Stories: Stories, fairy tales retold, and a little commentary are listed here: Stories, including the Princess and the Pea retold by XineAnn. McGraw-Hill is going to use this story in one of its textbooks so I am motivated to do more, as time allows.

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. In contrast to the typical Disney portrayal of Rapunzel, here we can see Crane’s usual reverential treatment of his subjects. Crane’s interpretation of the fairy tales is about serious artwork for serious literature, age-old and meaningful – more than just bedtime stories. Figure 3: George Cruikshank, Boney Hatching a Bulletin or Snug Winter Quarters!!!, published by Walker & Knight, 1812, Hand-colored etching, 9 ¼ x 13 ⅓”, Prints & Photographs Division, Library of Congress See Vanessa Joosen, Critical and Creative Perspectives on Fairy Tales: An Intertextual Dialogue Between Fairytale Scholarship and Postmodern Retellings , Detroit, Wayne State University Press, 2011, p. 474.Susan E. Meyer, A Treasury of the Great Children’s Book Illustrators (New York: Harry N. Abrams, 1987) 12. R.W. Lovejoy, Chapter 11, “Dangerous Pictures: Social Commentary in Europe, 1720-1860,” in History of Illustration (New York: Bloomsbury, 2018) 181. 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. Building upon the high standard set by Cruikshank and Tenniel, Walter Crane (1845-1915) illustrated some of the greatest fairy tales and nursery rhymes of the 19th century in colorful children’s books. After being apprenticed to one of the greatest wood engravers of his time, William J. Linton, Crane began to work for Edmund Evans illustrating Toy Books*for Victorian children. A fervent socialist, Crane primarily worked on nursery rhymes, folk tales, and fairy tales, weaving a moralist lesson into the imagery of each one. Crane, like his mentor, became a gifted engraver, and after illustrating a plethora of children’s classics in sumptuous detail and color, became considered one of the greatest illustrators of children’s literature at the time. Unlike Tenniel, Crane took a great deal of inspiration from nature, because he looked to his friend and compatriot, William Morris, as well as the Arts and Crafts Movement, for stylistic inspiration. Like many Victorians, Crane began to think about the impact of formal education on children, and realized that his role as an illustrator of children’s literature placed him in a crucial position to enact change. Knowing that he could reach a wide, sprawling range of children with his illustrations, (especially since Toy Books were only considered successful by Routledge if they sold more than 50,000 copies [9]) Crane began to think about the ways that children absorbed information. He concentrated on the compositions, colors, and figural designs of his drawings to make them easier for children to read and appreciate. The story “Red Riding Hood” does involve a heroine’s journey, but it too puts a twist in the self-discovery angle. Though the basic plot of the story is centuries older than any published form, Charles Perrault released the first definitive version, “Le Petit Chaperon Rouge,” in the fairy-tale compendium Histoires ou Contes du temps passé. Avec des Moralitez, published in France in 1697 and in the United States in 1729 (as Histories, or Tales from Past Times).

On 20 December 1812, the Brothers Grimm published the first volume of their famous fairy tales, entitled Kinder- und Hausmärchen which translates as Children’s and Household Tales, but which is popularly known as Grimms’ Fairy Tales. 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. It's more than just a gallery. Artists: Some artpassions visitors who are also artists show some of their work here. Figure 9: Edward Burne-Jones, Laus Veneris, 1873-78, Oil on canvas, Laing Art Gallery, Newcastle-upon-Tyne, EnglandR.W. Lovejoy, Chapter 11, “Dangerous Pictures: Social Commentary in Europe, 1720-1860,” in History of Illustration (New York: Bloomsbury, 2018) 178. These different types of text-picture-relationships are explained in: Maria Nikolajeva, Carole Scott, How Picturebooks Work , New York, Garland, 2001. As for current trends in picturebook research, see Bettina Kümmerling-Meibauer (ed.), The Routledge Companion to Picturebooks , London, Routledge, 2018. Constantly reminding yourself that your happiness is one of the most important things and sometimes having to put your happiness first is something that should be happening every day. Personally, my happiness comes from thousands of things ranging from reading a book all the way to vacationing to the ocean and everything in between. Also, I find happiness in the happiness of others and seeing others in content, but this also sometimes means that I do not put my happiness first. Most recent: More than 50 new illustrations and paintings from Bland Tomtar Och Troll, Till Sagolandet, and later paintings.

Images by Aubrey Beardsley from Salomé, The Yellow Book, Le Morte D'Arthur, and the Victorian parodies / erotica.Figure 14: Kay Nielsen, Illustration for La Belle au Bois Dormant by Charles Perrault, 1913, Ink and watercolor on paper See Vanessa Joosen, Critical and Creative Perspectives on Fairy Tales: An Intertextual Dialogue Bet (...) Charles Perrault, The Fairy Tales of Charles Perrault, trans. Robert Samber (London: Folio Society, 1998), 31. The Brothers Grimm also retold the tale, in a story titled “Rotkäppchen,” or “Little Red Cap,” in their 1812 book Kinder- und Hausmärchen ( Children’s and Household Tales). However, the book was revised numerous times between 1812 and 1857. Desiring a wider audience, Wilhelm Grimm refined and sanitized the tales over several editions, and the final tales differ substantially from the original versions.[4] The first English translation of the Grimms’ stories, German Popular Stories Translated from the Kinder- und Hausmärchen, Collected by M.M. Grimm, from Oral Tradition (1823–24), was groundbreaking—not only because the book changed the way in which children’s literature entertained children but also because it featured the first great children’s book illustrations, etchings by George Cruikshank.[5]