Fig. 1, John Duncan, 1913, “St. Bride,” Tempera on canvas.

One illustrator of this time period that stands out for his passion for this subject matter is Scottish artist John Duncan (1866-1945). Duncan was born in Dundee, Scotland, and began studying at the Dundee School of Art when he was eleven years old. He regarded himself as a mystic and confessed to hearing ‘fairy music’ while he painted.

His artwork was rooted in the Celtic Revival and the Pre-Raphaelite tradition. He worked predominantly in tempera, deliberately mimicking the styles and techniques of the creators of the Irish illuminated manuscripts.

A great example of this is his painting, “St. Bride” (1913). This painting depicts the legend of the Irish Saint Bride as she was miraculously transported to Bethlehem to attend the nativity of Christ. In this work, Duncan’s affinity for the illuminated manuscripts of Ireland is most pronounced. The robes of the angels are richly decorated with Celtic knotwork and the colors are matched to the five major pigments used by the monks in the Book of Kells.¹

Fig. 2, John Duncan, 1912, “Tristan and Isolde,” Tempera on canvas.

One of his most famous works is the illustration Tristan and Isolde (1912). Tristan and Isolde illustrates the Irish myth of the same name, which is about a young man who is escorting a young woman to Ireland in order for her to marry his uncle, the King. During the journey the two youngsters fall in love after drinking a love potion, resulting in disaster. This work is done in the style of the Pre-Raphaelites but has the distinctive Celtic patterns in the embroidery of Tristan’s costume and the carvings of the boat.

¹ John Kemplay, The Paintings of John Duncan: A Scottish Symbolist, Pomegranate Communications, Petaluma, CA, 1994, pages 40-43.

Fig.1, Harry Clarke, 1930, “Geneva Window,” stained glass window, 71½” x 40,” The Wolfsonian–Florida International University, Miami Beach, Florida.

Another artist famous for his depictions of Irish mythology and folklore was Harry Clarke (1889-1931). Born in Dublin, he was a prominent figure in the Irish Arts and Crafts Movement. He made his reputation as a book illustrator but is best remembered for his stained glass windows.

The Arts and Crafts movement triggered a resurgence of Irish art. Clarke designed fabrics and handkerchiefs, boxes and lanterns, but primarily he designed windows. Clarke designed and crafted more than a dozen windows for memorials, churches, and private commissions. These were often interpretations of poems or ballads based on Irish legends.¹

¹ Brigid Peppin, Fantasy, The Golden Age of Fantastic Illustration, Carter Nash Cameron Ltd., New York, New York, 1975, pages 21-22.

One of the most popular artists of the Golden Age of illustration was Arthur Rackham (1867-1939). Rackham, a student of the Lambeth School of Art, possessed a distinctive ability to exemplify the mysterious and often dark themes of the folk stories he illustrated. One way he accomplished this was through his limited use of color, primarily faded browns, muted blues and greens, and misty grays and purples. Rackham’s technique of applying transparent watercolors over finished ink drawings further fashioned an ethereal quality to his artwork.

Fig. 1, Arthur Rackham, 1915, “Come now, a roundel and a fairy song,” watercolor and ink, illustration to William Shakespeare’s A Midsummer Night’s Dream.

A distinctive characteristic of his illustrations was his writhing trees and tempestuous landscapes. The natural elements were as alive as the figurative subjects in his paintings. This reflected the ancient idea of tree-animism, which was a fundamental aspect of Irish folklore and myth and paralleled the nature worship of the Celtic pagans.¹ Rackham is perhaps most famous for his fairy illustrations. Many artists of this time were illustrating this popular theme, but Rackham’s treatment of these creatures of fantasy was directly influenced by the Irish tradition of the “little people.”

Along with his fairy illustrations, Rackham also illustrated other figures and themes from Irish mythology. His most prolific work in this genre was his illustrations for Irish Fairy Tales by James Stephens (New York: Macmillan, 1920.)

Fig. 2, Arthur Rackham, 1920, “Wild and shy and monstrous creatures ranged in her plains and forests,” watercolor and ink, illustration for Irish Fairy Tales.

Gracing the pages of this book are some of the richest examples of Rackham’s moody and sinister style. One of the best examples of this style is in the illustration entitled “Wild and shy and monstrous creatures ranged in her plains and forests.” In this painting, Rackham intertwines the figurative elements of the story with intricate Celtic-inspired knotwork. The result is a wild entanglement of nature, fantasy, and design that evokes the dark and mysterious atmosphere described in the text. The complex composition and choice of color are also reminiscent of the illuminated plates in the Book of Kells.²

¹ Brigid Peppin, Fantasy, The Golden Age of Fantastic Illustration, Carter Nash Cameron Ltd., New York, New York, 1975, pages 20-21.

² Derek Hudson, Arthur Rackham, His Life, and Work, William Heinemann, London, England, UK, 1974, pages 84-92.