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The Art of Fables

 

 

Welcome to that section of our Virtual Museum highlighting illustrations depicting seminal fabled scenes arising from a variety of traditions.

 

Here, you will have the opportunity to connect with masterful illustrations prepared to accompany enduring stories from timeless fables and

the classics by some of the great artists from the Medieval period through to the Golden Age of Illustration. We also offer you the option to

purchase Fine Art Prints, with all our reproduction images produced with archival quality processes to ensure many years of enjoyment.

 

 

Stanislaus Soutten Longley's ''Icarus''

Consider the meaning and history of the word "fable" for a moment - the English word has its origins in

Middle English where it first appeared after being drawn from the Old French word "fable" which, itself,

was derived from the Latin term "fabula". A variety of stories or beliefs may be regarded as fables,

including:

 

a short story, typically with animals as characters, conveying

  a moral; and

 

a supernatural story incorporating elements of myth and

  legend.

 

 

 

 

 To the right, we show "Icarus" by

Stanislaus Soutten Longley.

 

 

The very nature of the "fable" has been a significant factor in providing fertile ground for artistic endeavours since Antiquity and within

the Collection, there are numerous examples of inspirational artwork from the Medieval period through to the Golden Age of Illustration

that depict scenes from fables. Those illustrations include those focused on: classic stories surviving from Antiquity; tales arising from

the Dark and Middle Ages (including what may be one of the few surviving examples of a "chantefable" - a sung song); Scheherazade's

fantastic tales for Arabian Nights; and traditional folk tales from England, Germany, Flanders, Russia, Japan, India and Bengal.

 

Below, we show some examples of artwork appearing in our Virtual Museum prepared to depict scenes from fables - to experience more of

associated artwork or that of the relevant artist, simply follow the hyperlinks embedded in the following images and text.

 

 

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A 16x20 inch Art Poster displaying Willy Pogany's ''Out of the Sea''

To purchase any item, click on the appropriate "Add to Cart" button and you will be taken through to our

Shopping Cart secured through PayPal - multiple purchases will be consolidated by that feature and

shipping and packaging costs to any destination in the world are accommodated by our flat-rate US$20

fee for each US$200 worth of purchases.

 

We are able to reproduce these images in a variety of sizes and naturally, should you wish to order a

Reproduction Print in another format, we welcome your contact through ThePeople@SpiritoftheAges.com.

 

 

 

 

 

To the left, we show one of our 16x20" Fine Art Posters

displaying "Out of the Sea" by Willy Pogány.

 
           

In the meantime, enjoy perusing these powerful images from the Collection.

 

Illustrations of Fables from great Medieval, Renaissance and Golden Age artists

 

The Sea Monster

Albrecht Dürer

 

 

The Shipwrecked Man and the Sea

Arthur Rackham

 

Albrecht Durer's ''The Sea Monster''

Detail from Albrecht Durer's ''The Sea Monster''  

Arthur Rackham's 'The Shipwrecked Man and the Sea' from ''Aesop's Fables''

Detail from Arthur Rackham's 'The Shipwrecked Man and the Sea' from ''Aesop's Fables''

Full image (on the left) and detail (to the right) for reference

 

 

Full image (on the left) and detail (to the right) for reference

 

 

Reproduction on 12x18" sheet

Code: AD SM (12x18)
Price: US$60.00

 

Reproduction on 12x18" sheet

Code: AR AF 6 (12x18)
Price: US$60.00

 

Known to the modern world as "The Sea Monster", Dürer knew this work, in his

own language, as "Das Meerwunder".

 

An informative discussion of the image and its iconography has been undertaken

by Panofsky (The life and art of Albrecht Durer: Princeton University Press; 1945)

who suggests that the subject may relate to:

 

"...one of those anonymous atrocity stories which, though

ultimately of classical origin, were currently reported a having

taken place in recent times and in a familiar environment.

Poggio Bracciolini, for instance, relates a tale wherein the

horrifying story of a Triton, told in Pausanias's description of

Tanagra, is transferred to the fifteenth century and to the

coast of Dalmatia. A monster, half human, half piscine, with

little horns and a flowing beard, was in the habit of abducting

children and young girls enjoying themselves on the beach,

until it was killed by five determined washerwomen."

 

Regardless of the explanation behind Dürer's illustration, it is undoubtedly a

true Masterpiece that is packed with symbolism.

 

For more information on Albrecht Dürer, we invite you to peruse our

Albrecht Dürer Collection that includes some of his seminal work.

 

 

 

 

Aesop's Fables as illustrated by Arthur Rackham included 13 tipped-in colour plates

and more than 50 monotone illustrations throughout the 1st Edition.

 

The collection of Aesop's classic tales interpreted by Rackham were selected and

introduced by G K Chesterton. As may be expected, Rackham's illustrations are

masterful and are a fitting complement to the text, which presents the morality

tales with a touch of softness that is accessible to young readers.

 

Arthur Rackham (1867-1939) is one of the great artists associated with the Golden

Age of Illustration.

 

His illustrations are characterised by a sinuous pen line softened with muted

watercolour - a feature that is typical of the Art Nouveau aesthete. Rackham's

forests are looming with frightening grasping roots, his fair maidens are sensuous -

yet somehow chaste - and his ogres and trolls ugly enough to repulse, but with

sufficient good nature not to frighten.

 

For more information on Arthur Rackham and to see more of his art, we invite

you to peruse our Arthur Rackham Collection.

 

The Dervish's cousin and his sister hidden in their vault under

the earth perish in the fire of the Almighty's anger

Kay Nielsen

 

 

The Genii bringing Princess Badoura

to Prince Camaralzaman

Edmund Dulac

 

Kay Nielsen's 'The Dervish's cousin and his sister hidden in their vault under the earth perish in the fire of the Almight's anger' for ''Thousand Nights and a Night''

Detail from Kay Nielsen's 'The Dervish's cousin and his sister hidden in their vault under the earth perish in the fire of the Almight's anger' for ''Thousand Nights and a Night''  

Edmund Dulac's 'The Genii bringing Princess Badoura to Prince Camaralzaman' for ''The Arabian Nights''

Detail from Edmund Dulac's 'The Genii bringing Princess Badoura to Prince Camaralzaman' for ''The Arabian Nights''

Full image (on the left) and detail (to the right) for reference

 

 

Full image (on the left) and detail (to the right) for reference

 

 

Reproduction on 12x18" sheet

Code: KN TNN C14 (12x18)
Price: US$60.00

 

Reproduction on 12x18" sheet

Code: ED ANE 3 (12x18)
Price: US$60.00

 

This illustration is one of a suite Nielsen prepared between 1918 and 1922 for a translation

of the works attributed to Scheherazade that had been undertaken by the Arabic scholar,

Professor Arthur Christensen.

 

According to Nielsen's own published comments, these illustrations were to be the basis of

his return to book illustrations following a hiatus during World War I and the intention had

been to publish the Danish version in parallel with versions for the English-speaking world

(to be published in Great Britain and the United States) and the French market (to be

published in Paris).

 

Kay Nielsen (1886-1957) is considered by many to be among the leading artists associated

with the Golden Age of Illustration.

 

Nielsen's first published commission included a suite of monotone and full colour illustrations

for In Powder and Crinoline (1913). A year later, his illustrations from East of the Sun and

West of the Moon - considered by many to be among his masterpieces - were published.

Following World War I, he produced other great works, including Fairy Tales by Hans

Andersen, Hansel and Gretel and Other Stories from the Brothers Grimm and Red Magic.

 

For more information on Kay Nielsen and to see more of his art, we invite you to peruse

our Kay Nielsen Collection.

 

 

 

 

Dulac's "The Genii bringing Princess Badoura to Prince Camaralzaman" depicts a scene from

the Persian tales attributed to Scheherazade.

 

Edmund Dulac (1882-1953) is one of the great artists associated with the Golden Age of

Illustration.

 

Dulac displayed an artistic interest from an early age, with his favourite medium -

watercolours - being established in his teenage years. Typically, Dulac's early illustrations 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 work for the remainder of his life.

 

For more information on Edmund Dulac and to see more of his art, we invite you to

peruse our Edmund Dulac Collection.

The King of Ireland's Son

Willy Pogány

 

 

And she proceeded to burn perfume and repeat

spells until the sea foamed and was agitated

Maxfield Parrish

 

Willy Pogany's ''The King of Ireland's Son''

Detail from Willy Pogany's ''The King of Ireland's Son''  

Maxfield Parrish's 'And she proceeded to burn perfume and repeat spells until the sea foamed and was agitated' from ''The Arabian Nights''

Detail from Maxfield Parrish's 'And she proceeded to burn perfume and repeat spells until the sea foamed and was agitated' from ''The Arabian Nights''

Full image (on the left) and detail (to the right) for reference

 

 

Full image (on the left) and detail (to the right) for reference

 

 

Reproduction on 12x18" sheet

Code: WP KIS (12x18)
Price: US$60.00

 

Reproduction on 12x18" sheet

Code: MP AN C5 (12x18)
Price: US$60.00

 

This illustration by Willy Pogány is one of a suite prepared for The King of

Ireland's Son - a collection of Irish fables interpreted by Padraic Colum.

 

Willy Pogány (1882-1955) was another of the artists identified with the Golden

Age of Illustration. He was a prolific contributor to both childrens' and adult

books - providing illustrations to over 100 titles. His Art Nouveau influenced

work is simply stunning.

 

Departing from his native Hungary, Pogány lived in London for 10 years from

1906 - illustrating a number of books during that time, including Faust (1908)

and the most elaborate of his numerous interpretations of Rubáiyát of Omar

Khayyám (1909).

 

Prior to his emigration to the United States of America in 1914, Pogány also

completed what are considered to be his masterpieces, with contributions to

Wagner's trilogy of Tannhäuser (1911), Parsifal (1912) and Lohengrin (1913).

Fabulous work followed his relocation to the United States of America,

including his magnificent monotone work for The Kasidah of Haji Abdu

El-Yezdi (1931) and The Light of Asia; or, The Great Renunciation

(Mahâbhinishkramana) being The Life and Teaching of Gautama (1932).

 

For more information on Willy Pogány and to see more of his art, we invite

you to peruse our Willy Pogány Collection.

 

 

 

 

This illustration is one of a suite prepared by Parrish to accompany The Arabian

Nights (1909) edited by Kate Douglas Wiggin and Nora S Smith - it depicts

"Gulnare of the Sea".

 

Maxfield Parrish (1870-1966) was among the leading artists associated with

what is known as the Golden Age of Illustration and contributed significantly to

shaping the future of American visual arts throughout his more than 50 year

career.

 

Parrish's work is characterized by an attention to detail, composition and

texture - whether in his monotone work or in his more recognizable, luminous

colour illustrations. Those titles including illustrated by Parrish exclusively in

colour include Poems of Childhood, The Arabian Nights, A Wonder Book and

Tanglewood Tales, The Golden Treasury of Songs and Lyrics and Knave of

Hearts.

 

For more information on Maxfield Parrish and to see more of his art, we invite

you to peruse our Maxfield Parrish Collection.

Scheherazade went on with her story

Virginia Sterrett

 

 

... Tis little good to chase

The deeds of magic with a horse

Thomas Mackenzie

 

Virginia Sterrett's 'Scheherazade went on with her story' from ''The Arabian Nights''

Detail from Virginia Sterrett's 'Scheherazade went on with her story' from ''The Arabian Nights''  

Thomas Mackenzie's '... Tis little good to chase the deeds of magic with a horse' from ''Aladdin and His Wonderful Lamp in Rhyme''

Detail from Thomas Mackenzie's '... Tis little good to chase the deeds of magic with a horse' from ''Aladdin and His Wonderful Lamp in Rhyme''

Full image (on the left) and detail (to the right) for reference

 

 

Full image (on the left) and detail (to the right) for reference

 

 

Reproduction on 12x18" sheet

Code: VS AN C2 (12x18)
Price: US$60.00

 

Reproduction on 12x18" sheet

Code: TM AHWLR C10 12x18
Price: US$60.00

 

This illustration by Virginia Sterrett is one of a suite prepared for

''The Arabian Nights'' - her final illustrated book.

 

Virigina Sterrett (1900-1931) was an American artist of stellar talent

associated with the Golden Age of Illustration. During her short life,

she left the World with many beautiful images that displayed her

outstanding ability to imbibe fantasy images with the spirit of her

own age.

 

Sterrett received her first commission at the tender age of 19

(shortly after she was diagnosed with Tuberculosis) from The Penn

Publishing Company to illustrate Old French Fairy Tales - a

collection of works from the 19th Century French author, Comtesse

de Ségur (Sophie Fedorovna Rostopchine).

 

A year after the publication of Old French Fairy Tales, a new title

including commissioned works from Sterrett was presented by

The Penn Publishing Company - Tanglewood Tales.

 

From 1923, in failing health, Sterrett was able to work on projects

for short periods of time only and as a result, she was able to

complete just one further commission prior to her death - her own

interpretation of Scheherazade's tales of Arabian Nights.

 

For more information on Virginia Sterrett and to see more of her

art, we invite you to peruse our Virginia Sterrett Collection.

 

 

 

 

This illustration is one of a suite prepared by Mackenzie for Arthur

Ransome's ''Aladdin and His Wonderful Lamp in Rhyme''.

 

The traditional Persian tale of Aladdin is brought to life with stunningly

sumptuous imagery by Mackenzie. Interestingly, he has applied an

Oriental - rather than Orientalist - perspective to the imagery which is

more reminiscent of the Far East than a more typical treatment that

may have placed the story in an Arabian setting.

 

That approach is reflected in the marginal illustrations too, with distinct

influences from then-contemporary Meiji-era Japanese woodblock artists

most apparent.

 

Thomas Mackenzie (1887-1944) was an artist associated with the Golden

Age of Illustration. He produced illustrations for books and watercolours

during the early 20th Century.

 

His earliest commissioned works were for "Ali Baba and Aladdin" and

illustrations for Chaundler's "Arthur and His Knights". Other illustrated

books followed, including "Aladdin and His Wonderful Lamp", "Hassan"

and "The Crock of Gold".

 

Mackenzie's illustrations are reminiscent of the work of his Art Nouveau

peers, including Aubrey Beardsley, Harry Clarke and Kay Nielsen. His

images for "Arthur and His Knights, in particular, are stylistically similar

to those of Nielsen in "East of the Sun and West of the Moon", but have

a softness about them that remind one of the watercolours that he also

produced.

 

For more information on Thomas Mackenzie and to see more of his art,

weinvite you to peruse our Thomas Mackenzie Collection.

 

 

 

... they bore the tree before the rock

cavern where the Sun Goddess was

Warwick Goble

 

 

Nightingale the Robber

Frank C Papé

 

Warwick Goble's '... they bore the tree before the rock cavern where the Sun Goddess was' from the tale 'Susa, the Impetuous' in ''Green Willow and Other Japanese Fairy Tales''

Detail from Warwick Goble's '... they bore the tree before the rock cavern where the Sun Goddess was' from the tale 'Susa, the Impetuous' in ''Green Willow and Other Japanese Fairy Tales''  

Frank C Pape's ''Nightingale the Robber''

Detail from Frank C Pape's ''Nightingale the Robber''

Full image (on the left) and detail (to the right) for reference

 

 

Full image (on the left) and detail (to the right) for reference

 

 

Reproduction on 20x30" sheet

Code: WG SI 1 (20x30)
Price: US$200.00

 

Reproduction on 20x30" sheet

Code: FCP NR 20x30
Price: US$200.00

 

This is one of a suite of illustrations prepared by Warwick Goble depicting scenes

from Japanese fables - this image being associated with the tale of 'Susa, the

Impetuous'. He has translated Meiji-era influences wonderfully, blending them with

his own post-Victorian watercolour style.

 

Warwick Goble (1862-1943) was among the English artists associated with the

Golden Age of Illustration. He took training in London and focused on watercolours

as a medium - being first employed by a printer specialising in chromolithography.

 

Among his first published illustrations were those accompanying ''The Oracle of

Baal'' and ''War of the Worlds''. Other commissions followed in the early 1900s

including ''The Water-babies: A fairy tale for a Land-baby'' (1909), ''Green Willow

and Other Japanese Fairy Tales'' (1910), ''Stories from the Pentamerone'' (1911),

''The Complete Poetical Works of Geoffrey Chaucer'' (1912), ''Folk Tales of

Bengal (1912), ''Indian Myth and Legend'' (1913), ''The Fairy Book'' (1913) and

''The Book of Fairy Poetry'' (1920).

 

For more information on Warwick Goble and to see more of his art, we invite you

to peruse our Warwick Goble Collection.

 

 

 

 

Papé's "Nightingale the Robber" depicts the moment wherein the

legendary medieval Russian bogatyr (Knight-errant), Ilya Muromets

(mounted on his fabled steed, Cloudfall), kills Nightingale the Robber.

 

Frank C Papé (1878-1972) was an English artist associated with the

Golden Age of Illustration. He contributed colour illustrations to many

titles in his early career - at that time, his artwork carried many Art

Nouveau and Pre-Raphaelite influences.

 

Throughout the latter part of his career, Papé contributed to illustrated

books almost exclusively with monotone images.

 

For more information on Frank C Papé, we invite you to peruse our

Frank C Papé Collection that includes some of his seminal work,

including his suite of illustrations for:

 

''The Toils and Travels of Odysseus'' ;

 

''Fifty-Two Stories of Classic Heroes'' ;

 

''Sigurd and Gudrun'' ;

 

''Siegfried and Kriemhild'' ;

 

''The Russian Story Book'' ; and

 

''Suetonius' 'Lives of the Twelve Caesars'''.

 

 

 

I saw fishes of a hundred and

two hundred cubits long

René Bull

 

 

Where the Stars sing together

Evelyn Paul

 

Rene Bull's 'I saw fishes of a hundred and two hundred cubits long' from ''The Arabian Nights''

Detail from Rene Bull's 'I saw fishes of a hundred and two hundred cubits long' from ''The Arabian Nights''  

Evelyn Paul's 'Where the Stars sing together' from ''Clair de Lune and Other Troubadour Romances''

Detail from Evelyn Paul's 'Where the Stars sing together' from ''Clair de Lune and Other Troubadour Romances''

Full image (on the left) and detail (to the right) for reference

 

Full image (on the left) and detail (to the right) for reference

 

 

Reproduction on 12x18" sheet

Code: RB AN C7 (12x18)
Price: US$60.00

 

Reproduction on 8x10" sheet

Code: EP CdL C10 (8x10)
Price: US$30.00

 

This illustration is one of a suite prepared by Bull for the 1912 First Edition

of ''The Arabian Nights'' - an edition that is among the most lavish of the

illustrated books produced during the Golden Age of Illustration. Replete with

a generous suite of colour illustrations and an incredible array of monotone

images, it is considered by many to be René Bull's masterpiece.

 

René Bull (1872-1942) is considered among the artists associated with what

has been termed the Golden Age of Illustration.

 

Born in Dublin, Bull embarked on what was to be a varied artistic career after

meeting the French satirist and political cartoonist Caran d'Ache (the

pseudonym of Emmanuel Poiré) in Paris.

 

Bull contributed sketches and political cartoons to a variety of publications

throughout his career and developed further artistic influences following his

travels to the Middle East. That personal experience allowed Bull to

incorporate expert detail into those illustrations with Oriental themes and

like Edmund Dulac and Warwick Goble, he incorporated those influences in

suites of designs for illustrated books.

 

For more information on René Bull and to see more of his art, we invite you

to peruse our René Bull Collection.

 

 

 

 

This is one of a suite of illustrations prepared by Paul for ''Clair de Lune

and Other Troubadour Romances'' - "Clair de Lune" being an example of

a Medieval 'chantefable' (a sung song).

 

Evelyn Paul (1883-1963) was an English artist associated with the

Golden Age of Illustration. She is, perhaps, best known for her work as

an illuminator.

 

Paul illustrations - often accompanying her illuminations - were influenced

by a variety of styles including Gothic Revival, Art Nouveau and Arts and

Crafts. Among individual artists that may have provided significant influence

to her style is the noted the Pre-Raphaelite, Dante Gabriel Rossetti.

 

Her most famous work appeared in titles including ''Stories from Dante'',

''The Romance of Tristram of Lyones and La beale Isoude'', Dante's ''La Vita

Nuova'', ''Aucassin & Nicolete'' and ''Clair de Lune and Other Troubadour

Romances''.

 

For more information on Evelyn Paul and to see more of her art, we invite

you to peruse our Evelyn Paul Collection.

 

Winter's Bride

Adrienne Ségur

 

 

The Monkey and the Dolphin

Edward Julius Detmold

 

Adrienne Segur's colour illustration for 'Winter's Bride' from ''Contes des pays de neige''

Detail from Adrienne Segur's colour illustration for 'Winter's Bride' from ''Contes des pays de neige''  

Edward Julius Detmold's 'The Monkey and the Dolphin' from ''The Fables of Aesop''

Detail from Edward Julius Detmold's 'The Monkey and the Dolphin' from ''The Fables of Aesop''

Full image (on the left) and detail (to the right) for reference

 

Full image (on the left) and detail (to the right) for reference

 

 

Reproduction on 12x18" sheet

Code: AS CPN C1 (12x18)
Price: US$60.00

 

Reproduction on 12x18" sheet

Code: EJD FA C20 (12x18)
Price: US$60.00

 

This illustration is one of a suite prepared by Ségur for ''Contes des pays

de neige'' (1955) - it is associated with the Russian tale 'Winter's Bride'.

 

Adrienne Ségur (1901-1981) was most active as a children's book

illustrator through the two decades following World War II, but her first

published illustrations appeared in ''Le Pays des 36000 volontés'' when she

was 28. A year later, in 1930, her second suite of illustrations was

published for ''Aventures de Cotonnet'' - a book that was followed by two

sequels, ''Cotonnet, Aviateur'' and ''Cotonnet en Amérique''. Her earlier

illustrations, while charming, were simple and stood in stark contrast to

the hauntingly beautiful and whimsically detailed illustrated work that

was to emerge in the 1940s.

 

In 1949, Ségur contributed colour and black and white illustrations to

''Alice au pays des merveilles'', the French adaptation of Carrolls' ''Alice

in Wonderland'' - it is considered her masterpiece. The colour illustrations,

in particular, throughout ''Alice au pays des merveilles'', show the fantasy

animals and imagery that marks her stylistic 'coming of age'.

 

For more information on Adrienne Ségur and to see more of her art, we

invite you to peruse our Adrienne Ségur Collection.

 

 

 

 

Detmold's 'The Monkey and the Dolphin' is one of his suite of illustrations

for ''The Fables of Aesop'' - the images in that suite are considered to be

among his masterworks. His complete set of 25 colour images are

characteristically graceful and are imbued with a rich a varied colour

palate that typified Detmold's Eastern influences.

 

The text for this edition was derived from the third edition of L'Estrange's

translation from 1699.

 

Edward Julius Detmold (1883-1957) was twin brother to Charles Maurice

Detmold (1883-1908). The pair were among the artists associated with

the Golden Age of Illustration.

 

The Detmold brothers were raised in London by their maternal uncle,

Dr E B Shuldham, and were exposed to exotic art from an early age

through their guardian's extensive interest in Eastern art, including a

collection of Japanese woodblocks of fauna and flora. The brothers also

benefited from time spent with another uncle, the artist Henry E Detmold,

who is believed to have encouraged the brothers' artistic interests. In

such a supportive environment, the twins artistic skills were highly

developed by their early teenage years and their debut is known to have

occurred when they were 13 with a showing at the Royal Academy and

the Royal Institute of Watercolour Painters.

 

For more information on Edward Julius Detmold and to see more of his

art, we invite you to peruse our Edward Julius Detmold Collection.

 

 

 

Ilya Muromets and Yegor-Svyatogor

Ivan Bilibin

 

 

Dream of the Orient; or, The Peri

Gustave Moreau

 

Ivan Bilibin's ''Ilya Muromets and Yegor-Svyatogor''

Detail from Ivan Bilibin's ''Ilya Muromets and Yegor-Svyatogor''  

Gustave Moreau's ''Dream of the Orient; or, The Peri''

Detail from Gustave Moreau's ''Dream of the Orient; or, The Peri''

Full image (on the left) and detail (to the right) for reference

 

Full image (on the left) and detail (to the right) for reference

 

 

Reproduction on 12x18" sheet

Code: IB IMYS C1 (12x18)
Price: US$60.00

 

Reproduction on 12X18" sheet

Code: GM DOP (12X18)
Price: US$60.00

 

This extraordinarily powerful and vibrant illustration by Ivan Bilibin

interprets the traditional Russian tale of Ilya Muromet and

Yegor-Svyatogor.

 

The tale tells of how Ilya set off to challenge Svyatogor soon after

being made a 'bogatyr' by Prince Vladimir the Fair Sun. Despite

warnings from pilgrims, Ilya is determined to meet Svyatogor and, on

the road, he finds a giant asleep on a giant horse. Striking at the giant

with his mace, Ilya only manages to be caught and put in the giant's

pocket - all while the giant remains asleep. Upon the giant waking,

Ilya introduces himself and learns that his captor is Svyatogor. The

two become friends and journey onwards together before they arrive

at a giant stone coffin (both have a premonition that it is for

Svyatogor). The premonitions come true, but before being sealed in

the coffin for eternity, Svyatogor passes part of his strength to Ilya

through his final breath.

 

Ivan Bilibin (1876-1942) is a Russian artist associated with the

Golden Age of Illustration.

 

Throughout his long career, Bilibin was influenced by Slavic folklore

in choosing themes to illustrate - on one occasion, he published his

thoughts on the matter in ''Folk Arts of the Russian North'' (1904).

 

Bilibin was a member of Sergei Diaghilev's 'Mir iskusstva'

('World of Art') group and, in addition to illustrating books, also

contributed to designs for the theatre.

 

For more information on Ivan Bilibin and to see more of his art, we

invite you to peruse our Ivan Bilibin Collection.

 

 

 

 

Moreau's "Dream of the Orient; or, The Peri" depicts one of the fabled

beings inhabiting Persian tales.

 

Gustave Moreau (1826-1898) was a French Symbolist painter.

 

He developed an interest in depicting mythological and religious themes

through influences including those of his initial artistic training and his

social network.

 

Moreau has been quoted as providing the following description of his

artistic interests and goals:

 

I am dominated by one thing, an irresistible, burning

attraction towards the abstract. The expression of

human feelings and the passions of man certainly

interest me deeply, but I am less concerned with

expressing the motions of the soul and mind than to

render visible, so to speak, the inner flashes of

intuition which have something divine in their

apparent insignificance and reveal magic, even divine

horizons, when they are transposed into the

marvelous effects of pure plastic art.

 

For more information on Gustave Moreau and to see more of his art,

we invite you to peruse our Gustave Moreau Collection.

 

 

 

             

 

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