V. M

Many people do not at all understand why illustrations are needed if the book is not intended for a child. By the way, book illustration is not just a thematic drawing, but an integral part of the work, which complements the text and makes it a little more accessible to the reader. Of course, modern illustrations are fundamentally different from classic book engravings, however, among them you can find not just worthy works, but real masterpieces. In addition, at one time, great artists-painters were engaged in the creation of illustrations, for whom writing canvases with a literary basis was akin to an experiment.

Ivan Yakovlevich Bilibin was one of the first Russian painters who began to create illustrations for Russian folk tales and epics. The first book with his illustrations was published when the young artist was 25 years old. As a rule, Bilibin worked on books that have a small volume, or the so-called "notebooks". A characteristic feature of the artist was the style of design, according to which both the text and illustrations were a single whole. Therefore, in the books designed by Bilibin, drawings were given exactly as much space as the text. All illustrations by Bilibin, which were of a fabulous and festive character with features of folk art, were created using a unique technology. The artist first made a drawing with a pencil on tracing paper, translated it onto a sheet of Whatman paper and, using a thin brush, traced the image with a black line, after which he proceeded to paint. Among the most famous works of Bilibin are illustrations for the fairy tales "Sister Alyonushka and brother Ivanushka", "Vasilisa the Beautiful", "Finist-Clear Falcon", "The Frog Princess", as well as to the works of Alexander Pushkin "Lukomorye", "The Tale of Tsar Saltan ... "and" The Tale of the Golden Cockerel. "

Another outstanding artist, as well as a talented illustrator, was Yuri Alekseevich Vasnetsov, the creator of a whole gallery of images for children's books. Vasnetsov spent all his childhood and youth in the city of Vyatka, which became his inspiration and prompted the creation of a number of illustrations reflecting the everyday and festive life of a small provincial town. Vasnetsov's style is very recognizable: it always contains bright colors, ornate patterns, backgrounds and images containing pink, blue, yellow and red colors. Color plays a key role in Vasnetsov's illustrations. Another characteristic feature of Yu.A. Vasnetsov is that the artist creates an amazing fairy-tale world - the world of childhood, where there is no cruelty and where good always triumphs over evil. His most famous works are illustrations for children's books "The Fox and the Hare", "The Three Bears", "The Wolf and the Kids", "Ruffs Babies", "Fifty Little Pigs" and so on.

Book illustrations by Russian artists are unique in their kind, truly beautiful, bright, kind and very sincere. They are distinguished by rich color, interesting images and ease of perception. Therefore, it is not surprising that the Russian people are considered the most read nation in the world.

Have you ever been to a hut on chicken legs? Among many Russian painters who sought inspiration in folk history, culture and poetry, V. Vasnetsov occupies a special place. The artist admitted: “I have always been convinced that ... in a fairy tale, in a song, an epic, the whole whole image of the people, internal and external, with the past and the present, and maybe the future, is reflected…” (8, p. 476). In his painting "Guslyars" are the storytellers. In their songs-epics, the images of their favorite heroes come to life, becoming a kind of chronicle of folk history.

The name of Viktor Mikhailovich Vasnetsov is one of the most famous and beloved among the names of Russian artists of the 19th century (37). His creative heritage is interesting and multifaceted. He was called "the true hero of Russian painting." He was the first among painters to turn to epic and fairy-tale subjects. “I only lived in Russia” - these words of the artist characterize the meaning and significance of his work. Pictures of everyday life and poetic canvases on the subjects of Russian folk tales, legends, epics; illustrations for the works of Russian writers and sketches of theatrical scenery; portrait painting and ornamental art; painting on historical subjects and architectural projects - this is the artist's creative range.

But the main thing that the artist has enriched Russian art with is works written on the basis of folk art. What paintings by Viktor Vasnetsov can be considered the most famous? Anyone will answer that these are the famous fairy-tale works of the master: "Heroes", which some will call "Three heroes", gentle, thoughtful "Alyonushka" and, perhaps, no less famous creation - "Ivan Tsarevich on the Gray Wolf." Why are these works so clearly imprinted in the memory of most people? Perhaps this is due to the primordially Russian images or soulful fairy-tale motifs that are passed on to new generations, already at the level of national memory and in some ways even became a reflection of the history of Ancient Rus.

"Bogatyrs"(1881-98), which we admire, took about thirty years of the master's life. It was for so long that he was looking for that single idea of \u200b\u200bthree images that personify the soul of the Russian people. Ilya Muromets is the strength of the people, Dobrynya Nikitich is his wisdom, Alyosha Popovich is the connection between the present and the past with the spiritual aspirations of the people.

Viktor Vasnetsov himself admitted that the fabulous "Alyonushka" (1881) is his favorite work, for the creation of which he traveled from Moscow to his native places. And to convey more soulfulness to the image, he attended many concerts of classical music. Each twig, flower and blade of grass sings a song of praise to Russian nature, praising the beauty, freshness and at the same time the sad reverie of the main character.

No less famous work - "Ivan Tsarevich on the Gray Wolf" (1889) reveals for us the author as a deep connoisseur of everything that is called "the soul of the Russian people." The fairy-tale characters of the beauty and the prince tell about the time when people knew how to listen and hear nature.

The works of the great master of Russian painting became the world image of everything Russian and folk in painting at the end of the 19th century.

Another great illustrator - Bilibin Ivan Yakovlevich (1876-1942). He expressed his impressions not only in images, but also in a number of articles (4, 5). Creating design cycles for editions of fairy tales since 1899 (Vasilisa the Beautiful, Sister Alyonushka and brother Ivanushka, Finist Yasny Sokol, Princess Frog, etc., including Pushkin's fairy tales about Tsar Saltan and the Golden Cockerel), he developed - in the technique of ink drawing, highlighted watercolor - a special “Bilibino style” of book design, continuing the traditions of ancient Russian ornament (4).

In the summer of 1899, Bilibin left for the village of Egny, Tver province, to see for himself the dense forests, transparent rivers, wooden huts, hear fairy tales and songs, and began to illustrate Russian folk tales from Afanasyev's collection. Over the course of 4 years, Bilibin illustrated seven fairy tales: "Sister Alyonushka and brother Ivanushka", "The White Duck", "The Frog Princess", "Marya Morevna", "The Tale of Ivan Tsarevich, the Firebird and the Gray wolf "," The Feather of Finist Yasna-Falcon "," Vasilisa the Beautiful ". Bilibin did not create individual illustrations, he strove for an ensemble: he painted the cover, illustrations, ornamental decorations, typeface - he stylized everything like an old manuscript.

Bilibin draws the same cover for all seven books, on which he has Russian fairy-tale characters: three heroes, the bird Sirin, the Serpent-Gorynych, the hut of Baba-Yaga. All page illustrations are surrounded by ornamental frames like rustic

Bilibin. Red horseman window with carved platbands. They are not only decorative, but also have content that continues the main illustration. In the fairy tale "Vasilisa the Beautiful", the illustration with the Red Horseman (the sun) is surrounded by flowers, and the Black Horseman (night) is surrounded by mythical birds with human heads. The illustration with Baba Yaga's hut is surrounded by a frame with toadstools (what else could be next to Baba Yaga?). But the most important thing for Bilibin was the atmosphere of Russian antiquity, an epic, a fairy tale. From original ornaments and details, he created a semi-real, semi-fantastic world.

The peasant needed a horse to grow bread, just like the sun itself. The images of the sun and the horse in folk art merge into one. In the poetic ideas of the people, the rider on horseback freed the spring from winter captivity, unlocked the sun, opened the way for spring waters, after which spring came into its own. This motif in folklore was embodied in the image of Yegor the Brave.

Baba Yaga is a fairy-tale character living in a deep forest. “On the stove, on the ninth brick, there is a baba-yaga, a bone leg, his nose has grown into the ceiling, snot hangs over the threshold, titties are wrapped around a hook, she sharpens her teeth” (2); "Baba Yaga gave them drink, fed them, took them to the bathhouse", "Baba Yaga, a bone leg, rides in a mortar, rests with a pestle, sweeps a trail with a broomstick." V. Dal writes that Yaga is “a kind of witch or an evil spirit under the guise of V. Bilibin Baba-Yaga.

Ornamental lines clearly limit colors, set volume and perspective in the plane of the sheet. Filling a black-and-white graphic with watercolors only emphasizes the specified lines. To frame the drawings by I.Ya. Bilibin makes generous use of ornament (33).

In our XXI century, the century of narrow specialization, the figure Nicholas Roerich is a unique phenomenon. A great artist, archaeologist and researcher, Nicholas Roerich has a world renown as a painter and scientist. Less familiar to us is his literary heritage. For example, few people know that Nikolai Konstantinovich also wrote ... fairy tales. With wonderful allegorical images, with the alluring beauty of mysterious worlds. The heroes of his fairy tales are carriers of lofty feelings and thoughts that have eternal universal human value (39). They dispose one to deep thought, tune in to high feelings, and direct one to spiritual improvement.

S.K. Makovsky about N.K. Roerich: "... There are artists who cognize the secret of lonely spirituality in man. They look intently into the faces of people, and each human face is a world separate from the world of all. And there are others: they are attracted by the secret of a blind soul, close, common for entire eras and Nicholas Roerich. Gallery of paintings by the artist - Zmievna, 1906 peoples, penetrating the whole element of life , in which an individual drowns like a weak stream in the dark depths of an underground lake ”(30, pp. 33-35).

The faces of people on Roerich's canvases are almost invisible. They are the faceless ghosts of centuries. Like trees and beasts, like quiet stones of dead villages, like monsters of folk antiquity, they are merged with the elements of life in the fogs of the past. They are without a name. And they don't think, they don't feel lonely. They do not exist separately and as if they never existed: as if before, for a long time, in an obvious life, they lived with a common thought and a common feeling, together with trees and stones and monsters of antiquity.

An artist whom one involuntarily wants to compare with Roerich - M.A. Vrubel. I'm not talking about the similarities. Roerich does not resemble Vrubel either by the nature of his painting or by the suggestions of his ideas. And yet, at a certain depth of mystical comprehension, they are brothers. Different temperaments, different forms and themes of creativity; the spirit of incarnations is one. Vrubel's demons and Roerich's angels were born in the same moral depths. From the same gloom of unconsciousness, their beauty arose. But Vrubel's demonism is active. It is more frank, brighter, more magical. More proud.

“In the painting Pan, the Greek god turns into a Russian goblin. Old, wrinkled, with bottomless blue eyes, knotted, like twigs, fingers, it seems to emerge from a mossy stump.

The characteristic Russian landscape takes on a fantastic witchcraft color - endless wet meadows, a winding rivulet, thin birches frozen in the silence of the twilight falling to the ground, illuminated by the crimson of a horned month (64).

The swan princess is a character in Russian folk tales. In one of them, retelling by A.N. Afanasyeva tells about the transformation of twelve birds - swans into beautiful girls, into another - about the appearance of the wonderful Swan-bird on the shore of the blue sea (2).

Sadko (The Rich Guest) is the hero of the epics of the Novgorod cycle. At first, Sadko was a poor guslar who amused the Novgorod merchants and boyars, playing the gusli on the shore of Lake Ilmen. By his play, he won the favor of the Water King. The king demanded that the hero marry his daughter, who was to be chosen. In gratitude for the salvation, Sadko built churches in Novgorod in honor of the Most Holy Theotokos and Nikola Mozhaisky.

Many wonderful artists have illustrated fairy tales: Tatyana Alekseevna Mavrina, Elena Dmitrievna Polenova, Gleb Georgievich Bedarev, each of their works is an amazing image that immerses us in a mysterious magical world.

In my opinion, there is no better fairy tale illustrator than V.M. Vasnetsov, well, perhaps I. Bilibin. The next page is about him.

Viktor Mikhailovich Vasnetsov (1848-1926) was one of the first Russian artists who pushed the boundaries of familiar genres and showed a fairy-tale world, illuminated by the poetic fantasy of the people. Vasnetsov, one of the first Russian artists, turned to the recreation of images of folk tales and epics in painting. His fate turned out as if he was supposed to be a singer of a Russian fairy tale in advance. He spent his childhood in the harsh picturesque Vyatka region. The talkative cook telling children fairy tales, the narratives of wandering people who have seen a lot in their lifetime, according to the artist himself, "made me fall in love with the past and present of my people for my whole life, largely determined my path." Already at the beginning of his career, he created a number of illustrations for "The Little Humpbacked Horse" and "The Firebird". In addition to fairy tales, he has works dedicated to the heroic images of epics. "A Knight at the Crossroads", "Three Heroes". The famous painting "Ivan Tsarevich on the Gray Wolf" is written on the plot of one of the most famous and widespread fairy tales, reproduced in popular prints of the 18th century.

"Princess Nesmeyana"

In the royal chambers, in the prince's palaces, in the high tower, Nesmeyana the princess flaunted. What a life she had, what freedom, what a luxury! There is a lot of everything, everything is, what the soul wants; and she never smiled, never laughed, as if her heart was not happy about anything.

Here are merchants, boyars, and foreign guests, storytellers-musicians, dancers, jesters and buffoons. They sing, clown about, laugh, strum on the harp, all of which are great. And at the foot of the high tower - ordinary people, also crowd, laugh, shout. And all this buffoonery is for the princess, the only royal daughter. She sits sadly on a carved white throne by the window. “There is a lot of everything, there is everything that the soul wants; but she never smiled, never laughed, as if her heart was not happy about anything. " And what is there, in truth, to rejoice if no one ever talks to her heart to heart, no one with a pure heart will come ?! Everyone around is just noisy, they mark them as suitors, they try to present themselves in the best possible light, but no one cares about the princess herself. That is why she is Nesmeyana, until the only one, long-awaited, comes, who will give her a smile instead of buffoonery, warmth instead of indifference. And he will come, of course, because the fairy tale affects that.

"Koschey the Immortal and Beloved Beauty"

He only had time to leave the yard, and Koschey into the yard: “Ah! - He speaks. - Smells like a Russian horse; to know, you had Ivan Tsarevich. " - “What are you, Koschey the Immortal! Where can I see Ivan Tsarevich? He remained in dense forests, in viscous mud, still the animals have eaten! " They began to have supper; at supper, Beloved Beauty asks: "Tell me, Koschey the Immortal: where is your death?" - “What do you want, silly woman? My death is tied in a broom. "

Early in the morning Koschey leaves for the war. Ivan Tsarevich came to the Beloved Beauty, took that broom and brightly gilded it with pure gold. Only the prince had time to leave, and Koschey went into the yard: “Ah! - He speaks. - Smells like a Russian horse; to know, you had Ivan Tsarevich. " - “What are you, Koschey the Immortal! He flew across Russia himself, he picked up the Russian spirit - from you it smells of the Russian spirit. And where can I see Ivan Tsarevich? He remained in dense forests, in viscous mud, still the animals have eaten! " It's time for supper; Beloved Beauty sat down on a chair herself, and sat him on a bench; he glanced under the threshold - there was a gilded broom. "What's this?" - “Oh, Koschey the Immortal! You yourself see how I honor you; if you are dear to me, so is your death. " - “Silly woman! I was joking, my death was sealed up in an oak tynu ”.

"Princess Frog"

Consider a reproduction of V. Vasnetsov's painting "Feast" (p. 19 of the textbook).
If possible, it would be interesting to compare this picture with the illustration made for this episode of the tale by I. Bilibin.
Bilibin's illustrations framed by floral ornament very accurately reflect the content of the tale. We can see the details of the heroes' costumes, the expression on the faces of the surprised boyars and even the pattern on the kokoshniks of the daughters-in-law. Vasnetsov in his painting does not dwell on the details, but perfectly conveys the movement of Vasilisa, the enthusiasm of the musicians, who seem to stamp their feet in time with the dance song. We can guess that the music to which Vasilisa dances is funny, mischievous. When you look at this picture, you feel the character of a fairy tale.
- Why do people call Vasilisa the Wise? What qualities does the people glorify in the image of Vasilisa?

The painting by V. Vasnetsov creates a generalized image of a beautiful princess: next to her are guslars, people. The illustration by I. Bilibin specifically depicts the episode of the feast: in the center - Vasilisa the Wise, with a wave of her hand miracles happen; around people amazed by what is happening. Different types of work are possible here:

1. Describe verbally what you see in each of the paintings (characters, setting, appearance of people around, their mood, prevailing colors).

2. Compare the image of Vasilisa the Wise by Vasnetsov and Bilibin. Is this how you imagine the main character of a fairy tale?

"Magic carpet"

The fantasy of the people created the tale of the flying carpet. You see two paintings by Vasnetsov with this name - early and late. On the first of them, a proud fellow looks from the airplane carpet at the expanses of the Russian land spread below. The discreet northern nature served as the background for the artist's painting. Rivers and lakes sparkle, a forest stands as a dark wall, huge birds accompany the carpet. The Firebird caught by the hero burns with a bright fire in the cage. This canvas tells about the wisdom, strength, dexterity of the people. The second picture is lighter and more colorful. The bright rays of the sunset, cutting through the veil of clouds, have become a good background for the picture. Through the clouds, nature is seen bright, the greenery is juicy, maybe because the heroes went down closer to her. And the girl and the youth in shining, gold-embroidered clothes do not seem to be outsiders on the canvas. Their young faces are beautiful, they gently bowed to each other, personifying loyalty and love.

Alyonushka, Snegurochka, Elena the Beautiful - these fictional images and portraits of women who are close to Vasnetsov "in spirit" - Elena Prakhova, Vera and Elizaveta Grigorievna Mamontov, portraits of his wife, daughter, nieces from different angles highlight what is called the Russian female soul, which becomes for Vasnetsov is the personification of the Motherland, Russia.

Alkonost. In Byzantine and Russian medieval legends, a wonderful bird, an inhabitant of Iria, a Slavic paradise. Her face is feminine, her body is a bird's, her voice is sweet, like love itself. Having heard the singing of Alkonost with delight, he can forget everything in the world, but there is no evil from her, unlike Sirin.

Alkonost lays eggs at the edge of the sea, but does not incubate them, but plunges them into the depths of the sea. At this time, the weather is calm for seven days. According to the ancient Greek myth, Alcyone, the wife of Keik, upon learning of the death of her husband, threw herself into the sea and was turned into a bird named after her alkyona (kingfisher).

It is depicted in popular prints as a half-woman, half-bird with large multi-colored feathers and a girl's head, shaded by a crown and a halo, in which a short inscription is sometimes placed. In addition to the wings, Alkonos has hands in which she holds paradise flowers or a bundle with an explanatory inscription. She lives on a paradise tree, on the Buyan island, together with the Sirin bird, has a sweet voice, like love itself. When she sings, she does not feel herself. He who heard her wonderful singing will forget everything in the world. With her songs, she consoles and elevates future joy. This is a bird of joy.

And here is Sirin, a dark bird, a dark force, a messenger of the ruler of the underworld. From the head to the waist, Sirin is a woman of incomparable beauty, from the waist - a bird. Whoever listens to her voice, forgets about everything in the world and dies, and there is no strength to force him not to listen to Sirin's voice, and death for him at that moment is true bliss. Dahl explained in the famous dictionary as follows: “... mythical and church birds of an owl, or an eagle owl, a scarecrow; there are popular prints depicting birds of paradise with female faces and breasts»(V. Dal" Explanatory Dictionary of the Living Great Russian Language "). In Russian spiritual poetry, sirin, descending from heaven to earth, enchants people with her singing. In Western European legends, the sirin is the embodiment of an unhappy soul. This is the bird of sorrow.

• #1
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Mikhailof Fedor

—The goal of the project: to find out which artists illustrated Russian folk tales.

- Objectives: 1. To find out who the illustrators are.

2. Find information about artists in the library. 2. Find illustrations for fairy tales in different collections.

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Project on fairy tales "Artists - illustrators" Prepared by a student of 3 "B" class Mikhailov Fedor

The aim of the project: to find out which artists illustrated Russian folk tales. Objectives: 1. To find out who illustrators are. 2. Find information about artists in the library. 2. Find illustrations for fairy tales in different collections.

ILLUSTRATORS - artists who draw illustrations for books that help to understand the content of the work, better represent the characters, their appearance, characters, actions, the environment in which the characters live.

Artists - storytellers 1.Ivan Yakovlevich Bilibin (1876-1942) 2.Viktor Mikhailovich Vasnetsov (1881-1926) 3.Yuri Alekseevich Vasnetsov (1900-1973) 4.Evgeny Mikhailovich Rachev (1906-1997)

Artist Ivan Yakovlevich Bilibin Master of graphics, creator of a special type of illustrated book, "the first professional of the book" - as experts call him.

Ivan Tsarevich and the Grey Wolf. I. Ya.Bilibin

"Baba - Yaga" to the fairy tale "Vasilisa the Beautiful". I. Ya.Bilibin

Viktor Mikhailovich Vasnetsov All my life I have been striving, as an artist, to understand, unravel and express the Russian spirit. V.M. Vasnetsov

Ivan Tsarevich on the gray wolf. V.M. Vasnetsov

V.M. Vasnetsov "Alyonushka"

Yuri Alekseevich Vasnetsov I illustrated and designed Russian folk tales, songs, nursery rhymes. He is rightfully called the artist of the Russian fairy tale. "Three Bears", "Teremok" and many others. Fantastic, fabulous landscapes are based on impressions of real Russian nature. The artist's birds and animals acquire the habits that he noticed in reality.

"The Fox and the Hare" "Three Bears"

"Geese Swans" "Cat's House"

Evgeny Mikhailovich Rachev All animals and animals - the heroes of Rachev's drawings are “dressed” as people, in human clothes, thus Rachev shows that real life and real human relations are hidden behind a fairy tale plot and fairy images.

Masha and the Bear "Cat, Rooster and Fox"

"Kolobok" "Wolf and Fox"

The end The tale brings joy to us, The one who knows will understand, There is a lot of meaning in the tale, And love walks close there. A fairy tale is a wonderful piggy bank, What you save up, you take, And without a fairy tale in this life, you will certainly be lost.

Carried "Ognivo" to grandchildren with illustrations Yerko , and brought back. It seems that children's illustrators are engaged in real art, but "artists" are assholes whom society has found employment where they would bring the least harm.

In Real Art, that is, children's illustration, a major event took place. In the late 1980s, Gennady Spirin left for the United States, and became Best of the Best there. He still lives in Princeton, with his family, without having learned a word of English. It's happiness, not to understand what they are talking about.

Well, in the late 1980s, we had a perestroika. And even football was.

But the time has come for Ukraine - and now football is there, and Number One. Vladislav Erko. That is, the king has changed.

Why didn't I part with Ogniv? Take a closer look:

(clickable)

This is mainly the back cover. The picture shows a dozen cats, a dog, a horse, a bird and fifty people, but take an interest in the houses. Above in the right corner is a tower with a figured roof, with a vase at the top. There are 1 similar ones in the world, but this is not a repetition, but a development of that architectural concept.

Still I would not be interested in Yerko. Here is a snippet of my drawing:

The façade ends with a "trumpeting tritonichi" with two serpentine legs. A similar detail on "Ogniv" Yerko under the word "Yerko" is St. Michael, defeating Satan.

Someone will say: what kind of Yerko artist? This is an architect. No! He is an artist in the understanding of art that existed before Mannerism. Those artists were interested in the world itself, and it was impolite "how" - and today's Picassos are interested only in the shadow they cast on this world.

This is the 5th page of the book, the soldier is walking along the road. Under Bruegel? No. Neither Bruegel, nor de Momper, nor Leitens knew such rocks, branches. This is further. Yerko started where they left off. In fact, today Bruegel would have to call himself a children's illustrator. But children have nothing to do with it. Just art.

And now let's look at how the "true" art figures also "paint" Flint:

Joel stewart

How I hated such drawings in my books as a child! I remember that very well.

Spirin soon 70.

Olga and Andrey Dugin everything is also taught in Munich. I hope that nothing happened to them, and someday Dugin will finish Hamlet.

In general, the celebrity workshop has noticeably aged. Robert Ingpen ...

(to "Tom Sawyer", essno)

(to "Mowgli")

It is interesting to compare Ingpen's "Pinocchio" with Yerko. Ingpen is a realist, everything was found, copied, in contrast to Vladislav, who seeks to discover something new in the world. Yerko is interesting to me, Ingpen is not. The illustrations for Tom Sawyer are too natural, I would say. Too heavy for Mark Twain's light tongue.

Nice drawing, but children have nothing to do with it.

Aged illustrator Sandy Nightingale , whose interpretation by Terry Pratchett is even immortalized in the stamp:

Note that I never liked Pratchett's illustrations for their colorfulness. Here she is just a "childish" artist, only Pratchett is not quite a childish reader.

Yvonne Gilbert has grown old ...

Ivonne Gilbert

If the last picture is the Princess-and-the-Pea, this is an exceptionally brave princess. I would definitely not fall asleep here because of the height.

And what about the youth?

John vernon lord ... Kill up the table if the book isn't 1930s! But no, a subtle fake - 2013. And what, children appreciate this subtlety?

Illustrations Levy pinfold definitely have a metaphysical dark tone. His world is unfriendly:

(Clickable)

However, before Juan Wijngaard it is far away. Here's what to scare children with:

To cheer up, I brought a random picture of the Viking gods from Devianart.

Rhineville

It would seem that there is a sea of \u200b\u200bchildren's artists, and one cannot embrace the immensity. But the vast majority of them are bright, colorful, and ... empty. Little informative. Let's take some next Alice ...

Justin todd

What would I have learned from it at the age of 10? That a girl has pants that look like gears? But in my 60-year-old Justin Todd, I am attracted much more, especially by drawing what is more decent for her:

Likewise works Lisbeth Zwerger beautiful with purity and freshness of color ...

But at 10 I wouldn't even look at them.

An excellent series of books ("The biggest nastiness of the sea") was released Kellie strom ... A person knows what a modern child needs. Not otherwise, as "o" in the surname obliquely crossed out:

His drawings are really what you need. They are both bright and informative, and at the same time simplified.

Fortunately, I am spared the need to mention a thousand more artists here. It is in children's illustrations that everyone is terribly concerned about copyrights, and everyone (for example - Maggie kneen) with dire warnings I omitted. Let's move on to the joyful one. To those who draw so well that they don't get rights. Nobody can do that anyway.

These are two girly artists. Inga moore :

You know, for a long time I was looking for a big picture on the wall. The second Inga Moore is just that.

She achieved special heights as a girl. IMHO, Angela barrett :

And to round off the period, as Cyrano de Bergerac put it, j, I will turn to a new rising star - Bagram Ibatoulline , who studied, as you might guess, in Moscow, but who lives, as you understand, in Pennsylvania:

(Snow Queen, there was such a moment!)

And the Bulgarian artist Jan (Jassen) Ghiuselev, widely known for his gothic "Alice".

But they say that his best illustrations are for The Queen of Spades: