Wondrous Worlds of the Night
Dulac displayed an artistic interest from an teenage age, with his favourite medium, watercolours, being established in early years. Typically, his illustrations from The Arabian Nights (1907), Shakespeare's The Tempest (1908), Hans Andersen (1911) and Stawell (1916) do not rely upon an ink line to hold the colour as he approached the relatively new colour printing medium as a coloured ink drawing. In 1913, the mellow, romantic blues that Dulac had tended towards a brighter palette and more oriental style that characterised his interpretation of fairy tales and legends for the remainder of his life. Throughout the 1930s , Dulac's artwork depicting myths and legends was supported by a number of commissions arising from the United States and included those suites of published in Gods and Mortals in Love as well as The Marriage of Cupid and Psyche and The Masque of Comus.
The British Fairy School
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Florence Anderson was an English artist active as a book illustrator throughout the first three decades of the 20th Century. Her art was influenced by the British Fairy School. Her first major commission appears to have been an extensive suite of colour but also monochrome illustrations prepared for The Dream Pedlar published in 1914. Anderson received further substantial commissions throughout the decade that followed, including major suites such as TTravelling Companions (1915) ; Fairy Tales from Brazil (1916) ; The Magic Kiss (1916) and The Twin Knights of France (1919).
English Fantasy Tales
Undine (1909) The Valkyries (1910) and Siegfried (1911)
Arthur Rackham illustrated Cinderella, Sleeping Beauty (1900), Alice in Wonderland (1907), The Rhinegold and the Valkyries (1910), Siegfried and the Twilight of the Gods (1911) and well known fairytale books : Irish legends, Arthurian cycles, Poe's Tales of Mystery and Imagination, Peter Pan adventures and A Midsummer Night's Dream among other things.