Overview

Action, adventure, and time travel combine in the final book of an award-winning trilogy.
 

Narrowly escaping from a gang of bullies, a boy slips into a grand old gallery--the perfect hiding place, full of mystery and treasures. Suddenly, a painting comes to life and the boy finds himself on an adventure led by a mischievous dog that has leapt from the canvas. The two slip into a Vermeer painting and are transported to Little Street, Delft...

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Overview

Action, adventure, and time travel combine in the final book of an award-winning trilogy.
 

Narrowly escaping from a gang of bullies, a boy slips into a grand old gallery--the perfect hiding place, full of mystery and treasures. Suddenly, a painting comes to life and the boy finds himself on an adventure led by a mischievous dog that has leapt from the canvas. The two slip into a Vermeer painting and are transported to Little Street, Delft in seventeenth-century Holland, where the boy has to use every ounce of his ingenuity to rescue his new friend from an untimely fate.
     The third book in the "Boy, Bear" series, The Hero of Little Street is packed with thrilling escapades from start to finish. Gregory Rogers's cast of much-loved characters come together once again in this triumph of visual storytelling.

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Editorial Reviews

Publishers Weekly
In Rogers’s wordless comic The Boy, the Bear, the Baron, the Bard (2004), a soccer-loving boy time-travels to Elizabethan London and outmaneuvers a grumpy Shakespeare. Now, the same child gets on the wrong side of three bullies and takes shelter in an art museum. Readers of the previous book know the game is afoot when the boy wanders past framed portraits of the Bear and the Bard. When the brown lapdog from Van Eyck’s Arnolfini portrait hops down to join the boy, a “Dutch Masters” theme emerges. The boy and dog clamber into another painting—Vermeer’s “A Young Woman Seated at a Virginal”—and after the lady plays them a tune, they all step outside into 17th-century Delft. Connoisseurs will recognize the red-brick building façade from Vermeer’s “The Little Street,” which gives Rogers his sly title. The romp continues through the streets of Holland, culminating in doggy misbehavior and a nutty farce. The playful visual allusions are sidelined in favor of the slapstick chase, yet Rogers deftly (and Delftly) combines rapid-fire hilarity with art appreciation. Ages 3–8. (Mar.)
From the Publisher
“Rogers’ deft management of perspective and movement, his clever visual jokes and intertextual allusions, and his careful compositions demonstrate once again his masterful storytelling in the wordless genre.”—BCCB

“A delightful little excursion for busy imaginations.”—Booklist

"A superb, witty book that will appeal both to squirmy, clueless kids and educated art connoisseurs."-Horn Book, starred

 

“Rogers’s visual narrative is both an aesthetic treat and masterful storytelling.”-School Library Journal, starred

 

“All's well that ends well, as this frolic does, with a sublime comeuppance for all the bullies, then and now.” -Kirkus

Children's Literature - Marilyn Courtot
In this sequel to The Boy, The Bear, The Baron, The Bard, and Midsummer Knight, Boy is ready for another adventure. The author notes that he always wondered about the lives of people found in paintings and in particular those of Vermeer and Van Eyck whom he greatly admired. In this fanciful story without words, The Boy has raised the ire of a group of street kids and to escape their wrath he joins a line waiting to enter the Tate Gallery in London. He wanders from room to room and is caught in a modern metal sculpture by a museum guard who points him to another room. It is filled with paintings and in one there is a little dog who becomes real and eventually the Boy joins him in the painting. Off they head to Little Street, Delft in the 1600s. As the Boy learns this city is also full of dangers as his dog accidently knocks over a maid carrying a stack of porcelain and sadly he has lost his friend, but not the flute that was given to him by the beautiful lady playing the piano. She also presents the dog with a lovely ribbon which the Boy finds. This leads him to the darker side of town where dogs and other animals are captured and cut up for meat. The story gets even more complex and the flute that saved Boy in Delft turns out to have the same power in present day London. There is no need for words in this graphic adventure and it is one that can be enjoyed by young readers and adults. The illustrations are wonderful and my only quibble is the need to look up the names of the paintings that one recognizes but are unidentified. Reviewer: Marilyn Courtot
School Library Journal
K-Gr 3—Rogers's third wordless book features the young hero from The Boy, the Bear, the Baron, the Bard (Roaring Brook, 2004). His first escapade occurs in modern-day London near the National Gallery. It involves a soccer ball, a fountain, and a flight from bullies. Fans of the previous titles will recognize familiar characters cleverly incorporated into the art when the protagonist seeks refuge inside the museum. Befriended by the dog in Van Eyck's Arnolfini Wedding Portrait, the youngster follows him into Vermeer's A Lady Seated at a Virginal. After enjoying a musical interlude and a gift that later proves useful back in the real world, the twosome exit into Vermeer's The Little Street, ultimately encountering a canine-caging butcher in 17th-century Holland. Rogers's visual narrative is both an aesthetic treat and masterful storytelling. Small panels with minimal detail, often on white, focus the eye on motivations, causes, and sequential action. Larger frames, full-page bleeds, and a single, glorious spread generally show consequences—a slowing of activity, allowing viewers to take in the Old World charm of the majestic halls, paintings, and Delft cityscapes—all rendered in watercolor and ink and shown from varying perspectives. The scenes are frequently humorous, as when all of the rescued dogs crowd around the virginal. This rare combination of action-packed fun and fine art yields new discoveries with each reading and is sure to create fond memories for future students of Art 101.—Wendy Lukehart, Washington DC Public Library
Kirkus Reviews
Rogers' Boy (from The Boy, the Bear, the Baron, the Bard, 2004, and A Midsummer Knight, 2007) returns for another wordless metafictive adventure, this one centering on Dutch painting. The action starts in modern-day Trafalgar Square, where the Boy dumps three other boys' soccer ball into a fountain and then flees to the National Gallery. After some aimless wandering, he's only a little astonished to find the scruffy little dog from van Eyck's Arnolfini Portrait jumping out of the frame to play. The dog leads the Boy into Vermeer's Young Woman Seated at a Virginal and then into the titular Little Street of 17th-century Delft, Holland. Since young readers are probably even less likely to groove on Vermeer than on Shakespeare, who figured in the earlier titles, the romp must depend upon plenty of slapstick to keep them engaged--and it delivers. Small, comic-book–style panels convey the action, punctuated by breathtaking longshots of galleries and the streets and canals of Delft. Boy and dog career along, tripping up pedestrians and smashing blue-and-white crockery before running afoul of a sinister butcher (who resembles a certain Bard). There's nothing stuffy about this, despite its high-toned beginning: Rogers simply uses his own love of the art as a springboard for his endearing brand of foolery. All's well that ends well, as this frolic does, with a sublime comeuppance for all the bullies, then and now. (Picture book. 4-8)
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Product Details

  • ISBN-13: 9781466808874
  • Publisher: Roaring Brook Press
  • Publication date: 3/27/2012
  • Sold by: Macmillan
  • Format: NOOK Kids
  • Pages: 32
  • Age range: 5 - 8 Years
  • File size: 12 MB
  • Note: This product may take a few minutes to download.

Meet the Author

Gregory Rogers is one of Australia's finest children's book illustrators and in 1995 was awarded the prestigious Kate Greenaway Medal for Way Home by Libby Hathorn. His first book for Roaring Brook Press, The Boy, The Bear, The Baron, The Bard, was a New York Times Best Illustrated Book of the Year. He divides his time between Brisbane, Australia and Denver, Colorado.

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