1. The supreme accomplishment is to blur the line between work and play. ~ Arnold Toynbee
   

Through their artwork, the six featured artists of “Art and Play” exemplified Toynbee’s definition of the “supreme accomplishment.” Marcel Duchamp ultimately based his career on his love for the game of chess. Alexander Calder rejoiced in the fact that six-year-olds were his greatest fans. Jean Tinguely incorporated his ephemeral kinetic sculptures into playful events and contributed to the creation of several playgrounds throughout the world. Claes Oldenburg created monuments to everyday objects that “play” with the landscape. Elizabeth Murray designed an exhibit for children to literally play with her art. And Joseph Cornell chose to have his last exhibit for children only where he answered questions about the toys he collected and created while enjoying cherry Cokes and brownies. Each of these artists developed their childhood interests, experiences, and play into their artwork. Their life stories present interesting examples of how the young adult reader can do the same.

According to Barbara Rugoff, “Creative approaches are ideas that forge a new connection between ideas and tools that are already familiar.” The work of the artists in Art and Play represent different variations on connecting ideas and tools—applying developed skills to new ideas or exploring new tools to express favorite ideas from their youth. By identifying dominate threads, patterns easily arise from the artists’ fascinating life stories.

1. ★Duchamp grew up in an artistic family. Following in his siblings’ footsteps, Duchamp attended art school, after living with the acclaimed artwork of their grandfather. Beginning as a painter, his transitions into Readymades (store-bought items he named, signed, and called art) led to a focus on the game of chess, which stemmed from his favorite childhood pastimes.
   

2. ★Like Duchamp, Alexander Calder was exposed to sculpting as a child through his grandfather’s and father’s work. He initially decided to be an engineer instead. However, after learning the principles of engineering, he realized that he was best able to apply them in his favorite medium of wire, which he used to make toys when he was younger. An amalgamation of his family history of sculpting, the experience of making wire toys for his sister’s dolls, and the principles of engineering resulted in the invention of mobiles, Calder’s most notable accomplishment to the art world.
   

3. ★Jean Tinguely spent countless childhood hours in the Swiss forest creating a story that would become a model for his future artwork. He often shared his story of this secret creation when describing the inspiration for his artwork. Several elements from Tinguely’s story are found throughout his future work, including the use of chance and movement, various sounds and speeds, water, the surrounding environment, the temporary life expectancy of the artwork, the use of scrap material for construction, and concern with the viewer’s interactive response with the playful piece.
   

4. ★With the help of his brother, Claes Oldenburg created an imaginary country inspired by their shared experience of being the sons of a diplomat. Detailed fictional maps and imaginative characters made up the country of Neubern. Part of Oldenburg’s creative process included the use of his father’s office supplies. His love for these everyday objects led to memorials creating unusual and playful landscapes throughout the world.
   

5. ★Elizabeth Murray’s childhood love for cartoons set her on track for creating her playful artwork. With her initial goal of becoming a commercial artist, she studied at the Art Institute of Chicago, where she worked in the museum to help pay for her education. Her exposure to a multitude of world-renowned artists led to her decision to try painting. The new freedom of painting eventually brought her back to incorporating images from her favorite cartoons into her three-dimensional artwork.
   

6. ★Joseph Cornell’s favorite activity books from his childhood suggested creating shadow boxes to demonstrate different educational theories. This childhood activity resonated with Cornell as he created a prolific array of new homes for the objects, drawing and papers he collected from his outings in New York City and obsessively organized. Cornell’s unending affection for childhood resulted in endearing toys he left for neighborhood children to play with, which continue to capture the public’s imagination.
   

The purpose of Art and Play is to provide young artists with an introduction to these six individuals who were able to fulfill their potential by drawing upon early childhood experiences. These artists can serve as distant teachers for the young adults. Their artwork should not be oversimplified as simply being childlike. The artwork exhibits similarities of energy and playfulness found in the work of children, yet the seemingly carefree expression is an evolution of developed skills, dedication, and ideas. According to artist Joan Miró, “The older I get and the more I master the medium, the more I return to my earliest experiences. I think that at the end of my life I will recover all the force of my childhood.” Because of these artists’ ability to delve into their work for extended periods of time, they serve as ideal models for young adults to learn how to explore ideas further and gradually develop them into complex, long-term projects. The playful and creative subject matter attracts young adults while the presentation of the brief biographies allows readers to begin to understand the required diligence and patience necessary to master a medium.