"That liveliness of spirit and excitement has continued amid the changes that have taken place in illustration, and the measure of delight has increased as visual images depict, interpret, enliven, and enhance words on the pages of children's books."
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Imagination, creativity, child appeal, and adaptation of style to story are the key ingredients in the cornucopia of successful illustration.
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Graham, J., Wise, I., Stanton, J., Partridge, J., and Thomas, R. (2001). Illustration in children's books. In V. Watson (Ed.), The Cambridge guide to children's books in English. Cambridge, United Kingdom: Cambridge University Press. Retrieved from http://search.credoreference.com/content/entry/childbooks/illustration_in_children_s_books/0
, A.b. Frost was one of the first of many American illustators to bridge the gap between journalistic comics (his infamous sequence ‘Our Cat Eats Rat Poison’ of 1881 is a ferocious classic of the form) and book illustration. Frost’s best-remembered illustrations are for volumes of Joel Chandler Harris’s Uncle Remus tales published in 1892 and 1895; these classic pictures provide deft caricatures of the very human nature of certain animals amidst affectionate renderings of the American countryside.
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An unwavering confidence in the potential of children’s book illustration is Pyle’s most enduring legacy to America’s illustrators. Such Brandywine-influenced artists as Maxfield Parrish shared Pyle’s conviction that illustrations could aspire toward artistic greatness. Parrish’s particular contributions to the form included his innovative use of photography for the derivation of images and his fabulous employments of bright colour. His wonderful use of blue may derive from the works of N.C. Wyeth, but no one did more than Parrish to develop and demonstrate the expressive and decorative potential of vivid colour in book and poster art. Parrish’s works for children included Eugene Field’s Poems of Childhood (1904) and L. Frank Baum’s Mother Goose in Prose (1897). An illustrator even more famously associated with the works of Frank Baum is W.w. Denslow. His pictures for the first Wizard of Oz book (1900) established the definitive look for one of the world’s favourite American fantasies and showed that poster-like forms could add excitement and verve to the illustrated book for children.
The Lantern Bearers, 1908
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