When Phantasie Takes Flight: the Art & Imagination of Arthur RackhamMain MenuExplore a Guided Tour of the ExhibitExplore the Collection IndependentlyExplore the Collection Through VisualizationsLibraryPress@UF3b1cdf573ac293e8c89509f45d68f8ce07c5832aLibraryPress@UF. Curated by Suzan A. Alteri and John Ingram. Digitized by Rebecca McNulty. Media is in the public domain or used under a claim of fair use except where otherwise noted.
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1media/The maiden said, Be still, dear little fawn, and I will never forsake you.jpg2021-08-03T14:22:04+00:00Influences20plain642021-12-22T17:25:03+00:00Iconic and instantly recognizable, British illustrator John Tenniel’s tubular Alice laid the foundation for generations of artists to alter images of human beings to convey their impression of an author’s imaginary world. Some artists, such as Charles Robinson, took Tenniel’s image to the extreme of a snake-like head. Others, such as Rackham, deviated from Tenniel and created a new Alice whom people could love. A master of black and white illustration, George Cruikshank skipped along the fence between reality and imagination and influenced similar juxtapositions of the real, surreal, and completely fantastic in many of his successor artists, including Willy Pogány, Aubrey Beardsley, and Arthur Rackham. Walter Crane’s use of color and light in his Aesop’s Fables acknowledges the priority of reality in his artwork over imagination. At the same time, it is the jubilant mixture of exactitude of form with ebullient splashes of color that would find most favor among his successors. Even Beatrix Potter foreshadowed the movement to anthropomorphization of flora and fauna as she depicted Peter Rabbit leaning against a wall, feet crossed, and hand under chin, exactly as his human counterparts would have stood and ruminated.