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• W2084382400 abstract "MOTHER GOOSE WITH TEARS: FANTASY AND REALISM IN MOTHER GOOSE ILLUSTRATIONS SINCE 1865 Mother Goose or the old nursery rhymes offer both fantasy and reality; sometimes a rhyme is entirely fanciful; sometimes one is wholly realistic; and sometimes one is a combination of both. For nearly 250 years, booksellers and publishers have been bringing out editions of Mother Goose books for children; but before 1865, the rhymes were usually accompanied by rather simple woodcuts, often somewhat dull, pedestrian pictures, which did little more than to give a literal picture to illustrate a part of or all of a rhyme. Not only were the pictures rather literal, they more frequently lacked any kind of humor except where an artist's literal rendering of a fanciful part of a rhyme forced a kind of accidental humor into a picture. It was not until Edmund Evans began engraving and printing in collaboration with various artists, most notably, Walter Crane, Randolph Caldecott, and Kate Greenaway, that the nursery rhyme book as we know it came into existence. With Walter Crane's pictures, for the first time, fantasy and realism overlaid with considerable whimsy and humor entered into Mother Goose books. Since the time of Crane, Caldecott, and Greenaway, the illustrations in Mother Goose books have tended to be both fanciful and realistic with a strong undergirding of humor or of sobriety; whether the fantasy or the realism of the pictures is sober or humorous depends much on the individual illustrator's temperament. In the illustrations of some editions of Mother Goose, artists such as Arthur Rackham, Leslie Brooke, Philip Reed, Maurice Sendak, Raymond Briggs, and Wallace Tripp have tended to illustrate the rhymes with humorous fantasy and realism as Walter Crane and Randolph Caldecott before them. In other editions, artists such as Blanche Fisher Wright, Tasha Tudor, and Marguerite de Angelí have tended to illustrate the verses with sober realism and fantasy as Kate Greenaway before them. The women illustrators, including Kate Greenaway, have less fantasy in their pictures than do the men. Whether the pictures by the men are realism or fantasy, they are all closely related in the humor of their illustrations. An examination of some of the pictures from the Mother Goose books illustrated by these men will show that underlying their interpretations of rhymes, realistic or fanciful, is the strong unifying thread of humor that gives their illustrations a commonality and continuity. One of the first books that Walter Crane illustrated, for which Edmund Evans did the engraving and printing, was The History of Jenny Wren, published in 1865. One of the illustrations is captioned No more pills or any other medicine; the picture shows Crane's ability as an animal draughtsman, especially in his rendering of the cat and the owl. More importantly, he reveals a penchant for humorous, or, at least, whimsical, fantasy in the tableaux of animals gathered round the languishing Jenny Wren, especially in the wise-looking Dr. Fox and the hated and apparently talkative goose. In the background, Robin Redbreast is rapidly alighting from a carriage with an elegantly dressed driver holding down a rabbit, perhaps suggesting that Robin came with great speed. Another example that reveals Crane's humor in fantasy is his pig in the picture for This little pig went to market; the pig's jauntily worn hat, his sunglasses, his big, red bow tie, his rather formal double-breasted coat and striped pants covered by an apron, and his cloven boots are all remarkable bits of whimsy if not of humor. The crowning touch, however, is, the bow in the pig's braid echoed by the bow in the pig's rather curly tail. Crane's sense of humor is more obvious in his fantasy than in his realism as the picture illustrating My Pretty Maid, from The Baby ' s Opera , shows. The gentleman asking the maid where she's going is deferential while the maid shows in her fa.ce some of the spunk with which she turns the man away at the end of the song. Though Crane did more than just illustrate the texts of the nursery rhymes, often expanding their meaning and adding a new dimension to..." @default.
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• W2084382400 date "1980-01-01" @default.
• W2084382400 modified "2023-10-17" @default.
• W2084382400 title "Mother Goose with Tears: Fantasy and Realism in Mother Goose Illustrations since 1865" @default.
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• W2084382400 doi "https://doi.org/10.1353/chq.1980.0007" @default.
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