WIMMELBOOK.
ORIGINS, PURPOSE, AND IMPACT

The Degree Essay
BA (Hons) ILLUSTRATION
Student: Maria Pozdnyakova, Year 4
Module tutor: Christopher Rainbow
2023

British Higher School of Art and Design

INTRODUCTION

Wimmelbook is a genre of children’s illustration that has been evolving and becoming more and more notorious throughout the years since it first appeared. The genre originated in Germany in the 1960’s, therefore, the name of it has German roots. Originally it is called "wimmelbilderbuch", which translates as "a book teeming with details" (Remi, 2017). The German verb “wimmeln” means “to teem” – and this is exactly what this kind of books do (Clark and O Thyen, 2009). Wimmelbooks present a series of panoramas that are highly detailed with a multitude of small mundane scenes. Dozens of stories take place on one spread with dozens of characters – these can be either humans or anthropomorphic animals who garden, drive, farm, cook, go to work or school. The stories may vary, but all cover the daily activities of adults. It is a fun way for children to have a glance at forthcoming adulthood. A wimmelbook is also a visual puzzle book with little or no text. Wordless images give children the opportunity to look at and explore them countless times, coming up with unexpected and exciting ideas. The illustrations of this genre allow the child to come up with new stories each time and solve this picture riddle in their own way.

Ali Mitgutch. A harbor scene from Mr. Mitgutsch’s “Komm mit ans Wasser“ (“Come With Me to the Water”), published in 1971.

The father of the genre is a German author and professional illustrator Ali Mitgutch. Throughout his career he published more than 70 picture books, 23 of which are wimmel. Despite his publisher's frequent use of the term "Wimmelbuch" in the titles of his later works, Mr. Mitgutsch was not fond of it. Instead, he favored the phrase "self-narrating picture book." Most of his books contained minimal text, with words typically appearing only on signs within the illustrations. Since the first wimmel picturebook Rundherum in meiner Stadt (All around My City) in 1968 appeared, growth of the genre became consistent and everlasting. The wimmelbooks became even more celebrated when “Where is Wally” by Martin Handford was published in 1987. The books about Wally gained widespread popularity, sold global rights to the brand in a £2.5m deal and were adapted for various regions, with the character Wally being given different names (The Guardian, 2007). Other notable wimmelbook authors are Richard Scarry, Tom Schamp, Rotraut Susanne Berner, Britta Teckentrup and others.

However, wimmelbooks have not yet been widely covered by art critics and cultural historians. There are several amateur articles that talk about this genre, most of which are written in the form of a review and personal subjective impressions from the reading. At the moment of writing this essay we lack art historian analysis and any scientific paperwork about this topic.

The aim of this essay is to reveal the sources of the wimmelbook genre and to initiate art history research of this unexplored direction. Another essay’s target is to ascertain why this illustration genre is becoming well-spread and highly desirable by modern parents and what role wimmelbooks as a phenomenon play in the illustration field. The tasks that will be completed to achieve the goal of the research are to make a deep historical investigation on possible origins of the wimmel-images; to analyze the reasons why wimmel-imagery is on its peak in the beginning of XXI century; to examine modern wimmelbook artists and audience’s perception of those highly teeming picture books.

Therefore, the relevance of this essay is in the beginning of research of wimmelbooks that can be useful for the students and art enthusiasts who are interested in history of illustration. This essay may become a starting point for those who want to deepen their understanding of wimmelbook’s origins or continue working on investigating this genre.

Moreover, the chosen topic is relevant for publishers who are interested in collaborating with wimmel-artists and issuing wimmelbilderbuchs. This paper considers the sources of the emergence of the wimmelbook genre, so the main method of research will be historical analysis. The work is also based on comparative analysis, through which parallels will be drawn between modern children's illustration and its historical ancestors.

Ali Mitgutch

Martin Handford "Where's Wally?"

BACKGROUND

One of the few research sources on wimmelbooks is the book by the literary scholar, Germanist and Scadinavist, Cornelia Remi called The Routledge Guide to Picture Books, specifically the chapter on wimmelbooks. The author explains that the word "wimmelbuch" comes from the word "wimmelbild," which translates from German as "lively picture." This word was introduced into academic discourse by the German historian Franz Roh, who so characterized the painting "Flemish Proverbs" by the artist Pieter Bruegel the Elder (Roh, 1955). This makes a direct reference to Flemish art as a possible origin of the wimmelbook genre. Remi as well mentioned that the connection between Western art and teeming pictures is obvious. Many large-format paintings depicting battles, ceremonies, and religious or secular events have wimmel qualities, with a multitude of characters and no clear focal point. These works allowed viewers to develop their attention and analytical skills by testing their prolonged gaze and hermeneutic creativity (Remi, 2017).

Remi’s book does not mention the historical context behind wimmelbooks a lot, mostly her work touches on qualities of wimmel-imagery. She analyzed wimmel- illustrations, from how the narrative is built up to the compositional approach to it. “The Routledge Guide to Picture Books” will be the base for this essay, accompanying every chapter. The strict definitions that Remi gave will accompany the historical analysis and highlight the most relevant details that connect modern wimmelbooks and their ancestors. The further research will be based on the following characteristics of a wimmel-image:

WIMMELBOOK’S ORIGINS AND INFLUENCES

The talk about wimmelbook’s genesis will start from the persian miniature as it comes to appear the most visually relevant and reminiscent of wimmel-imagery in the early medieval period. This essay will not cover the entire art retrospective but touch on some of the most vivid pre-wimmelbuch phenomena.
Persian miniature is a traditional art form that originated in Iran during the 13th century. It is a highly detailed and intricate style of painting that uses vibrant colors and delicate brushstrokes to create decorative and narrative images. It has similar characteristics to those that Cornelia Remi defines wimmelbooks with. To clearly analyze those concepts the Ali Mitgutch’s wimmelbook “In the Busy Town” published in 1968 and a Persian miniature by Dust Muhammad of 1560’s “The Story Of Haftvad And The Worm” will be compared.

Persian miniature paintings often depict scenes from Persian literature, history, or everyday life, and they are known for their intricate patterns, details, and exquisite beauty. Dust Muhhamad depicts the daughter of Haftvad discovering a worm in her apple while spinning cotton with her friends. She decides to keep the worm as a lucky charm, and it helps her spin more cotton than ever before. As the worm grows, so do Haftvad's fortunes, but King Ardashir becomes jealous and plots to kill the worm. Eventually, he succeeds, and the tale ends with the deaths of Haftvad and his sons (Ferdowsi and Davis, 2006). Muhhamad’s detailed and complex painting captures the elements of both urban and rural landscapes. It presents a building as an open dollhouse which allows a viewer to have a glimpse of the

interior and persian household. The same approach is seen in Ali Mitgutch’s illustration – here the reader is introduced to a panorama that illustrates a festival. The tents on the top of the composition do not have a roof and show the insides of them, introducing us to see new details. Both Muhhamad’s and Mitgutch’s artworks are highly detailed and reflect on the culture of the world they lived in. Both place a strong emphasis on detail and precision. Each element of their works is carefully crafted, from the smallest details of the figures' clothing to the tiniest details of the landscape. In Persian miniature such attention to detail creates a sense of realism and depth in the painting, and it allows the viewer to appreciate the beauty of the painting on a more intimate level (Grabar, 2001).

In wimmelbooks it gives a child an opportunity to create various plots and be more thoughtful.

Cornelia Remi

The Routledge Guide to Picture Books

Another striking similarity of Persian miniature and wimmel-imagery is use of vibrant colors. Persian miniatures use a wide range of colors, including bright blues, deep reds, and rich greens, which are often contrasted against a white or gold background. The colors are applied in thin layers using delicate brushstrokes, which gives the paintings a luminous quality

and creates a sense of depth and richness (Canby, 2009). Mitgutch as well as Muhhamad does not shy away from using vivid shades of red, yellow, and green in his work.

Moreover, both wimmelbilderbuchs Persian miniature often feature a sense ofmovement and action. The figures in Persian miniatures are often depicted in motion, whether they are riding horses, dancing, or engaged in some other activity. This sense of movement adds energy and vitality to the painting, and it also helps to create a sense of narrative and drama. On Ali Mitgutch’s work we see people doing activities that are more familiar to a modern human – they ride

vehicles and merry-go- rounds, order foods at the festival diners and sell balloons. Each scene is richly supplemented with action which makes the image more engaging and curious for a child.

Another aspect that both objects of comparison have in common is the depiction of their historical circumstances. As modern humans we can engage and take an active part in exploring different cultures that existed centuries ago without having any specific knowledge simply by looking at the picture thoughtfully and carefully. Both Muhhamad’s and Mitgutch’s works show their present day’s realities which is valuable for the upcoming generations.

Medieval book miniature illustration is a form of art that flourished in Europe during the Middle Ages. These illustrations were typically found in illuminated manuscripts, which were handwritten books that were decorated with elaborate designs and images. The miniatures were created using a variety of techniques, including painting with watercolors, tempera, or gold leaf (Weitzmann, 1977). The subject matter of medieval book miniatures varied widely, ranging from religious scenes to depictions of everyday life. They were often used to illustrate important texts such as the Bible, psalters, and other religious works. The artists who created these miniatures were highly skilled and often worked in monasteries or other religious institutions (Pacht, 1986).

Another shared stylistic element between Christian book miniatures and wimmelbooks is their use of symbolism and hidden details. In Christian book miniatures, artists often incorporate symbolic elements into their illustrations to convey deeper meanings and messages. For example, a miniature depicting the Nativity might include subtle symbols representing the virtues of faith, hope, and love. Similarly, wimmelbooks are filled with hidden details and Easter eggs that reward attentive readers with new discoveries. These hidden details add an extra layer of depth to the illustrations, encouraging readers to engage with the artwork on a deeper level. For example, one of the most popular wimmelbooks “Where is Wally?” by Martin Handford consists incredibly detailed illustrations that depict crowds in which one should find one character named Wally.

Both genres also share a sense of narrative storytelling through their illustrations. In Christian book miniatures, the illustrations are often arranged in a sequential manner, depicting key moments from a particular biblical story in a linear fashion. This sequential storytelling allows the reader to follow the narrative visually, gaining a deeper understanding of the events being depicted. Wimmelbooks also use their illustrations to create a sense of narrative, with each page telling its own self- contained story through the interactions between the various characters and objects. This narrative element adds a sense of movement and progression to the illustrations, keeping the reader engaged and eager to see what happens next.

Paintings by Flemish artists such as Pieter Bruegel the Elder and Hieronymus Bosch are just like the wimmelbooks themselves, filled with many details, different subjects and characters. The main similarity between the paintings of these medieval artists and modern wimmel-illustrations lies in the detailed depiction of humanlife, ordinary routines, and the surrounding modern world.

Finally, both Christian book miniatures and wimmelbooks share a sense of whimsy and playfulness in their illustrations. In Christian book miniatures, artists often incorporate charming and lighthearted details into their illustrations, adding a sense of joy and wonder to the stories they depict. Similarly, wimmelbooks are known for their playful and imaginative illustrations, which often feature humorous or quirky details that delight readers of all ages. This sense of whimsy adds an element of fun to both genres, making them enjoyable and engaging for readers of all backgrounds. Christian book miniatures and wimmelbooks may seem like very different genres on the surface, but they share a surprising number of stylistic similarities. Both types of books use intricate and detailed illustrations to create immersive visual experiences, incorporating symbolism, hidden details, narrative storytelling, and a sense of whimsy into their artwork.

Thanks to Pieter Bruegel the Elder's 1560 painting "Children's Games", history knows how adults and children of that time entertained themselves and what objects were used for this purpose. The multi-figure compositions make one understand the clear sequence of movements and rules of the game. "Flemish Proverbs" from 1559 is a collection of proverbs assembled into a single visual unit. Each corner of the canvas presents encrypted meanings, often of an edifying nature, which can be unraveled by looking closely at the depicted characters, their clothes, faces, and the things they hold in their hands.

Each figure, each element tells its own story. This is also similar to its contemporary of detailed images - the illustration-wimmelbook. Wimmelbooks also lack repetitive scenes, characters, or overarching storylines; the spreads of such a picture book are linked by a common theme, usually a certain spatial setting (Remi, 2017). The illustrations-wimmelbooks by contemporary Russian artist Victoria Samsonova show the same tendency as the paintings of Flemish artists. On each spread of her book "Stories in the City. Minsk" traces a multitude of plot lines, characters, stories, and places. Despite the visual diversity, all the illustrations are united by one spatial theme - the city of Minsk. The artist depicts people of the XXI century, engaged in everyday routine activities - the characters on the pages of her book walk dogs, go grocery shopping and visit meetings, ride bicycles, eat ice cream, get married. Both Viktoria Samsonova and Pieter Bruegel the Elder use their visual language to inform the viewer about the present day in which they live. Through detailed images, the artists talk about the culture of their time, the people and places that surround them, and the life they live.

Hieronymus Bosch in his paintings presents even more riddles and mysteries for the viewer to unravel. On the triptych "Garden of Earthly Pleasures" the artist depicts 110 human figures forming biblical subjects. To date, there are many interpretations of this painting from art historians and scientists, but none is officially recognized as authentic. The triptych is filled with people and events that happen to them, which spawns countless interpretations. The artist does not give instructions on how to "read" his canvas, which liberates the viewer's imagination. The same thing happens when looking at a wimmelbook. Cornelia Remi states that "any attempt to comprehend the wimmel image is doomed to failure" (2017). The peculiarity of such books lies in their infinite multiplicity of readings. Such is "Busytown" by the American children's book illustrator Richard Scarry. He created books for children, wanting them "to be read over and over again, and to find in them all new details".

Victoria Samsonova "Stories in the city. Minsk."

Richard Scarry “Richard Scarry's Cars and Trucks and Things That Go”

The visual style of 19th century board games was heavily influenced by the artistic and design trends of the time. These games often featured intricate and detailed illustrations, with a focus on historical or fantastical themes. Many board games from this era were designed to mimic the aesthetics of popular art movements such as Romanticism and Neoclassicism. This meant that game boards and playing pieces often featured elaborate scenes of battles, courtly life, or mythical creatures. The use of rich, vibrant colors and ornate patterns was also common, giving the games a luxurious and opulent feel. In addition to the elaborate illustrations, 19th century board games often incorporated decorative typography and highly detailed elements.

Game titles and instructions were typically presented in ornate fonts, and the overall design of the game boxes and components was often embellished with elaborate borders and flourishes. The visual style of 19th century board games reflected the cultural and artistic sensibilities of the time, with a focus on creating visually stunning and immersive gaming experiences (Wakeman, 1973). These games were not only meant to be played, but also admired as works of art. Today, many collectors value these vintage board games for their exquisite visual design and historical significance.

Italian version of 'The Game of the Goose.

Designs of such games have strong stylistic correlations with wimmelbooks. The XIX century was a time of great innovation and creativity in the world of board games, with many games being produced that shared stylistic similarities with wimmelbooks. Board games from this era often featured elaborate game boards adorned with detailed illustrations that depicted scenes from history, mythology, or fantasy worlds.

These illustrations were meticulously crafted, with every detail carefully rendered to bring the game to life. Similarly, wimmelbooks are known for their busy and bustling illustrations, which are perfect for designing a board game or an activity book for a child (Wakeman, 1973). The Game of the Goose, the earliest commercially produced board game, is a game of chance and luck with no strategy involved. Duke Francesco de Medici first

gifted the game, then called Gioco dell'Oca, to Philip II of Spain between 1574 and 1587, and it quickly became popular throughout Europe. Examples of the game dating from 1774 to the late 19th century include rules in French, German, and Italian. In the XXI century, publishers often refer to wimmel images to create an educative and fun piece for kids. Wimmelbuch illustrations are frequently used for educational activity games as a kid is introduced to numerous things that need to be explained, described, and counted. Highly detailed imagery was used for children centuries ago as both an educative and entertaining method of learning and the same approach is still popular now. An example of such is a spread by Alexandra Helm which is an illustration and a game at the same time.

Italian version of 'The Game of the Goose.

The Wonderful Game of Oz, 1921.

ALI MITGUTCH
The wimmelbook, a genre of children's book that features busy and bustling illustrations filled with countless characters and objects, has a rich and enduring legacy that continues to captivate readers of all ages. As mentioned above, one of the most influential figures in the world of wimmelbooks is Ali Mitgutsch, illustrator and author who is widely regarded as a pioneer in the genre. Mitgutsch's contributions to the world of wimmelbooks are numerous and significant. His meticulous attention to detail and his ability to create immersive and engaging illustrations set a new standard for the wimmelbook genre, inspiring countless other authors and illustrators to follow in his footsteps. His innovative approach to illustration and storytelling has had a profound impact on the world of children's literature, inspiring countless other authors and illustrators to create their own wimmelbooks. We can see Mitgutch’s influence on works of Lila Leiber, Marc Martin, Victoria Samsonova, Thierry Laval and many others brilliant creators.

WIMMELBOOKS’ INFLUENCE
Wimmelbooks are part of a larger category of picturebooks that promote visual literacy in children, allowing them to interpret images before they can read words. Unlike other picturebooks, wimmelbooks do not rely on accompanying text to guide the reader's interpretation, instead offering a wealth of visual material for exploration and analysis. Examples of other types of picturebooks include Richard Scarry's encyclopedic spreads and puzzle books like Sven Nordqvist's Where Is My Sister?, which prioritize aesthetic enjoyment over problem-solving. The line between wimmelbooks and panoramic books, such as Mitsumasa Anno's Journey series, is blurred, with both genres focusing on intricate landscapes but with different perspectives and approaches. Recent geographic wimmelbooks, such as Tom Schamp's Otto in the City, combine real-world settings with teeming sceneries and innovative storytelling techniques like the loop book. Wimmelbooks have had a significant influence on today's illustration, particularly in the realm of board games.

The intricate and detailed illustrations found in wimmelbooks have inspired a new wave of board game design. Many modern board games now feature elaborate and visually captivating artwork that draws players into the game's world. This shift towards more immersive and visually stimulating board game designs can be directly attributed to the influence of wimmelbooks. One of the key ways in which wimmelbooks have influenced today's board game illustration is through their emphasis on storytelling and world-building. Wimmelbooks often depict vibrant and lively scenes that tell a story through the interactions of the characters and the environment. This emphasis on narrative and world-building has translated into board games that feature richly illustrated boards and components that create a sense of immersion for the players. Whether it's a fantasy adventure game or a historical-themed strategy game, modern board games often strive to create a visually captivating world for players to explore, much like the detailed scenes found in wimmelbooks.

Sven Nordqvist “Where Is My Sister?”

WIMMEL-IMAGERY AND THE WORLD AROUND
Wimmelbooks play a significant role in helping children understand the world around them. These books are filled with highly detailed and bustling scenes that depict everyday life, various environments, and different activities. By exploring the illustrations in wimmelbooks, children are able to develop a better understanding of the world in several ways. Wimmelbooks help children learn about different cultures and communities. The illustrations often showcase diverse groups of people engaging in various activities, such as shopping at a market, playing in a park, or working in different professions. By observing these scenes, children can gain exposure to different cultural practices, traditions, and lifestyles, which can broaden their perspective and foster an appreciation for diversity. The vivid example for this is Marc Martin’s book “Lots”, where each spread presents world’s biggest capital cities from Moscow to New Dehli and Cairo. Marc Martin depicted people of
different races and cultures along with their traditions, special meals, clothing, and transportation.

Secondly, Wimmelbooks encourage children to observe and understand the dynamics of everyday life. The detailed illustrations depict people or animals going about their daily routines, interacting with one another, and engaging in different tasks. By closely examining these scenes, children can learn about social interactions, community roles, and the interconnectedness of individuals within a society. Such is brilliantly illustrated by an American artist Richard Scarry. He introduces a multitude of characters to a young reader, and each has various traits and behaviors. For example, Sally Cat is competitive and grumpy, while Dingo Dog is impatient and choleric.

Furthermore, Wimmelbooks help children develop their observational and cognitive skills. The teeming nature of the illustrations prompts children to pay attention to details, identify different objects and characters, and make connections between various elements within the scenes. This process of observation and discovery enhances children's visual literacy and critical thinking abilities (Khvostikova, 2022). Wimmelbooks as well provide opportunities for language development and storytelling. As children explore the illustrations, they can create narratives based on the characters and
activities they observe. This imaginative storytelling not only nurtures creativity but also helps children develop their language skills as they describe and discuss the scenes they encounter (Shkorenkova, 2018).

Mitsumasa Anno “Anno's Journey”.

Richard Scarry’s characters.

Marc Martin “Lots”.

CONCLUSION

Throughout the essay, the evolution and popularity of the wimmelbook genre was explored. The wimmelbook genre has come a long way since its inception in Germany in the 1960s. It has evolved into a popular and highly desirable form of illustration for children. The history and development of this genre were covered as well as its current relevance today. With the help of literary scholar Cornelia Remi, the base wimmel characteristics were analyzed through the historical prism. Main distinctive features are highly detailed panoramic landscape featuring numerous characters engaged in simultaneous interactions, often subtly connected to each other; the perspective combines elements of both distance and proximity, while hidden layers of meaning, such as an open-front dollhouse, add depth to the imagery; the visual overabundance and lack of explicit reading instructions contribute to the immersive and exploratory nature of these books.

Additionally, it was concluded with the paperwork of pedagogy scholar A.A. Khvostikova that wimmelbooks serve as valuable educational tool that offer children a unique way to understand the world. Through their rich and detailed illustrations, these books facilitate cultural learning, social awareness, cognitive development, and language enrichment. By engaging with Wimmelbooks, children can gain a deeper understanding of the complexities and diversity of the world around them.

The paintings of Pieter Bruegel the Elder and Hieronymus Bosch are reflected in contemporary art in the form of wimmelbooks. Wimmelbuch, in turn, continues to develop as a distinct genre in twenty-first century literature and illustration. In this paper, the features of the wimmelbuch genre have been explored in more detail in a brief comparison with the Persian miniature, christian tradition book miniature, paintings of Flemish painters and boardgames of XIX century. However, history knows much more images "teeming with detail" that could be the ancestors of wimmel-illustrations. To date, this genre is understudied; art history has not yet begun a full-fledged discussion of wimmel-illustrations. Despite its growth in popularity, the wimmelbook genre has yet to receive much attention from art critics and cultural historians. Having started to study the origins of the genre with the origins that were stated above, a new research path is opening for other scholars, students, and enthusiasts of the art of illustration. The wimmelbook genre has a bright future ahead, and its influence will continue to be celebrated for generations to come.

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