The very first illustrations for famous fairy tales. Artists and illustrations of Andersen's fairy tales Plot sketches for Mr. Andersen's fairy tales

The fairy tales of Hans Christian Andersen are known and loved by children and adults in every home around the world. Illustrators love them too, so the variety of books is huge.
But for me, Andersen will forever remain the same as Anatoly Kokorin saw him, because even as a child I copied his portrait countless times from a shabby book with my favorite illustrations.
For drawings for Andersen's works, Kokorin was awarded the Gold Medal of the USSR Academy of Arts and the ardent love of several generations of readers.

“He knew everything about Andersen. For seventeen years he collected and assembled a special library, where they spoke about Andersen in different languages, remembered Andersen, studied Andersen, portrayed his heroes in different styles and manners. But the artist Kokorin did not need anyone's style. By the time of the meeting, he possessed a certain secret, against which, in fact, neither time, nor space, nor the features of another culture could resist. The type of art in which the artist Kokorin worked should be called “professional improvisation”, and the result of this improvisation, when the pencil touches the paper literally on the fly, is truly akin to a fairy tale, which, as you know, touches reality only when it wants to. ". http://bibliogid.ru/articles/497

Here is what his colleague and friend Viktor Tsigal said about Kokorin’s work: “There is a persuasiveness in Kokorin’s illustrations that captivates with skill, mischief, a playful moment, a firework of joyful colors. Looking at his drawings in albums and books, I was amazed at how organically his drawing lays down on a sheet, how it coexists with text, type, how the line itself twists merrily, and where it breaks, how a charcoal pencil crumbles under the pressure of temperament.

And here are the words of the author himself: “When I was a little boy, they gave me a book in a red cover. On it, in gold patterned letters, was written: "The Tales of G. X. Andersen." With bated breath, I read these amazing tales .... and before me appeared unusual countries, ancient cities, peasant houses, unlike ours. I saw funny ships with inflated sails running along the waves and people in unusual clothes .... And I wanted to make drawings for them.
Every time I start illustrating a new fairy tale, I ... quietly say: Good morning, great Andersen! I always strive to make the drawing clear, extremely expressive. But such simplicity does not come easily and requires a lot of preliminary work. I like to draw with a black soft pencil. I also draw with pen and ink. And I paint with paints according to the finished drawing.

Therefore, how delighted I was when AST undertook to republish Andersen's fairy tales with Kokorin's favorite illustrations. For a long time I chose which book to buy, and settled on "Favorite Fairy Tales". The book includes three fairy tales by Andersen: Flint, Swineherd and Potato. The first two - in the translation of A. Hansen, the last - in the retelling of A. Maksimova. And since these tales are not only familiar to everyone, but are also in every library, it makes no sense to talk about the text. Therefore, I will say about the publication - a large square format, hardcover, thick white offset paper, large print, illustrations on each spread (!), The print quality is normal, the colors are bright, the illustrations are clear. If you find fault, the only negative is a thin white stripe in the center in some illustrations for the entire spread (you can see it on the scans), apparently due to illiterate stitching.

in "Labyrinth"
Other versions of Andersen's editions with illustrations by Kokorin: (in the first, in addition to Andersen's three fairy tales, there is also Perrault's "Puss in Boots", and in the last two only the cover and format (reduced) differ):
Recently, AST released as many as three versions of Charles Perrault's tale "Puss in Boots" with illustrations by Kokorin. That is, there is essentially one option, just, as usual, the covers are different - for every taste, both hard and soft. A fairy tale in a wonderful translation by Valentin Berestov, as in the edition of the seventieth year, drawings are both color and black and white.
Also on sale is a beautifully designed edition of "Sevastopol Tales" with stunning illustrations by Kokorin. This is a cycle of three stories by Leo Tolstoy, which describes the defense of Sevastopol. "For the first time, a famous writer was in the army and from its ranks immediately informed the public about what was happening before his eyes. Thus, it can be argued that Lev Nikolayevich was the first Russian war correspondent. Tolstoy writes both about the heroism of the city's defenders and about the inhuman senselessness of war ".
At the request of Marina, I will tell you a little about Andersen's collection of fairy tales "Sausage stick soup and other fairy tales" from the Moscow Textbooks publishing house. The book contains rarely published fairy tales, which is very important, given the availability and sale of an incredible number of Mermaids, Thumbelinas and Snow Queens with a wide variety of illustrations.
There are six fairy tales in the collection, four of which are in the classical Hansen translation: Sausage Stick Soup, Little Ida's Flowers, Little Klaus and Big Klaus, Ole-Lukoye, Ib and Khristinochka, Magic Hill.
Illustrations by Elena Abdulaeva are light and smoky, not for everybody. And although I do not consider myself to be such, I am very glad that this book is in Shkapu, thanks to its content and quality of execution. It's simply excellent: large format, hardcover (with a cute mouse-shaped font composition))), thick coated paper, excellent printing, large print suitable for independent reading. You pick up a book and you don't want to let it go.

There was snow in the yard.
- It's swarming white bees! - said the old grandmother.
“Do they also have a queen?” - the boy asked; he knew real bees had one.
- There is! Grandma answered. - Snowflakes surround her in a thick swarm, but she is larger than all of them and never stays on the ground - she always rushes on a black cloud. Often at night she flies through the city streets and looks into the windows; that's why they are covered with ice patterns, like flowers!
- Seen, seen! - the children said and believed that all this was the absolute truth.
- Can't the Snow Queen come in here? - once asked the girl.
- Let him try! - said the boy. - I'll put it on a warm stove, so it will melt!
But the grandmother patted him on the head and started talking about something else.
In the evening, when Kai was already at home and had almost completely undressed, about to go to bed, he climbed onto a chair by the window and looked into a small circle thawed on the window pane. Snowflakes fluttered outside the window; one of them, a larger one, fell on the edge of the flower box and began to grow, grow, until finally it turned into a woman wrapped in the thinnest white tulle, woven, it seemed, from millions of snow stars. She was so lovely, so tender, all of dazzling white ice and yet alive! Her eyes sparkled like stars, but there was neither warmth nor meekness in them. She nodded to the boy and beckoned him with her hand.

Artist Benvenuti

Artist Christian Birmingham

Artist Christian Birmingham

Artist Christian Birmingham

Artist Angela Barrett

Artist Edmund Dulac

Artist H. J. Ford

Kai and Gerda sat and examined a book with pictures - animals and birds; the big clock tower struck five.
- Ai! the boy suddenly exclaimed. - I was stabbed right in the heart, and something got into my eye!
The girl threw her arm around his neck, he blinked, but there seemed to be nothing in his eye.
- It must have jumped out! - he said.
But that's the point, it's not. Two fragments of the devil's mirror fell into his heart and into his eye, in which, as we, of course, remember, everything great and good seemed insignificant and ugly, and evil and evil was reflected even brighter, the bad sides of each thing came out even sharper. Poor Kai! Now his heart should have turned into a piece of ice!

Artist Nika Golts

The snowflakes kept growing and finally turned into big white hens. Suddenly they scattered to the sides, the big sledge stopped, and the man sitting in it stood up. It was a tall, slender, dazzling white woman - the Snow Queen; and her fur coat and hat were made of snow.
- Nice ride! - she said. But are you completely cold? Get into my coat!
And, placing the boy in her sleigh, she wrapped him in her fur coat; Kai seemed to sink into a snowdrift.
Are you still dead? she asked and kissed him on the forehead.
Wu! Her kiss was colder than ice, pierced him with cold through and through and reached the very heart, and it was already half ice. For a minute it seemed to Kai that he was about to die, but no, on the contrary, it became easier, he even completely stopped feeling cold.
- My sleds! Don't forget my sled! he said.
And the sledge was tied on the back of one of the white hens, which flew with them after the big sledge. The Snow Queen kissed Kai again, and he forgot Gerda, his grandmother, and all the household.
- I won't kiss you again! - she said. "Or I'll kiss you to death!"
Kai looked at her; she was so good! He could not have imagined a smarter, more charming face. Now she did not seem to him icy, as she had been sitting outside the window and nodding her head to him; now she seemed perfect to him.

Artist Angela Barrett

Artist Christian Birmingham

Artist Anastasia Arkhipova

Artist Vladislav Yerko

The boat was carried further and further away; Gerda sat quietly, in nothing but stockings; her red shoes followed the boat, but could not overtake her.
The banks of the river were very beautiful; everywhere one could see the most wonderful flowers, tall, sprawling trees, meadows on which sheep and cows grazed, but nowhere was a single human soul to be seen.
“Maybe the river is taking me to Kai?” - thought Gerda, cheered up, stood on her nose and admired the beautiful green shores for a long, long time. But then she sailed to a large cherry orchard, in which a house with colored glass in the windows and a thatched roof sheltered. Two wooden soldiers stood at the door and saluted everyone who passed by with their guns.
Gerda screamed at them - she took them for the living - but they, of course, did not answer her. So she swam even closer to them, the boat approached almost to the very shore, and the girl screamed even louder. Out of the house came out, leaning on a stick, an old, very old woman in a big straw hat painted with wonderful flowers.
- Oh, you poor baby! - said the old woman. - How did you get on such a big fast river and climbed so far?
With these words, the old woman entered the water, hooked the boat with her stick, pulled it to the shore and landed Gerda.

Artist Arthur Rackham

Artist Edmund Dulac

Forest pigeons in a cage quietly cooed; the other doves were already asleep; the little robber wrapped one arm around Gerda's neck - she had a knife in the other - and began to snore, but Gerda could not close her eyes, not knowing whether they would kill her or leave her alive. The robbers sat around the fire, sang songs and drank, and the old robber woman tumbled. It was terrible to look at this poor girl.
Suddenly the wood pigeons cooed:
- Kurr! Kurr! We saw Kai! A white hen carried his sled on her back, and he sat in the Snow Queen's sleigh. They flew over the forest when we chicks were still in the nest; she breathed on us, and everyone died, except for the two of us! Kurr! Kurr!
- What are you talking about? exclaimed Gerda. Where did the Snow Queen go?
- She flew, probably, to Lapland - there is eternal snow and ice! Ask the reindeer what is leashed here!
- Yes, there is eternal snow and ice, it's a miracle how good it is! - said the reindeer. - There you jump at will on the endless sparkling icy plains! There will be a summer tent of the Snow Queen, and her permanent palaces - at the North Pole, on the island of Svalbard!

Artist Nika Golts

Then the little robber opened the door, lured the dogs into the house, cut the rope with which the deer was tied with her sharp knife, and said to him:
- Well, live! Yes, look at the girl. Gerda held out both hands to the little robber in huge mittens and said goodbye to her. The reindeer set off at full speed through the stumps and bumps through the forest, through the swamps and steppes.

Artist Christian Birmingham

Here is my native northern lights! - said the deer. - Look how it burns!
And he ran on, not stopping day or night.

Artist Christian Birmingham

Artist Anastasia Arkhipova

The deer stopped at a miserable hut; the roof went down to the ground, and the door was so low that people had to crawl through it on all fours. At home there was an old Lapland woman who was frying fish by the light of a fat lamp.

Artist Arthur Rackham

When Gerda warmed up, ate and drank, the Laplander wrote a few words on dried cod, ordered Gerda to take good care of her, then tied the girl to the back of a deer, and he rushed off again. The sky again fukalo and threw out pillars of wonderful blue flame. So the deer ran with Gerda to Finnmark and knocked on the Finnish chimney - she didn’t even have doors.
Well, the heat was in her home! The Finn herself, a short, dirty woman, went about half-naked. She quickly pulled off Gerda's entire dress, mittens and boots - otherwise the girl would have been too hot - she put a piece of ice on the deer's head and then began to read what was written on the dried cod. She read everything from word to word three times, until she memorized it, and then she put the cod into the cauldron - after all, the fish was good for food, and nothing was wasted with the Finn.

Artist Angela Barrett

Stronger than it is, I can't make it. Don't you see how great her power is? Don't you see that both people and animals serve her? After all, she walked around half the world barefoot! It's not for us to borrow her strength! The strength is in her sweet, innocent childish heart. If she herself cannot penetrate into the halls of the Snow Queen and extract the fragments from Kai's heart, then we will not help her even more! Two miles from here begins the Snow Queen's garden. Take the girl there, let her down by a large bush covered with red berries, and, without delay, come back!
With these words, the Finn planted Gerda on the back of a deer, and he rushed to run as fast as he could.
- Hey, I'm without warm boots! Hey, I'm not wearing gloves! cried Gerda, finding herself in the cold.

Artist Vladislav Yerko

Artist Nika Golts

But the deer did not dare to stop until he ran to a bush with red berries; then he lowered the girl down, kissed her on the very lips, and large brilliant tears rolled from his eyes. Then he shot back like an arrow. The poor girl was left all alone, in the bitter cold, without shoes, without mittens.

Artist Edmund Dulac

Artist Boris Diodorov

Artist Valery Alfeevsky

She ran forward as fast as she could; a whole regiment of snow flakes rushed towards her, but they did not fall from the sky - the sky was completely clear, and the northern lights were blazing on it - no, they ran along the ground straight at Gerda and, as they approached, became larger and larger. Gerda remembered the big beautiful flakes under the burning glass, but these were much larger, scarier, of the most amazing shapes and forms, and all alive. These were the advance detachments of the Snow Queen's army. Some resembled large ugly hedgehogs, others - hundred-headed snakes, others - fat bear cubs with tousled hair. But they all sparkled with the same whiteness, they were all living snowflakes.

Artist Anastasia Arkhipova

Artist Arthur Rackham

Artist Nika Golts

Gerda began to read "Our Father"; it was so cold that the girl's breath immediately turned into a thick fog. This fog thickened and thickened, but then small, bright angels began to stand out from it, which, having stepped on the ground, grew into large formidable angels with helmets on their heads and spears and shields in their hands. Their number kept increasing, and when Gerda finished her prayer, a whole legion had already formed around her. The angels took the snow monsters on spears, and they crumbled into thousands of snowflakes. Gerda could now boldly go forward; the angels stroked her arms and legs, and she was no longer so cold.

Artist Angela Barrett

Artist Christian Birmingham

The walls of the halls of the Snow Queen were swept by a blizzard, the windows and doors were done by violent winds. Hundreds of huge, aurora-lit halls stretched one after another; the largest stretched for many, many miles. How cold, how deserted it was in those white, brightly shining halls! Fun never came here! At least once a bear party would be held here with dances to the music of the storm, in which polar bears could distinguish themselves with grace and the ability to walk on their hind legs, or a party of cards with quarrels and a fight would be made, or, finally, they would agree to a conversation over a cup of coffee little white chanterelle gossips - no, that never happened! Cold, deserted, dead! The northern lights flashed and burned so regularly that it was possible to calculate with accuracy at what minute the light would increase and at what time it would weaken. In the middle of the largest deserted snow hall was a frozen lake. The ice cracked on it into thousands of pieces, even and wonderfully regular. In the middle of the lake stood the throne of the Snow Queen; on it she sat when she was at home, saying that she was sitting on the mirror of the mind; in her opinion, it was the only and best mirror in the world.

Artist Edmund Dulac

Kai turned completely blue, almost turned black from the cold, but did not notice this - the kisses of the Snow Queen made him insensitive to the cold, and his very heart became a piece of ice. Kai fiddled with flat, pointed ice floes, laying them in all sorts of frets. After all, there is such a game - folding figures from wooden planks, which is called the "Chinese puzzle". Kai also folded various intricate figures from ice floes, and this was called the "ice game of the mind." In his eyes, these figures were a miracle of art, and folding them was an occupation of the first importance. This was because he had a shard of a magic mirror in his eye! He put together whole words from ice floes, but he could not put together what he especially wanted - the word "eternity". The Snow Queen said to him: "If you add this word, you will be your own master, and I will give you all the world and a pair of new skates." But he couldn't put it down.

Artist Christian Birmingham

At this time, Gerda entered the huge gate, made by violent winds. She recited the evening prayer, and the winds subsided as if asleep. She freely entered the huge deserted ice hall and saw Kai. The girl immediately recognized him, threw herself on his neck, hugged him tightly and exclaimed:
- Kai, my dear Kai! Finally I found you!
But he sat still the same motionless and cold. Then Gerda wept; her hot tears fell on his chest, penetrated into his heart, melted his icy crust and melted the fragment. Kai looked at Gerda, and she sang:

Roses are blooming... Beauty, beauty!
We will soon see the Christ child.

Kai suddenly burst into tears and cried so long and so hard that the shard flowed out of his eye along with his tears. Then he recognized Gerda and was very happy.
- Gerda! My dear Gerda! Where have you been for so long? Where was I myself? And he looked around. - How cold it is here, deserted!
And he clung tightly to Gerda. She laughed and cried with joy.

Artist Nika Golts

You are in Andersen's fairy tale coloring pages. Coloring page you are looking at is described by our visitors as follows "" Here you will find a lot of coloring pages online. You can download Andersen's fairy tale coloring pages and also print them for free. As you know, creative activities play a huge role in the development of the child. They activate mental activity, form an aesthetic taste and instill a love of art. The process of coloring pictures on the theme of coloring according to Andersen's fairy tales develops fine motor skills, perseverance and accuracy, helps to learn more about the world around us, introduces you to all the variety of colors and shades. Every day we add new free coloring pages for boys and girls to our website, which you can color online or download and print. A convenient catalog compiled by categories will make it easier to find the right picture, and a large selection of coloring pages will allow you to find a new interesting topic for coloring every day.

Vilhelm Pedersen 1820-1859

was the first illustrator of fairy tales and stories by Hans Christian Andersen. His illustrations are distinguished by smoothness, softness and roundness of forms, concise execution. It is interesting to note that often the faces of children painted by Pedersen have a completely unchildish expression, and at the same time, adults look like just big children. The world of Pedersen's illustrations is a world of leisurely stories in which things and objects can suddenly begin to speak and behave like people, and children - the heroes of Andersen's fairy tales - find themselves in an amazing and sometimes cruel world where you have to pay for everything, and where both good and evil get what they deserve.

Lorentz Frolich 1820-1859

was the second illustrator of fairy tales and stories of Hans Christian Andersen. His illustrations are quite similar to those of Andersen's first illustrator of fairy tales, Vilhelm Pedersen. Perhaps that is why he was chosen.

Edmund Dulac

was born in 1882 in Toulouse, France. His artistic ability emerged at an early age, and there are sketches made by him when he was a teenager. Many of them are done in watercolor, a style he favored throughout his life. For two years he studied law at the University of Toulouse while studying at the School of Fine Arts. Having received a prize at the competition there, he understood where to pave his way. Since then, he has been studying only at the School. In 1901 and 1903 he received the Grand Prix for the work sent to the annual competitions. In 1904, under the patronage of a school friend, he studied for two weeks in Paris at the Academy Gillen and then went to London, where he began his dizzying career. It was a period when color printing of illustrations had just become technologically accessible and widespread. The first book with pasted illustrations was published in 1905.

E. Dulac's first work was a series of 60 illustrations for a collection of works by the Bronte sisters. It was a testament to his high level that he, a young 22-year-old foreigner without a big name, was commissioned for such a job.

An interesting aspect of these early illustrations was that they did not have pencil lines as borders between different colors. This was made possible by new printing technologies that made it possible to precisely match the borders of different colors. For E. Dulac, who worked on paper in this style, he did not have to return to the old-fashioned style of pencil lines that hide the inaccuracies of overlaying paints.

With the great success of the new type of illustration, more publishers became interested in artists who could draw in the new style. Therefore, in 1907, E. Dulac received a new order for illustrations for the Thousand and One Nights. Then the orders poured in one by one. The Tempest by W. Shakespeare 1908, Rubaiyat by Omar Khayyam 1909, Sleeping Beauty and Other Tales 1910, Tales by H.K Andersen 1911, Bells and Other Poems by E. A . By 1912, "Princess Badura" 1913,

In 1913, an interesting thing happened: his palette became brighter, thanks to the use of a richer, more romantic blue, ... and more oriental, which later became a constant in his approach. 1914 saw the publication of "Sinbad the Sailor and Other Stories from the Thousand and One Nights" and the outbreak of the First World War. The war immediately entered his work. "King Albert's Book", "Princess Mary's Gift Book" and his own book "E. Dulac's Book of Pictures from the French Red Cross" were designed by a single author. The book "Tales of E. Dulac" was published in 1916. When the war ended, the last of his luxurious editions of "Tales of Tangelwood Forest" saw the light of day. At this point, at the age of 35, he found himself in a situation where his profession became unnecessary.

This would be true if only making illustrations for books were all he could do. Despite the fact that the rest of his life was marked by poverty (he lived from paycheck to paycheck, as we would say), he was able to earn money and became famous in many areas. He was an outstanding cartoonist and for a year and a half supplied the weekly "The Outlook" with drawings. He painted portraits. He illustrated "The Kingdom of Pearls" - a story from the 1920s. He designed costumes and scenery for the theatre. He was a designer of stamps and banknotes for Britain and then, during World War II, Free France. He designed playing cards, chocolate packaging, medals, graphics for the Mercury Theatre, bookplates and much, much more.

In 1924 he began an association with The American Weekly, a Saturday supplement to the Hearst newspaper network, where he created a series of color drawings on a predetermined theme. The first series, Biblical Scenes and Heroes, began in October 1924 and ran for 12 issues. Until 1949, he again and again returned to this market as a source of income.

In the autumn of 1942 he published a series of illustrations for The Canterbury Tales. He was not satisfied with the quality he received. The cheap paper and folded illustrations did nothing to satisfy his tendency towards perfectionism.

And the books! Among all the great illustrators of deluxe editions, E. Dulac remained the most active throughout his life. The "Green Lacquer Pavilion" of 1925, "Treasure Island" of 1927, and his other works, created up to the beginning of the 50s, surpassed everything created by contemporaries.

Edmund Dulac died in 1953.

Surely each of us in childhood read "The Little Mermaid" by Andersen, "Snow White" by the Brothers Grimm or, say, "Sleeping Beauty" by Charles Perrault. But few people know and saw the very first pictures for famous fairy tales.

Illustration by Wilhelm Pedersen for Amadeus Hoffmann's fairy tale "The Nutcracker and the Mouse King"
Wilhelm Pedersen (1820–1859) – Danish painter and naval officer, especially noted for being the first to illustrate Hans Christian Andersen's fairy tales Early tales were published without illustrations, but in 1849 a five-volume collection of his tales was published with 125 illustrations by Pedersen. The author liked the illustrations so much that even today they are considered inseparable from Andersen's fairy tales.

Illustration by Wilhelm Pedersen for Hans Christian Andersen's fairy tale "Wild Swans"

Illustration by Wilhelm Pedersen for Hans Christian Andersen's fairy tale "The Brownie at the Shopkeeper"

Illustration by Wilhelm Pedersen for Hans Christian Andersen's fairy tale "Ole Lukoye"

Illustration by Wilhelm Pedersen for Hans Christian Andersen's fairy tale "The Shepherdess and the Chimney Sweep"

Sir John Tenniel (1820–1914) – English painter, cartoonist; first illustrator of Lewis Carroll's Alice in Wonderland and Through the Looking-Glass, whose illustrations are considered canonical today. He made his debut as the author of illustrations for the first edition of Samuel Hall's Book of English Ballads, and worked as a regular cartoonist for the once popular Punch magazine.

Illustration by John Tenniel for Lewis Carroll's fairy tale "Alice's Adventures in Wonderland"

Illustration by John Tenniel for Lewis Carroll's fairy tale "Alice's Adventures in Wonderland"

Illustration by John Tenniel for Lewis Carroll's fairy tale "Alice's Adventures in Wonderland"

Illustration by John Tenniel for Lewis Carroll's fairy tale "Alice's Adventures in Wonderland"

Illustration by Gustave Dore for the fairy tale by Charles Perrault "Puss in Boots"
Paul Gustave Doré (1832–1883) was a legendary French engraver, illustrator and painter. From early childhood, he impressed those around him with the skill of drawing, for example, at the age of ten he completed illustrations for Dante's Divine Comedy. Dore did not receive an art education, but spent all his free time at the Louvre and the National Library, studying paintings and engravings. Over the years of his creative activity, Dore created thousands of illustrations for dozens of literary masterpieces, including Gargantua and Pantagruel and the tales of Charles Perrault, the adventures of Baron Munchausen and Don Quixote. Dore is called the greatest illustrator of the 19th century for the unsurpassed play of light and shadow in his graphic works.

Illustration by Gustave Doré for Charles Perrault's Cinderella

Illustration by Gustave Doré for Charles Perrault's The Sleeping Beauty

Illustration by Gustave Dore for Charles Perrault's fairy tale "Donkey Skin"

Illustration by Gustave Dore for the fairy tale by Charles Perrault "The Boy with a Thumb"

Arthur Rackham's illustration for the Brothers Grimm fairy tale "Little Red Riding Hood"
Arthur Rackham (1867–1939) – prolific English artist who illustrated virtually all classic children's literature in English (The Wind in the Willows, Alice in Wonderland, Peter Pan) as well as A Midsummer Night's Dream Shakespeare and the famous Nibelungenlied.

Rackham was first and foremost a brilliant draftsman, favoring intricately meandering lines of intertwined branches, foaming waves, and humanoid trees. His influence can be felt in early Disney cartoons, in films by Tim Burton (who chose Rackham's former apartment as his London office) and Guillermo del Toro (who says he was inspired by Rackham's Pan's Labyrinth drawings).

Illustration by Arthur Rackham for The Tales of King Arthur and the Knights of the Round Table by Nelly Montijn-The Fouw

Illustration by Arthur Rackham for The Tales of King Arthur and the Knights of the Round Table by Nelly Montijn-The Fouw

Illustration by Arthur Rackham for The Tales of King Arthur and the Knights of the Round Table by Nelly Montijn-The Fouw

Anna Anderson's illustration for the Brothers Grimm fairy tale "Rapunzel"
Anna Anderson (1874–1930) – Scottish-born British artist; illustrator of literature for children, all her life she collaborated with periodicals and drew greeting cards. The work of Anna Anderson has influenced the style of such famous illustrators as Jesse King, Charles Robinson, Mabel Lucy Attwell.

Anna Anderson's illustration for the Brothers Grimm fairy tale "Snow White and the Seven Dwarfs"

Illustration by Anna Anderson for Hans Christian Andersen's fairy tale "The Little Match Girl"

Anna Anderson's illustration for Hans Christian Andersen's fairy tale "The Little Mermaid"

Illustration by Anna Anderson for Hans Christian Andersen's fairy tale "Wild Swans"

Well, as a postscript - the very first role of the famous Pinocchio, which belongs to the brush of the Italian engineer Enrico Mazzanti (1850-1910
It is noteworthy that this particular image is the only thing that has been preserved in history in memory of this talented person.