"....Her two illustrated Andersen fairy tales, The Nightingale (1965) and The Fir Tree (1970), are remarkable for their period settings. For the Grimms' Snow White and the Seven Dwarfs (1972), Burkert drew a full‐size teenage girl's face for the book
jacket. In the interior illustrations, she incorporated herbs and symbols associated with witchcraft. Bats fly against the moon, a spider spins a web, and a mushroom lies on the table. While one of the wicked stepmother's hands holds the apple, evidently
poisoned with the paraphernalia including mortar and pestle on the table, the other is positioned to indicate evil intent. While all her books present characters as though on a stage, the most notable book is Valentine & Orson (1989). She devised a
unique way of presenting the story so children could better understand. Characters wear period costumes, and the story is re‐created as a folk play in verse and paintings. Separated at birth, the twin brothers are raised by a king and by a bear
respectively. Their meeting as costumed characters in a play is poignantly placed mid‐page front and centre, lending the tale an exquisite dramatic quality."
In "Major Authors and Illustrators for Children and Young Adults":
"Burkert has received prestigious citations for her illustrations, including a 1972 Caldecott Honor Book designation for Snow White and the Seven Dwarfs, and a 1980 National Book Award nomination for Acts of Light, in which she provided paintings and
drawings for eighty selected poems of Emily Dickinson......
"Burkert branched out on her own in 1989 by writing and illustrating Valentine and Orson, which completed nine years' worth of research, writing, and painting. Based upon a fourteenth-century French poem, Valentine and Orson tells the tale of twin
brothers who become separated at birth. One brother (Valentine) is raised in the royal court of France, while the other (Orson), is raised in the forest by a bear; the two meet and, after initially being enemies, eventually become friends. 'When I read
the story for the first time, I felt a strong connection with it,' Burkert once remarked. 'Although it was written over six centuries ago, there was a universality about it. To me the encounter of the two brothers who meet as enemies in the woods is a
metaphor for the nonviolent resolution of conflict; it confirms the idea that all of us are brothers and sisters and part of the family of mankind.' "
(Self-illustrated) Valentine and Orson, Farrar, Straus (New York, NY), 1989.
Author of an essay on Lion, by William Pene duBois, for Horn Book, and an essay on John Wilde for the Milwaukee Art Museum.
Roald Dahl, James and the Giant Peach, Knopf (New York, NY), 1961.
Natalie Savage Carlson, Jean-Claude's Island, Harper (New York, NY), 1963.
Meindert de Jong, The Big Goose and the Little White Duck, Harper (New York, NY), 1963.
Hans Christian Andersen, The Nightingale, translated by Eva LeGallienne, Harper (New York, NY), 1965.
John Updike, A Child's Calendar, Knopf (New York, NY), 1965.
Edward Lear and Ogden Nash, The Scroobious Pip, Harper (New York, NY), 1968.
Hans Christian Andersen, The Fir Tree, Harper (New York, NY), 1970.
Jacob Ludwig Karl and Wilhelm Karl Grimm, Snow White and the Seven Dwarfs, translated by Randall Jarrell, Farrar, Straus (New York, NY), 1972.
The Art of Nancy Ekholm Burkert by David Larkin and Nancy Ekholm Burkert (Jun 1977)
Emily Dickinson, Acts of Light, New York Graphic Society (New York, NY), 1980.
Nancy Ekholm Burkert: The Art of Illustration by Nancy Ekholm Burkert and Jane Bayard Curley (2003)
Artist to Artist: 23 Major Illustrators Talk to Children About Their Art by Eric Carle Museum of Picture Book Art, Mitsumasa Anno, Nancy Ekholm Burkert and Steven Kellogg (2007)