arrive in a blaze of light and rout the dark imps. Del Negro, review of The Rescue of Babar, p. Jordan, "New Books for Christmas: Horn Book Guide, spring,review of Babar's Car, p.