VIS U AL ARTS
LESSON 2 READING: A R T I S T I C S T Y L E
SIMPLICITY
MAPS, PHOTOS, DIAGRAMS & DOCUMENTS
MAUS is deceptively simple. Unlike colourful
A unique feature of MAUS is its use of informational
mainstream comics, MAUS uses only black and white.
drawings. These maps, photos, diagrams, and
There are few details and few facial expressions.
documents serve as a kind of documentary evidence
Mice faces are expressed simply with dots for eyes
for Vladek’s story and Holocaust history. These special
and short lines for mouths and eyebrows. Sometimes,
drawings enhance readers’ understanding of people,
facial shadows are used to convey emotions.
places, and events by adding a richness of details to
Only differences in clothing distinguish one mouse
an otherwise simple style. Some examples include:
from another. And yet, each character is clearly
recognizable. MAUS’ simplistic style makes it easily
MapS
accessible and approachable for all groups of readers.
• Concentration camp, Rego Park, and the Catskills,
back covers Vol. I & II
• Death march, Vol. II.84
FRAMES
Renowned comic book artist Will Eisner calls comics
“sequential art,” referring in part to the way each frame
follows the other. MAUS’ use of frames is a traditional
Photos
• Family photographs, Vol. II.114,115
one: few drawings break out of their borders and the
Diagrams
frames help keep the Holocaust separate from the
• Hiding places, Vol. I.110
• Crematoria, Vol. II.70
• Shoe repair, Vol. II.60
present. One exception to this rule, where past and
present meet, can be found in the drawing of the
Auschwitz hangings presented simultaneously with a
drive through the Catskills. Other variations include the
use of a frame within a frame, varied sizes of frames,
and a single image drawn through multiple frames.
Documents
• Nazi proclamation, Vol. I.82
• Passport marked with a “J,” Vol. 1.90
• Timeline, Vol. II.68
FLASHBACKS
MAUS makes use of many flashbacks and flash forwards
to tell the story in an alternating fashion. At one point
Vladek is shown looking back in time at his younger self
(I.74, I.115). Although extremely effective, MAUS’ use
of flashbacks and flash forwards is not new. Students will
be accustomed to interpreting these time shifts from their
experience with other comic books, film and television.
VAN C O U VE R H O L O CA US T ED UCATION CENTR E
M A U S A M em o i r o f t h e H o l o ca us t T E A C H E R ’ S GUI D E 32
V I S U A L A RT S
LESSON 2 DOSSIER: A R T I S T I C S T Y L E
Maps
CONCETRATION CAMP, REGO PARK,VOL.I BACK COVER
© Art Spiegelman. MAUS I: A Survivor’s Tale My Father Bleeds History, 1986. Back Cover.
3 3 MAUS A Me mo ir o f t h e H o l o c a u st TE A C H E R ’ S G U I DE
VANCOUVE R HOLOCAUST E DUCAT IO N C E N T RE
VIS U AL ARTS
LESSON 2 DOSSIER: A R T I S T I C S T Y L E
Maps
CONCETRATION CAMP, CATSKILSS,VOL.II BACK COVER
© Art Spiegelman. MAUS II: A Survivor’s Tale And Here My Troubles Began, 1992. Back Cover.
VAN C O U VE R H O L O CA US T ED UCATION CENTR E
M A U S A M em o i r o f t h e H o l o ca us t T E A C H E R ’ S GUI D E 34
V I S U A L A RT S
LESSON 2 DOSSIER: A R T I S T I C S T Y L E
Maps
DEATH MARCH,VOL.II.84
© Art Spiegelman. MAUS II: A Survivor’s Tale And Here My Troubles Began, 1992. Page 84.
3 5 MAUS A Me mo ir o f t h e H o l o c a u st TE A C H E R ’ S G U I DE
VANCOUVE R HOLOCAUST E DUCAT IO N C E N T RE
VIS U AL ARTS
LESSON 2 DOSSIER: A R T I S T I C S T Y L E
Photos
FAMILY PH OTOGRAPHS, VOL.II.114
© Art Spiegelman. MAUS II: A Survivor’s Tale And Here My Troubles Began, 1992. Page 114.
VAN C O U VE R H O L O CA US T ED UCATION CENTR E
M A U S A M em o i r o f t h e H o l o ca us t T E A C H E R ’ S GUI D E 36
V I S U A L A RT S
LESSON 2 DOSSIER: A R T I S T I C S T Y L E
Photos
FAMILY PHOTOGRAPHS,VOL.II.115
© Art Spiegelman. MAUS II: A Survivor’s Tale And Here My Troubles Began, 1992. Page 115.
3 7 MAUS A Me mo ir o f t h e H o l o c a u st TE A C H E R ’ S G U I DE
VANCOUVE R HOLOCAUST E DUCAT IO N C E N T RE
VIS U AL ARTS
LESSON 2 DOSSIER: A R T I S T I C S T Y L E
Diagrams
HIDING PLACES,VOL.I.110
© Art Spiegelman. MAUS I: A Survivor’s Tale My Father Bleeds History, 1986. Page 110.
VAN C O U VE R H O L O CA US T ED UCATION CENTR E
M A U S A M em o i r o f t h e H o l o ca us t T E A C H E R ’ S GUI D E 38
V I S U A L A RT S
LESSON 2 DOSSIER: A R T I S T I C S T Y L E
Diagrams
CREMATORIA,VOL.II.70
© Art Spiegelman. MAUS II: A Survivor’s Tale And Here My Troubles Began, 1992. Page 70.
3 9 MAUS A Me mo ir o f t h e H o l o c a u st TE A C H E R ’ S G U I DE
VANCOUVE R HOLOCAUST E DUCAT IO N C E N T RE
VIS U AL ARTS
LESSON 2 DOSSIER: A R T I S T I C S T Y L E
Diagrams
SHOE REPAIR,VOL.II.60
© Art Spiegelman. MAUS II: A Survivor’s Tale And Here My Troubles Began, 1992. Page 60.
VAN C O U VE R H O L O CA US T ED UCATION CENTR E
M A U S A M em o i r o f t h e H o l o ca us t T E A C H E R ’ S GUI D E 40
V I S U A L A RT S
LESSON 2 DOSSIER: A R T I S T I C S T Y L E
Documents
NAZI PROCLAMATION,VOL.I.82
© Art Spiegelman. MAUS I: A Survivor’s Tale My Father Bleeds History, 1986. Page 82.
4 1 MAUS A Me mo ir o f t h e H o l o c a u st TE A C H E R ’ S G U I DE
VANCOUVE R HOLOCAUST E DUCAT IO N C E N T RE
VIS U AL ARTS
LESSON 2 DOSSIER: A R T I S T I C S T Y L E
Documents
PASSPORT MARKED WITH A “J”,VOL.I.90
© Art Spiegelman. MAUS I: A Survivor’s Tale My Father Bleeds History, 1986. Page 90.
VAN C O U VE R H O L O CA US T ED UCATION CENTR E
M A U S A M em o i r o f t h e H o l o ca us t T E A C H E R ’ S GUI D E 42
V I S U A L A RT S
LESSON 2 DOSSIER: A R T I S T I C S T Y L E
Documents
TIMELINE,VOL.II.68
© Art Spiegelman. MAUS II: A Survivor’s Tale And Here My Troubles Began, 1992. Page 68.
4 3 MAUS A Me mo ir o f t h e H o l o c a u st TE A C H E R ’ S G U I DE
VANCOUVE R HOLOCAUST E DUCAT IO N C E N T RE