|
.jpg) |
|
Albrecht Dürer •
Gustave Doré •
Kay Nielsen •
Edmund Dulac •
Willy Pogány •
Sulamith Wülfing •
Harry Clarke
Jessie M King •
Warwick Goble •
Dugald Walker •
Reginald and
Horace Knowles •
Frank C Papé •
Ida Rentoul
Outhwaite
Evelyn Paul •
Edward Burne-Jones •
William Russell Flint •
Heinrich
Lefler and Joseph Urban •
Sidney
Meteyard
Eleanor Fortescue-Brickdale •
Daphne Allen •
Florence Anderson •
Vernon
Hill •
Evelyn de Morgan •
Gustave
Moreau
|
|
Home
Up
|
|
Arthur Rackham (1867-1939)
Arthur Rackham was among the leading artists associated with the Golden Age of Fantasy Illustration.
Throughout his lengthy career, Rackham was
prolific and contributed his talents to illustrating a variety of subjects,
including traditional fairy tales, Shakespearean works,
Wagnerian
verse, Arthurian legend and tales of Antiquity. His illustrations are characterised by a sinuous pen line softened with muted watercolour - a feature that is typical of
the Art Nouveau aesthete. His forests are looming with frightening grasping
roots, his fair maidens are sensuous - yet somehow chaste - and his ogres and
trolls ugly enough to
repulse, but with sufficient good nature not to frighten.
We
have chosen to highlight one of our favourite images from each
of the following books illustrated by Rackham: Peter Pan in
Kensington Gardens; Alice's Adventures in
Wonderland; A Midsummer-Night's Dream; Undine;
The Rhinegold and The Valkyrie; Siegfried and The
Twilight of the Gods; The Romance of King Arthur and His Knights
of the Round Table;
The Springtide of Life; Irish Fairy Tales;
Comus; Hawthorne's Wonder Book; and The Tempest.
Should you wish to purchase Fine Art
Posters or Greeting Cards showing the artwork of Arthur Rackham, we are aware that these are available through
Spirit of the Ages.
"Peter Pan in Kensington Gardens"
|
|
.jpg) |
The
fairies have their tiffs with the birds
This illustration, depicting a
description in the Chapter, "Peter Pan", was published in the
First Edition of
Peter Pan in Kensington Gardens
(1906) illustrated by Arthur Rackham.
Published by Hodder & Stoughton (London),
Arthur Rackham's illustrated Peter Pan in Kensington Gardens
was a 'tour de force'.
For the First Edition, Rackham turned his prodigious skill
towards illustrating a portion of
Barrie's play, The
Little White Bird. It tells the story of Peter Pan - the eternal child living in Neverland - who often visits London
to listen to bedtime stories told by Mrs
Mary Darling to her children (one of whom is Wendy). After Wendy
helps Peter become re-attached to his shadow, he
takes her to Neverland to be mother to his gang of Lost Boys
(the children lost in Kensington Gardens).
A contemporary review of the 1906 Edition published in
The
World provides some insight into the reception
the publication received upon release:
"Mr Barrie has done what no one else has done since the
release of "Alice", he has invented a
new legend, a modern folk story which
comprehends all the innermost secrets of the modern
child, be he four or forty. Mr Rackham, for his part, has been bewitched in his cradle: he does
not dream of
fairies or hobgoblins, he knows them".
|
%20(250).jpg)
The Fairies |
|
|
|
"Alice's Adventures in Wonderland"
|
|
|
|
|
.jpg) |
Advice from a Caterpillar
This illustration, depicting a
seminal moment from Lewis Carroll's Alice's Adventures in
Wonderland was prepared by Rackham for the
First Edition of his
illustrated version of that book published in 1907.
Rackham's illustrations to Alice's Adventures in
Wonderland - published by William Heinemann (London) - chart the progress of the
tale: from meeting a group of animals swimming in a sea of her own tears (shortly
after following the rabbit down the rabbit hole), the
Duchess' baby changing into a pig, the Mad Hatter's Tea Party,
Alice's meeting with the Gryphon and the Mock Turtle and the trial of
the Knave of Hearts in which Alice is
accused of stealing tarts.
In The Bookman (February 1908: Dodd, Mead and Company, New
York), Philip Loring Allen explored Rackham's contribution to
Carroll's modern fairy tale saying:
If there is one place in the world or out of it where vested
rights ought not to be respected, it certainly is Wonderland.
If ... Mr Rackham [has] ... something to add
to our imperfect knowledge of that delectable country ... [he is a]
benefactor.
Loring Allen's description of Rackham's
'Caterpillar' seems particularly apt:
... Rackham's Caterpillar ... is the only caterpillar that
corresponds strictly to the specifications ... [his] snuffy, loose-lipped,
spectacled smoker wears the real air of
authority. He cannot be imagined as ever turning into a butterfly or moth. If he
turns into
anything it will be a bookworm. His eyes are dim with study and introspection. He is probably of German
extraction and his valedictory observation to Alice, "You'll get used to it in time," sounds like the
answer to the Welträtsel.
|
%20(250).jpg)
The Caterpillar |
|
|
|
"A Midsummer-Night's Dream"
|
|
|
|
|
.jpg) |
Act IV, Scene I
... and her fairy sent
To
bear him to my bower in fairy land
This illustration, depicts a
portion of a speech given by the character, Oberon, in
Shakespeare's classic work, A Midsummer-Night's
Dream, as interpreted by Rackham for
the First Edition of his illustrated version published in
1908.
Rackham's illustrations for A Midsummer-Night's
Dream (1908) capture the dreamy and romantically magical character of
Shakespeare's text brilliantly.
Some example of the critical reception for Rackham's
suite of illustrations for Shakespeare's classic appear below.
"He is always at his best when his imagination has run free:
he does not illustrate the play,
he prefers to take an idea from the text and turn it
into a Rackhamian picture ..."
The Daily Chronicle
"It is not a luxury that spoils us, so much as the frequency
of luxury, and when a fine talent
like Mr Rackham's is turned to the production of a
beautiful volume once a year, it is odd
that we begin to lose a sense of privilege, and to
regard the results as an annual due ... This
is the handsomest version of "A
Midsummer-Night's Dream" we have ever handled."
The Pall Mall Gazette
|
.jpg)
Fairy and Child |
|
|
|
"Undine"
|
|
|
|
|
.jpg) |
Soon she was lost to sight in the Danube
This illustration depicts the
closing moments of Undine's period as a transformed
water-nymph - afterwards, she was returned
to her life beneath the surface
of the Mediterranean.
Rackham's illustrations to the classic tale,
Undine, by Friedrich de la Motte Fouqué, were published as a First Edition by
William Heinemann (London) in 1909. The tale
conveys the story of the knight Haldbrand
of Ringstetten and Undine.
Throughout the tale, we learn of how the Knight
married a water-spirit and what followed, including the Knight's death
and
burial and how Undine returned to her element beneath sea.
This suite is the first of a
series of consecutive suites, including those for The Rhinegold and The Valyrie and Siegfried and
The
Twilight of the Gods
that were to be based in Germanic traditions.
The contemporary review published in The Studio (December 1909)
provides some insight into the critical reception that
Rackham's suite received upon publication:
Mr. Rackham's conception of "Undine" is most admirable,
and his drawing of this figure
unvarying in its charm. There is an amount of knowledge packed into
these drawings of
the figure, too, which must please the most academic. But it is Mr. Rackham's
singular
gift to infuse scholarship with caprice, and also with emotion. The front cover of the
book
is very beautiful, and the get-up throughout will commend itself to every reader.
|
%20(250).jpg)
Undine descending into the Danube |
|
|
|
"The Rhinegold and The Valkyrie"
|
|
|
|
|
.jpg) |
The Rhine's fair children,
Bewailing their lost gold, weep
This illustration is one of 34
colour designs by Rackham published in the First Edition of
The Rhinegold and The Valkyrie (1910)
by William Heinemann (London).
Rackham's images for Wagner's
classic interpretation of medieval Germanic legend were a
marked departure from the style that
had contributed to his stellar
reputation as a book illustrator - and he had concerns that
they may not be well received, writing
to supporters comments such as
those noted in correspondence to Rachel Fry:
I am very glad you like my illustrations. I am rather afraid
that the books of mine that
are coming out this year and next, which illustrate Wagner's great
Music-stories, the
"Ring of the Nibelungs", are not very well suited for those lucky people who haven't
yet
finished the delightful adventure of growing up, but soon, perhaps, you will know and
be fond of
Wagner's music and writings, and then you may like these drawings of mine
as well as the
others.
Such concerns, however, were unfounded and the illustrations
were greeted with critical approval upon publication, as
demonstrated by the critique published in The Bookman (1911):
His pictures have the large air of the operas - not seldom do
they come near matching
the pictures in the mind of the opera-goer. His gods and goddesses
have power, dignity,
and charm; the gnomes are grotesquely impressive ...
|
.jpg)
The Rhine-Maidens bewail their lost gold |
|
|
|
"Siegfried and The Twilight of the Gods"
|
|
|
|
|
.jpg) |
The Rhine-Maidens obtain possession of the ring and bear it off in triumph
This illustration is one of 30
colour designs by Rackham published in the First Edition of
Siegfried and The Twilight of the
Gods (1911) by William Heinemann (London).
C S Lewis - the Irish-born British novelist, academic,
literary critic, essayist, medievalist, lay theologian and Christian
apologist -
held a lifelong passion for Rackham's illustrations for Wagner's Ring,
noting that the illustrations were the
delight of his schooldays and recalled
his first sighting of the complete set of illustrations from Siegfried
and The Twilight
of the Gods (1911) thus:
There, on [my cousin's] drawing room table I found the
very book ... which I had
never dared to hope I should see, "Siegfried and The Twilight of the
Gods" illustrated
by Arthur Rackham. His pictures, which seemed to me to be the very music [of
Wagner] made visible, plunged me a few fathoms deeper into my delight. I have
seldom coveted anything as I coveted that book; and when I heard there was a
cheaper edition at 15 shillings ... I knew I could never rest until it was mine.
Such a response was also
forthcoming in critiques of the illustrations, where
Rackham's images were highly praised for their
vigorous depiction of movement, the masterful conception of scale, the
presentation of subtle atmospheric touches and
the intelligent representation of the grotesque, the fanciful and the grandiose
- as required by Wagner's work.
|
.jpg)
The Rhine-Maidens in triumph |
|
|
|
"The Romance of King Arthur and His Knights of
the Round Table"
|
|
|
|
|
.jpg) |
How Sir Launcelot fought with the friendly Dragon
This illustration is one of 16 colour designs by Rackham published in the First Edition of The Romance of King Arthur and
His Knights of the Round Table (1917) by The Macmillan Company (London and New York).
Some insight into Rackham's preparation of the illustrations for this commission is provided by Hamilton (1990) in
Arthur Rackham:
A Life with Illustration:
In preparing for the commission, Rackham turned to his own copy of Beardsley's
Morte D'Arthur
and, following the pattern of the Beardsley version, drew square
and rectangular chapter headings
to be set at irregular intervals up and down
the page. As in Beardsley, these have a stark black
and white appearance, though
Rackham cannot resist the occasional wryly humorous touch such
as a barking
dog or a jester's head. The closest Rackham comes to Beardsley, however, is in his
illustration of 'Sangreal', a flaming lidded chalice carried by an attenuated
golden-haired
white-robed maiden. This homage to Aubrey is based closely on
Beardsley's own angel in
'The Achieving of the Sangreal', the frontispiece to
Volume Two of Morte D'Arthur.
Rackham's illustrations for
The Romance of King Arthur and His Knights of the Round Table (1917),
including his colour,
monotone and marginal designs, are superb.
|
.jpg)
Sir Launcelot and the friendly
Dragon |
|
|
|
"The Springtide of Life"
|
|
|
|
|
.jpg) |
Summer's rose-garlanded train
This
illustration is one of 9 colour designs by Rackham published in the First Edition of
The Springtide of Life (1918) by
William Heinemann (London).
In the Preface to The
Springtide of Life (1918), Gosse made comment on Rackham's
involvement in the publication thus:
One reason why Swinburne never brought out such a collection was his failure to
find an
artist who could interpret to his satisfaction the simplicity and freshness of
his verses. We
are fortunate in having secured, in Mr Arthur Rackham, one whose
delicate and romantic
fancy is in sensitive harmony with Swinburne's, and who
understands, no less than he did,
how "Heaven lies about us in our infancy".
As a friend to Swinburne and one of the most well-regarded literary critics of his age, Gosse was well-suited to introducing
the selection of Swinburne's work and providing
comment on Rackham's illustrations. Indeed, he was so taken by those
illustrations that he wrote to Rackham personally in 1918 saying:
This volume will not merely be the best book of the present art-season, but a joy to
all
sensitive people for years and years to come.
|
.jpg)
A Satyr collecting roses |
|
|
|
"Irish Fairy Tales"
|
|
|
|
|
.jpg) |
The waves of all the worlds seemed to whirl past them in one huge green cataract
This
illustration is one of 16 colour designs by Rackham published in the First Edition of
Irish Fairy Tales (1920) by
MacMillan and Co. Ltd (London).
It is associated with the tale
of "Becuma of the White Skin" and depicts Art (son of Conn the Hundred Fighter - High
King of Ireland) returning from his quest to find Delvcaem (daughter
of Morgan) and thus, relieve the evil
enchantment wrought by Becuma.
Rackham's suite of illustrations provide a visual interpretation of the tales collected by Stephens
and show a genuine
affinity with Celtic aesthetes
and artistic traditions. Those images are regarded as among Rackham's most accomplished
in the decade and some are most noteworthy for
the complementary integration of elaborate borders within the image.
In The Review (Vol. 3: 1920), Pearson commented on Stephens' text and Rackham's illustrations thus:
Children may enjoy it, but like Arthur Rackham's exquisite illustrations,
it will be fully appreciated
only by more sophisticated readers.
The critique published in The Independent (25 December, 1920) said as follows:
James Stephens' writing has the gift of everlasting youth. Arthur Rackham's
drawing have
inherent magic. Wherefore the two are fortunately met in a
new book, primarily for children, but
also full of appeal to grown-ups with
a sense of humor.
|
.jpg)
Art and Delvcaem |
|
|
|
"Comus"
|
|
|
|
|
.jpg) |
By dimpled Brook, and Fountain brim,
The Wood-Nymphs, deckt with Daisies trim,
Their merry wakes and pastimes keep
This
illustration is one of 24 colour designs by Rackham published in the First Edition of
Comus (1921) co-published by
William Heinemann (London) and Doubleday, Page and Co. (New
York).
Comus (1921) was an illustrated variant of the 17th Century moral tale by John Milton,
The Masque of Comus.
The Masque of Comus was borne from a collaboration between John Milton and Henry Lawes. It tells a story about virtue
and grace, two
matters upon which Milton had meditated profoundly. The tale is of a lady, lost from her brothers in a wood,
who is threatened by the son of
Bacchus and Circe. The loss of her virginity follows but through supernatural means, she is
saved.
The original performance of The Masque of Comus was before the Earl of Bridgewater on the occasion of his becoming
Lord President
of Wales. Performed at Ludlow Castle, the parts of the Lady and her two brothers were played by three
children of the Earl, and the part of
"Thyrsis the Attendant Spirit" by Lawes himself.
A review in The New York Times published on 4
December 1921 provided the following critique of Rackham's
Comus:
Another old masterpiece in new garments is the Arthur Rackham illustrated edition
of John Milton's Comus ... [i]t is quite likely that Milton would have been paralyzed
beyond
the use of words could he see it - but, then, as Milton was blind, that is not
saying so
much for the book as it really deserves. |
.jpg)
Wood-Nymphs |
|
|
|
"Hawthorne's Wonder Book"
|
|
|
|
|
.jpg) |
There was no danger, nor trouble of any
kind and no clothes
to be mended, and
there was always plenty to eat and drink
This
illustration is one of 16 colour designs by Rackham published in the First Edition of
Hawthorne's Wonder Book (1922)
published by
Hodder and Stoughton Ltd (London).
Hawthorne's Wonder Book (1922) was the First Edition of Nathaniel Hawthorne's classic tales illustrated by Arthur Rackham.
Tales within that Edition included: 'The Gorgon's Head'; 'The Golden Touch'; 'The Paradise of Children'; 'The Three Golden Apples';
'The Miraculous Pitcher'; and 'The Chimaera'.
Written as tales within a tale, Hawthorne presents the stories as being told to a group of children at Tanglewood, an Estate in Lenox,
Massachusetts (where Hawthorne lived for a period), by Eustace Bright, a Williams College student.
In promoting
Hawthorne's Wonder Book (1922) for the United States market, Doran described the book thus:
Hawthorne's classic text illustrated by this most beloved of al children's illustrators.
The most
beautiful children's book of the year. |
.jpg)
An ideal time to be alive |
|
|
|
"The Tempest"
|
|
|
|
|
.jpg) |
Act IV: Scene I, line 46
Each one, tripping on his toe,
Will be here with mop and mow
This
illustration is one of 21 colour designs by Rackham published in the First Edition of
The Tempest (1926)
co- published
by
William Heinemann Ltd (London) and Doubleday, Page and
Company (New York).
Shakespeare's
The Tempest weaves a tale around themes as diverse as betrayal, sorcery and witchcraft, spiritual forces,
revenge and
forgiveness - themes which revolve around the central character, Prospero. Prospero is the sorceror who,
prior to being stranded on an
island after being betrayed by his brother, had been the rightful Duke of Milan. After twelve
years stranded with his daughter, Miranda, a
spirit companion, Ariel and a deformed monster, Caliban, Prospero has the
opportunity to wreck a passing boat carrying his brother by
conjuring a tempest to drive the vessel to annihilation - and
thereafter begins Prospero's journey towards reconciliation with his brother and
the magical return of all to Italy who
came hence.
Rackham's illustrations to accompany the Shakespearean verse are characteristically superb, with the magical themes and
creatures of
The Tempest - including Ariel, the Nymphs and Reapers - depicted in a dramatically sensuous form.
Hudson (Arthur Rackham: His Life and Works: 1960) made the following comment on Rackham's stylistic approach to
The Tempest (1926):
In 1926 an exciting original edition of
The Tempest showed Rackham experimenting
in a
simplified dramatic technique that was refreshingly and effectively 'modern'. |
.jpg)
An Elf and a Fairy |
|
|
| |
|
|
|
|
|
|
Send mail to
ThePeople@InnovatedLife.com
with questions or comments about this web site.
Copyright © 2009
InnovatedLife.com
Last modified:
11/18/11
|