Illustrators of fairy tales

Source: Wikipedia. Pages: 35. Chapters: W. Heath Robinson, Ida Rentoul Outhwaite, Mervyn Peake, Harry Clarke, Kate Greenaway, Gustave Doré, Arthur Rackham, Ed Young, Vladana Likar-Smiljanic, Theodor Kittelsen, Edmund Dulac, Richard Doyle, Kay Nielsen, Barbara C. Freeman, John Bauer, John Shelley, Sulamith Wülfing, Jessie Willcox Smith, Paul O. Zelinsky, Charles Folkard, Warwick Goble, Errol Le Cain, Ivan Bilibin, Anton Pieck, Jean-Baptiste Monge, Jim Harris, H. M. Brock, Angie Sage, Frank C. Papé, Francis Donkin Bedford, Charles Robinson, Robin Jacques, William M. Timlin, C. E. Brock, Vilhelm Pedersen, John D. Batten, Joan Kiddell-Monroe, Harry Rountree, Anne Anderson, Leonid Khizhinsky, Jane Ray, Scott Gustafson. Excerpt: Paul Gustave Doré (French pronunciation: ; January 6, 1832 ¿ January 23, 1883) was a French artist, engraver, illustrator and sculptor. Doré worked primarily with wood engraving and steel engraving. Doré was born in Strasbourg and his first illustrated story was published at the age of fifteen. His skill had manifested itself even earlier, however. At age five he had been a prodigy troublemaker, playing pranks that were mature beyond his years. Seven years later, he began carving in cement. Subsequently, as a young man, he began work as a literary illustrator in Paris, winning commissions to depict scenes from books by Rabelais, Balzac, Milton and Dante. In 1853, Doré was asked to illustrate the works of Lord Byron. This commission was followed by additional work for British publishers, including a new illustrated English Bible. A decade later, he illustrated a French edition of Cervantes's Don Quixote, and his depictions of the knight and his squire, Sancho Panza, have become so famous that they have influenced subsequent readers, artists, and stage and film directors' ideas of the physical "look" of the two characters. Doré also illustrated an oversized edition of Edgar Allan Poe's "The Raven", an endeavor that earned him 30,000 francs from publisher Harper & Brothers in 1883. Doré's English Bible (1866) was a great success, and in 1867 Doré had a major exhibition of his work in London. This exhibition led to the foundation of the Doré Gallery in Covelant Bond Street. In 1869, Blanchard Jerrold, the son of Douglas William Jerrold, suggested that they work together to produce a comprehensive portrait of London. Jerrold had obtained the idea from The Microcosm of London produced by Rudolph Ackermann, William Pyne, and Thomas Rowlandson in 1808. Doré signed a five-year contract with the publishers Grant & Co that involved his staying in London for three months a year, and he received the vast sum of £10,000 a year for the project. Doré was mainly celebrated for his p