School Library Journal Review
Gr 4-6-This biography introduces an obscure but fascinating American Revolution figure-a patriotic precursor to Madame Tussaud. Born in Oyster Bay, NY, in 1725, Patience Lovell grew up in a Quaker household. From an early age, she exhibited a gift for creating lifelike sculptures, first using clay, and later, wax. Widowed at 45, she moved to Philadelphia, where she opened an art studio. Wealthy clients commissioned busts and figures of themselves. After establishing permanent exhibits in Philadelphia and New York, Wright opened a London studio. Letters of introduction from Ben Franklin helped to establish her success in England. While her efforts to persuade King George not to wage war on the colonies failed, her engaging nature helped her obtain information from members of Parliament and military officers. "Patience led them into revealing secrets by offering wrong information, which they immediately corrected." She put the secrets inside hollow busts that she sent back home, revealing which colonists took bribes from the British, as well as details about enemy weapons and attacks. The delicately rendered, gouache-and-pastel illustrations, covering full spreads, portray the artist, the early American landscape, period costumes, and life-size, fully dressed sculptures. The one of Franklin's head looks alarmingly alive, as the coloring, facial expression, and eyes are so real. Use this unique biography to enrich social-studies units on the Revolution and on women's history.-Barbara Auerbach, New York City Public Schools (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Horn Book Review
American-born Patience Wright was a noted wax sculptor--and spy--during the Revolutionary War era. Living in London, she funneled information back to the fledgling democracy. Wright's story is unquestionably compelling, but the narrative doesn't capture its drama completely; the author's note is more engaging. Gouache and pastel illustrations are intricately detailed and provide much of the book's interest and energy. Timeline. Bib. (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted. All rights reserved.
Kirkus Review
One of nine sisters and one brother born to a Quaker family, Patience grew up in New Jersey and discovered her talent for sculpting figures early on. Widowed and with children to support, she moved in with another sister, gave up vegetarianism and began to work in wax made from animal fats. She and her sister had studios in New York and Philadelphia, and sculpted portrait heads and full figures of many notables. She moved to London in 1772 with a letter of introduction from Ben Franklin, sculpted everyone from William Pitt to the king and queen and was resourceful enough to put notes about what she learned about possible war tactics into the busts she shipped back home. Unfortunately, the only one of her waxworks to survive is the figure of Pitt, in his crypt at Westminster Abbey. Full of fascinating detail, the text is well-matched by lively gouache and pastel illustrations, vibrant with color and texture. While it is too dense for younger children, middle-graders will no doubt be fascinated. (author note, timeline, bibliography) (Picture book/biography. 8-12) Copyright ©Kirkus Reviews, used with permission.
Booklist Review
As a child, Patience Wright enjoyed sculpting from clay. Years later, after the death of her husband, she decided to support her children through her art. Her wax-modeling business, producing three-dimensional portraits, busts, and life-size replicas of clients, became a huge success, as Shea explains in her informative author's note, a female artist was rare enough . . . a woman who passionately pursued her career . . . was unheard of. Wright's life was to become even more unconventional. After moving her business to London, she became privy to information about the Revolutionary War, which she heard from important clients. A wonderful picture of Ben Franklin's wax head illustrates how Wright sent secret messages in sculptures she shipped to America. Shea writes with a dynamic simplicity that brings Wright to life. At the same time, she seamlessly incorporates information about the war and events leading up to it into her text. Andersen has a way with women characters; her cover depiction of Wright, looking straight at the audience, a small wax head in her hand, is particularly effective. --Ilene Cooper Copyright 2007 Booklist
