Who Is Maurice Sendak? Age, Biography, and Wiki
Maurice Sendak, born on June 10, 1928, in Brooklyn, New York, was a celebrated American author and illustrator known primarily for his groundbreaking children's literature, particularly the iconic book Where the Wild Things Are. He passed away in 2012, but his influence continues to shine brightly in the world of children's storytelling. Sendak's works have reshaped the landscape of children's publishing, merging whimsical art with deep emotional resonance.
By 2025, Maurice would have been 97 years old; however, he remains a vital figure in literature, with his works studied and cherished in classrooms and households alike.
| Occupation | Illustrator |
|---|---|
| Date of Birth | June 10, 1928 |
| Age | 83 Years |
| Birth Place | Brooklyn, New York, U.S. |
| Horoscope | Gemini |
| Country | U.S |
| Date of death | 8 May, 2012 |
| Died Place | Danbury, Connecticut, U.S. |
Popularity
Maurice Sendak's Popularity over time
Height, Weight & Measurements
Maurice Sendak had a modest stature, standing at approximately 5 feet 6 inches (168 cm). Unfortunately, specific data regarding his weight and other body measurements throughout his life are not widely documented, as the focus tends to be on his literary contributions rather than physical attributes.
Family, Dating & Relationship Status
Sendak was known to be a private individual regarding his personal life. He never married and had a long-term relationship with his partner, Dr. Eugene Glynn, until his passing in 2012. Although Sendak didn’t have children of his own, he often mentioned that his family—his parents and relatives—deeply influenced his storytelling, instilling in him a profound understanding of love, loss, and the complexities of childhood.
Maurice Bernard Sendak (June 10, 1928 – May 8, 2012) was an American author and illustrator of children's books. Born to Polish-Jewish parents, his childhood was impacted by the death of many of his family members during the Holocaust. Sendak illustrated many works by other authors, such as the Little Bear books by Else Holmelund Minarik.
He achieved acclaim with Where the Wild Things Are (1963), the first of a trilogy followed by In the Night Kitchen (1970) and Outside Over There (1981). He designed sets for operas, notably Mozart's The Magic Flute.
Net Worth and Salary
At the time of his death, Maurice Sendak had an estimated net worth of around $20 million. His wealth primarily came from his successful career as a children's book author and illustrator, earning substantial royalties from his numerous publications and adaptations, including stage productions and animated films. Even years after his passing, the sales of his books continue to generate income, a testament to the lasting appeal of his work.
Career, Business, and Investments
Maurice Sendak’s career spanned several decades, during which he wrote and illustrated over 20 books, including the highly acclaimed Where the Wild Things Are. His unique approach to storytelling addressed themes of adventure, fear, and emotional complexity, resonating with both children and adults alike.
In addition to writing, Sendak worked in various capacities in the world of children's entertainment, contributing to animated television shows and theatrical productions. He remained active in his craft until his later years, consistently pushing the boundaries of how children's literature could be perceived.
In 1993, Sendak published We Are All in the Dumps with Jack and Guy, about the AIDS crisis. Later in the 1990s, Sendak approached playwright Tony Kushner to write a new English-language version of the Czech composer Hans Krása's Holocaust opera Brundibár which, remarkably, had been performed by children in the Theresienstadt concentration camp.
Kushner wrote the text for Sendak's illustrated book of the same name, published in 2003. The book was named one of The New York Times Book Review's 10 Best Illustrated Books of 2003. Gregory Maguire wrote: “In a career that spans 50 years and counting, as Sendak’s does, there are bound to be lesser works.
Brundibar is not lesser than anything.”
Social Network
While Maurice Sendak did not actively engage in modern social media platforms during his lifetime, his legacy continues to thrive online. There are numerous fan pages and dedicated social media accounts that celebrate his work and keep his memory alive. Platforms like Instagram and Twitter often share quotes, illustrations, and tributes, connecting new generations of readers to his timeless tales.
Maurice Sendak began his professional career in 1947 with illustrations for a popular science book, Atomics For the Millions. One of Sendak's first professional commissions, when he was 20 years old, was creating window displays for the toy store FAO Schwarz.
The store's children's book buyer introduced him to Ursula Nordstrom, children's book editor at Harper & Row, who would go on to edit E. B. White's Charlotte's Web (1952) and Louise Fitzhugh's Harriet the Spy (1964). This led to his first illustrations for a children's book, for Marcel Aymé's The Wonderful Farm (1951).
His work appears in eight books by Ruth Krauss, including A Hole is to Dig (1952), which brought wide attention to his artwork. He illustrated the first five books in Else Holmelund Minarik's Little Bear series. The Maurice Sendak Foundation cites Krauss, Nordstrom and Crockett Johnson as mentors to Sendak.
He made his solo debut with Kenny's Window (1956). He published the Nutshell Library (1962), consisting of Alligators All Around, One Was Johnny, Pierre and Chicken Soup With Rice.
Sendak said of Nordstrom: “She treated me like a hothouse flower, watered me for ten years, and hand-picked the works that were to become my permanent backlist and bread-and-butter support.”
Education
Maurice Sendak's educational journey began at the Art Students League of New York, where he honed his artistic skills. While he faced challenges during his early years—especially with his health—he found solace and inspiration in art and literature. His experiences in school and his family background played crucial roles in shaping the narratives and illustrations that would eventually define his career.
At the New York Art Students League, he took a class from John Groth, who taught him “a sense of the enormous potential for motion, for aliveness in illustration … He himself … showed how much fun creating in it could be.”
