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This book presents hundreds of original production materials, including artworks previously unseen outside Studio Ghibli’s archives.\u003c\/p\u003e\u003cp\u003eConcept sketches, character designs, storyboards, layouts, backgrounds, and production cels trace Miyazaki’s early career through all 11 of his feature films, including \u003cem\u003eMy Neighbor Totoro\u003c\/em\u003e (1988), \u003cem\u003eKiki’s Delivery Service\u003c\/em\u003e (1989), \u003cem\u003ePrincess Mononoke\u003c\/em\u003e (1997), \u003cem\u003eSpirited Away\u003c\/em\u003e (2001), and \u003cem\u003eHowl’s Moving Castle\u003c\/em\u003e (2004). 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Recently acquired by the Museum of Modern Art in New York, the pencil and jewel-toned watercolor studies pair carefully rendered plants with abstract diagrams: a sunflower with nested circles, lily of the valley with a colorful checkerboard, and catsfoot with mirrored spirals. Together, these forms express af Klint’s belief that close observation of nature could reveal “what stands behind the flowers,” including aspects of human character.\u003c\/p\u003e\u003cp\u003ePublished in conjunction with the portfolio’s first public exhibition, the book reproduces the drawings alongside contextual artworks and translations of af Klint’s previously unpublished writings. An overview essay by curator Jodi Hauptman examines the portfolio and its creation; texts by Ewa Lajer-Burcharth, Laura Neufeld, and Lena Struwe explore its imagery, materials, and botanical knowledge.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eARTIST:\u003c\/strong\u003e Hilma af Klint\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eESSAYS:\u003c\/strong\u003e Jodi Hauptman, Ewa Lajer-Burcharth, Laura Neufeld, and Lena Struwe\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eABOUT THE ARTIST:\u003c\/strong\u003e Hilma af Klint (1862–1944) trained at Stockholm’s Royal Academy of Fine Arts and established herself as a professional artist. 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At a time when social realism dominated American art, the group pursued abstraction as a means of spiritual illumination.\u003c\/p\u003e\n\u003cp\u003ePublished with the Crocker Art Museum, this volume places their work within modern painting and twentieth-century American art, offering an alternative line through the history of abstraction.\u003c\/p\u003e\n\u003cp\u003eThe nine original members were Emil Bisttram, Robert Gribbroek, Lawren Harris, Raymond Jonson, William Lumpkins, Florence Miller Pierce, Agnes Pelton, Horace Towner Pierce, and Stuart Walker; Ed Garman joined later. 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Commissioned in 1953 and first published in 1957 as \u003cem\u003eL’Art magique\u003c\/em\u003e, it moves from Novalis and Baudelaire to prehistoric rock art in Spain and France, Indigenous art of the Pacific Northwest, medieval grimoires and alchemical symbolism, and the work of Hieronymus Bosch, Antoine Caron, Paolo Uccello, Gustav Moreau, Paul Gauguin, and the Surrealists.\u003c\/p\u003e\u003cp\u003eBreton considers the fascination with otherness and positions Surrealism within a magical sensibility extending back to the beginnings of art. This edition presents the text in English translation for the first time. 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