Once Upon a Time...: A Treasury of Classic Fairy Tale Illustrations (Dover Fine Art, History of Art)

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Gleeson White, “Children’s Books and Their Illustrators,” The Studio (London: Offices of the Studio, 1897) 72. Figure 10: Edward Lear, “There was a young lady whose bonnet…” The Book of Nonsense by Edward Lear, 1861, Ink on paper, 21 x 29 cm, Houghton Library, Harvard University Fig.6. Gustave Doré, “‘Oh, granny, your teeth are tremendous in size!’‘They’re to eat you!’—and he ate her,” 1865 R.W. Lovejoy, Chapter 11, “Dangerous Pictures: Social Commentary in Europe, 1720-1860,” in History of Illustration (New York: Bloomsbury, 2018) 175. On iconographic traditions in fairy-tale illustrations, see Ruth Bottigheimer, “Iconographic Contin (...)

Images by Aubrey Beardsley from Salomé, The Yellow Book, Le Morte D'Arthur, and the Victorian parodies / erotica. Peter Pan isn’t just resisting the hero’s journey himself; he is stopping others from their own self-discovery. The reader of Peter and Wendy is left to presume that Peter keeps his cadre of Lost Boys in perpetual youth by offing the older ones as younger ones arrive. In contrast to Joseph Campbell’s description, Peter Pan isn’t involved in “dragon killings and threshold crossings,” but instead kills the hero before the journey has begun. Later versions of the story were revised and omit any reference to Peter Pan getting rid of his aging cohorts. Where you lied about your age to get on and frequently rearranged your "top friends" lists accordingly. 14. Abercrombie models Figure 13: Edmund Dulac, “She played upon the ringing lute, and sang to its tones.” The Wind’s Tale in Stories from Hans Andersen with Illustrations by Edmund Dulac, 1911, Watercolor and ink on paper

Lord Woolley in conversation with former Prime Minister Theresa May

This is really where Art Passions started You will find Adrienne Segur's illustrations to The Fairy Tale book by Marie Ponsot. Chapbooks were small, affordable forms of literature for children and adults that were sold on the streets, and covered a range of subjects from fairy tales and ghost stories to news of politics, crime or disaster.” Ruth Richardson, “Chapbooks,” Discovering Literature: Romantics and Victorians, British Library, May 15, 2014, https://www.bl.uk/romantics-and-victorians/articles/chapbooks. Figure 5: George Cruikshank, “Bremen Town Musicians,” German Popular Stories, Jacob and Wilhelm Grimm, 1823, Etching, Osborne Collection of Early Children’s Books, Toronto Public Library The critical reception of the Grimms’ tales is discussed in Donald Haase, The Reception of Grimms’ (...) Ethereal layers of laser-cut and die-cut paper overlay Schenker’s graphic silhouette illustrations, making tangible the beloved story’s inherent duality of darkness and light from which its enduring enchantment springs.

The late 19th century saw the birth of the children’s book designed solely for children. As Gleeson White, the editor of famed Victorian arts quarterly The Studio writes, “...the tastes of children as a factor to be considered in life are well-nigh as modern as steam or the electric light…”, so writing and creating new stories and illustrations specifically for young minds was not a priority before the development of the “childhood” in the Victorian era. With the Industrial Revolution and the rising middle class came a new appreciation for the preserved innocence of children, and a sense of play and amusement that had not existed before. Thanks to new machinery, such as the steam engine, the sewing machine, and the cotton gin, manual labor was no longer the plight of every human being, and the newfound wealth of the middle class meant that more people could spend time and money indulging their children by purchasing toys and books. Though children’s books, were available in the late 18th century, they were primarily chapbooks** and fairy tales, such as German Popular Stories illustrated by George Cruikshank, that were not solely created for children, but rather transformed and often censored adult tales rewritten into children’s literature. “Even if the intellectual standard of those days was on a par in both domains, it does not prove that the reading of the kitchen and nursery was interchangeable.” [10] White’s statement in The Studio shows disdain for the literacy level of the adult in the late 18th century, stating that kitchen reading, or casual reading of low brow publications by adults, though simplistic in construction, was no substitute for children’s literature. Susan E. Meyer, A Treasury of the Great Children’s Book Illustrators (New York: Harry N. Abrams, 1987) 88. R.W. Lovejoy, Chapter 11, “Dangerous Pictures: Social Commentary in Europe, 1720-1860,” in History of Illustration (New York: Bloomsbury, 2018) 183. Figure 8: Walter Crane, centerfold illustration for The Sleeping Beauty in the Wood, 1876, Xylograph, Osborne Collection of Early Children’s Books, Toronto Public LibraryGustave Doré was a world famous 19th century illustrator. Although he illustrated over 200 books, some with more than 400 plates, he is primarily known for his illustrations to The Divine Comedy, particularly The Inferno, his illustrations to Don Quixote, Coleridge's Rime of the Ancient Mariner, and Edgar Allan Poe's The Raven. Marlene Zöhrer observes a relatively small production of picturebooks based on Grimm’s tales in Austria, which she attributes to the dominance of the German book market and the importance of Lisbeth Zwerger. She offers a close reading of this influential illustrator’s Die Bremer Stadtmusikanten (2006, The Bremen Town Musicians ), arguing that Zwerger breaks with the iconographic tradition established by her predecessors by choosing different scenes and constellations. A more radical break can be found in the other two case studies from Austria. Renate Gruber and Linda Wolfsgruber use the Grimms’ and other fairy tales for a playful game of intertextuality in their mixed-media alphabet book es war einmal. Von A bis Zett (2000; Once Upon a Time. From A to Zett ). While they may not tread in the steps of historical illustrators of the tale, Zöhrer links them to another trend that has started to become a tradition in its own right: the parodic, metafictional fairy-tale amalgam, as established by, among others, Roald Dahl’s Revolting Rhymes (1982) and Jon Scieszka and Lane Smith’s The Stinky Cheese Man (1992). Zöhrer’s third case study, Prinzessin Hannibal (2017, Princess Hannibal ) by Michael Roher, cannot be linked to one specific fairy-tale either, and uses intertextual play and a transgender princess to crucially revise the cis-normative tradition of the fairy tales. Most recent: I am working on this section so you will be able to find images by Fairy Tale as well as by Artist. Far from the heroine she became in later versions, Perrault’s Red Riding Hood served as a stark warning to pubescent females of the dark desires of the male of her species. The sanitized version familiar to contemporary audiences was written by Lydia Very and released in an 1863 edition—die-cut in the shape of Red Riding Hood. In Very’s tale, as the wolf is about to eat Red Riding Hood “like a bird,” a hunter shoots the beast. The moral has also changed, imploring girls to “mind your mother’s word!” and not speak with strange men, lest they too be taken by the wolf.

I get you clothes sometimes, so it would be perfectly reasonable if I got some from you too. Again, any guy who braves any type of dreadful clothing store deserves an award too. On German illustrated books of the Grimms’ tales, see Heinz Wegehaupt, Illustrationen zu Märchen de (...) Edmund Dulac's illustrations grace such hard-to-find classics as his Dreamer of Dreams, The Fairy Book, and his Picture Book for the Red Cross. Bruno Bettelheim, The Uses of Enchantment: The Meaning and Importance of Fairy Tales , New York, Tha (...)

Walter Crane

Shortly after the release of Philip Pullman’s retelling of the Grimm classics, which was published unillustrated in the UK and the US, a publisher approached Australian artist and author Shaun Tan— creator of such modern masterpieces as The Lost Thing and The Arrival— about creating a cover and possibly some internal artwork for a German edition of Pullman’s fifty tales. Mayfair-born William Roger Snow (1834-1907) went up to Cambridge in 1854 but by 1855 had left the university and signed up to the British Army. During his 20 years of soldiering he served all over the world while still finding time to publish books and plays and to paint. In 1875 he left the army under a cloud after an affair with a Dublin actress. Humphrey Carpenter and Mari Prichard, The Oxford Companion to Children's Literature (New York: Oxford University Press, 1984). Her work is hand-drawn on paper, merging a lot of mythical and traditional motifs from various cultures with contemporary ideas. She’s worked with numerous publishing houses to create art for books, including HarperCollins, Penguin Books, Macmillan, Disney-Hyperion, Usborne, and Chronicle Books. Sveta has also created artwork for movies, including The True Adventures of Wolfboy, commercial art for advertising agencies like JWT New York or D8 studio in Glasgow, and editorial pieces for magazines like The New Yorker and The LA Times.

Jacob and Wilhelm Grimm, German Popular Stories , translated from the Kinder and Haus Märchen collec (...) Dinky Bird, Ecstasy, Cinderella, and others. Maxfield Parrish illustrations to Poems of Childhood and elsewhere. But it was Gág’s retelling of that proto-feminist folktale, which she had learned from her Austro-Hungarian grandmother, that first sparked her interest in translating and reimagining folktales for children. The following year, she set out to translate and illustrate Tales from Grimm ( public library) — a remarkable fusion of Gág’s own peasant heritage and her masterful skills as a fine artist. Hansel and Gretel Hansel and GretelFigure 11: Beatrix Potter, “Now run along, and don’t get into mischief. I am going out.” The Tale of Peter Rabbit by Beatrix Potter, 1901, Watercolor and ink on paper To celebrate the 150th anniversary of the tales in 1973, exactly a decade after Where the Wild Things Are transformed Maurice Sendak from an insecure young artist into a household name, FSG invited the 45-year-old artist to illustrate a translation of the Grimm classics by novelist Lore Segal. Sendak had first envisioned the project in 1962, just as he was completing Where the Wild Things Are, but it had taken him a decade to begin drawing. He collaborated with Segal on choosing 27 of the 210 tales for this special edition, which was originally released as a glorious two-volume boxed set and was reprinted thirty years later in the single volume The Juniper Tree: And Other Tales from Grimm ( public library). Susan E. Meyer, A Treasury of the Great Children’s Book Illustrators (New York: Harry N. Abrams, 1987) 12.