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bibliodyssey.blogspot.com/2009/06/antipodean-fantasy.html
Once upon a time, fairy tales were stories intended for adults. They do not necessarily have the happy endings Disney has led us to believe. In those stories, animals talked, faeries and forest spirits lived, and ordinary objects had inexplicable capabilities.
A woman with long hair and veil floats in the air above oriental buildings, a radiant gem shining in her hand as she looks up toward the sky
When the going gets tough, the art gets going. That’s the beautiful thing about human creativity – it can sprout in any soil. Especially for the late British-French illustrator Edmund Dulac, whose flair for Art Nouveau fantasy not only gave us brilliant literary illustrations, but flights of fancy and escape during the First and Second World…
steampunktendencies: “Julie Dillon ”
Illustrated by Artuš Scheiner. Prague 1920s.
soen-awards japan
Grandmother's Fairy Tales (1915) Illustrations by Maurice Lalau
14" x 24"
Living in harmony with nature ..
Follow the project on Motherland Chronicles Facebook! Photography: Zhang Jingna Makeup: Viktorija Bowers Model: Lily Olsen-Ecker Photo Assistant: Ngoc Vu © Zhang Jingna Facebook | Twitter
Umberto Brunelleschi - Complete Illustrations from the First Edition of the book Contes du Temps Jadis , published in 1912.Art Gallery of
Arthurian feelings <3
Kinuko Yamabe Craft /キヌコヤマベ・クラフト/ is an Japanese-born American contemporary painter, illustrator and Fantasy artist. Kinuko Craft is one of the most widely respected and well known fantasy artists in the United States today. Her past commissions have included paintings for the book covers of many well known fantasy authors, opera posters, fairy tale books and covers for many national magazines.
Artist Thierry Lechanteur creates AI-generated architectural designs and here are some of the most impressive ones...
When you experience the beauty within your own heart, you will then see it in others and in all things. https://pixels.com/profiles/richard-laeton
The Two Brothers - Elenore Abbott, 1920
Celebrating children's books and more. Book illustrations, vintage books, insights into the life of a book dealer, Vintage collectables.
We discovered this gorgeous picture book just the other day and had to share the illustrations and this lesser-known fairy tale, The Story of Caliph Stork. It may sound familiar as a version of the fairy tale was include in Andrew Lang's Green Fairy Book, but with such rich fodder for illustrators, and such a funny tale for storytellers to have fun with, it's surprising this isn't more well known. The fairy tale actually has a distinct origin, written by German writer Wilhelm Hauff for his Märchen almanach auf das Jahr 1826 (Fairytale Almanac of 1826). (The Green Fairy Book retells story in chapters.) Set in the nebulous 'Orient' (something the romantics were fascinated by, even though it was a fantasy) the plot could easily (today) be mistaken for something out of 1001 Nights. Source notes from one writer/storyteller, Aaron Shepard, who has won honors from the American Folklore Society, retold and published this tale (with very different, but also lovely illustrations by Alisher Dianov) tell us that despite it's German origin, that this tale is now told in the Middle East and has become part of their folklore! Wow. From Shepard's notes: This tale—usually called “The Calif Stork” or “The Stork Calif”—is often classified as a folktale of Iraq; and folklorist Harold Courlander, who heard it twice from Muslim storytellers, believes it to be widely told in the Middle East. Yet its origin is The Caravan, a book of original fairy tales by nineteenth-century German writer Wilhelm Hauff. While folktales often make their way into written literature, in this case a written work has passed into folklore. My own retelling draws from both original and retold versions. The calif in this tale is patterned after Harun al-Rashid, made popular in the pages of The Thousand and One Nights. The plot essentially goes : The Caliph of Baghdad comes across a mysterious powder with an incantation on the bottle. It is said it can turn someone into any animal they wish. They must not, however, forget the incantation so they can turn back but above all, they must not laugh while as animals or they will be trapped in that form forever. Of course the Caliph (and his Vizier) become storks and get stuck. On a quest to find a cure, the encounter a large sad, owl, who tells them she is really the Princess of India, transformed by an evil imposter wizard, who now sits on the throne. They see an opportunity, via sneaky animal-eavesdropping and spy work, to become human again but there's a tricky clause in that one of them needs to promise his hand in marriage to the owl - without seeing what she looks like - otherwise the reversing will fail. All goes well and, of course, the princess is gorgeous, so the anxious Caliph is relieved. If the illustration style of the images posted here, looks familiar it's because Anton Lomaev's illustrations for The Wild Swans have been circulating the internet constantly for about three years now, never failing to catch the eye (especially with all the golds and fire colors he includes in his images for that particular fairy tale. This one, however, is ultimately dominated by blues and mystery... As an interesting tag to the tale, the sorcerer is sentenced to death while his son is given the choice of death or to smell the same black powder and become an animal forever. The son chooses the powder and becomes their pet, displayed in a cage in the garden for all to see. We love the last illustration in which the Caliph is making his children laugh by making fun of the Vizier when he was a stork. (And the Vizier is threatening to find that powder again as a result.) And one day we will track down a physical copy of these lovely Lomaev illustrations (printed 2016) to put in the Fairy Tale Newsroom library!
Malene is one of the artists I ‘discovered’ when wandering around the web. She replied to my invitation immediately with a request of her own. If you have any poems that are themed ar…
One of the most beautiful and contemporary wonder tale books I’ve seen, My Favourite Book of Fairy Tales, was published near the end of the Golden Age of illustration in 1921. It is illustrated by an exceptionally talented artist, acclaimed in her own lifetime, who history has transformed into an elusive mystery: Jennie Harbour.
Illustration by Edmund Dulac in Rubáiyát of Omar Khayyám by Omar Khayyám. Rendered into English verse by Edward Fitzgerald. London: Hodder & Stoughton. PK6513 .A1
El estilo de Nadezhda Illarionova (Rusia) recuerda al de esos preciosos libros antiguos que ilustraban a Grimm: con ninfas y princesas dormidas, pero también con un atisbo de oscuridad verdadera, de esa que fascina y que hace temblar. ¡Qué ganas de releer los clásicos mirando sus ilustraciones!
Explores the Gaelic goddess of winter and her associations in Celtic lore and culture. Also discusses similar figures in Germanic and Slavic tradition.
