Richard Scarry - Personal Life and Family

Personal Life and Family

Scarry's wife, Patricia Murphy, was a writer of children's textbooks who met Richard during collaboration when he was a textbook illustrator. She is credited with writing many of the stories in his subsequent children's books, such as Good Night, Little Bear, The Bunny Book, and The Fishing Cat. In 1972 the Scarrys bought a chalet in Gstaad, Switzerland. Here he founded his studio where he spent most of the day (from about 8 a.m. to 4 p.m.) writing and illustrating his books. His studio contained a single desk, lamp and chair. His wife was told not to bother him except for his hour break for lunch. Scarry died of a heart attack in Gstaad in 1994. His papers and drawings are in the collection of the University of Connecticut archives. His son, Richard Scarry, Jr., is also an illustrator, sometimes working under the nickname Huck Scarry, sometimes working in his father's style as Richard Scarry. Huck is the nickname of Huckle Cat, one of the most commonly recurring Busytown characters. Scarry Jr. lives in Vienna, Austria; socialites Olympia and Fiona Scarry are his daughters.

Read more about this topic:  Richard Scarry

Famous quotes containing the words personal, life and/or family:

    Q: Have you made personal sacrifices for the sake of your career?
    A: Leaving a three-month-old infant in another person’s house for nine hours, five days a week is a personal sacrifice.
    Alice Cort (20th century)

    Virtue and vice suppose the freedom to choose between good and evil; but what can be the morals of a woman who is not even in possession of herself, who has nothing of her own, and who all her life has been trained to extricate herself from the arbitrary by ruse, from constraint by using her charms?... As long as she is subject to man’s yoke or to prejudice, as long as she receives no professional education, as long as she is deprived of her civil rights, there can be no moral law for her!
    Flora Tristan (1803–1844)

    With a new familiarity and a flesh-creeping “homeliness” entirely of this unreal, materialistic world, where all “sentiment” is coarsely manufactured and advertised in colossal sickly captions, disguised for the sweet tooth of a monstrous baby called “the Public,” the family as it is, broken up on all hands by the agency of feminist and economic propaganda, reconstitutes itself in the image of the state.
    Percy Wyndham Lewis (1882–1957)