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.
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