Of enormous influence in both England and America, as well as in his own France, was Gustave Dore (1833-83), a native of Alsace. Dore's chief illustrations were for editions of Rabelais (1854); Balzac's
Of extraordinary decorative quality is the work of Aubrey Beardsley (1872-88), who in an edition of Pope's
of the Lock' allowed his fancy free play but restrained 'his hand for a fine display of technical skill. He also made a remarkable frontispiece for Ben Jonson's
Hugh Thomson (1860), an English artist, has been nearly as successful as Austin Dobson in portraying the 18th century. His illustra tions of Mrs. Gaskell's Jane Aus tin's novels, Charles Reade's Woffington) and Goldsmith's (She Stoops to Conquer' are charmingly treated with a light, sympathetic touch.
Another devotee of the 18th century is Randolph Caldecott (1846-86), whose delightful humor and trained brush and pencil turned to light work. He is best remembered in his series of nursery rhymes and ballads including
Gilpin,'
An illustrator who has had great influence upon the art of book illustration is Kate Greenaway (1846-1901). Her excellent draw ing, her exquisite color and her graceful orna mentation are supplemented by a charming in terpretation of the 18th century, resulting in a ((Greenaway style." Miss Greenaway's illustra tions for Madame d'Aulnoy's Tales' (1871) are not so well known as her illustra tions of the poems of Jane and Anne Taylor, Browning's Piper' and many nursery rhymes.
Another English woman-illustrator, Beatrix Potter, attracted attention about 10 years ago for her lovely color and quaint fancy and humor. Her illustrations to her miniature (Peter Rabbit' books are masterpieces. Ainsmg illustrators in color, Walter Crane (1845-1915), is conspicuous. His best work has been done in illustrated books for children, such as the
Opera,' the (Baby's Bouquet,'
est illustrator in color about whose great talent three countries are agreed is Edmund Dulac (1882), a Frenchman, who now resides in Lon don. He brings out, year after year, the most artistic books. Dulac ranks among the great est illustrators of the present day. He is noted for his splendid and harmonious treatment of color and his poetic ideas. Dulac has illus trated the
American illustrators have, generally speak ing, followed the lead of English artists. One of the most original illustrators is F. O. Dar ley (1822-88), a New York artist, who did an enormous amount of work for magazines and illustrated a great number of books. Darley was not only a fine draughtsman, but he pos sessed vigor, style and fancy. Those who own editions of Washington Irving, James Fenimore Cooper, Nathaniel Hawthorne and Longfellow with pictures by Darley are fortunate. Dar ley's technique was drawn from the English school, but he was thoroughly American in style and feeling. He was too American to catch the spirit of Dickens; consequently, his illustrations to Dickens's works fall below his own standard, as shown in his treatment of American authors.
The most famous American illustrator of the 19th century was Edwin A. Abbey (1852 1910), whose sympathies turned to literary sub jects. Abbey's illustrations to Shakespeare are admired in England as well as in America. He also illustrated many plays of the 18th century. Many American illustrators have attained just fame for skilful drawing and clever treatment of subject; and because of this general excel lence few names stand out prominently and few Americans have attracted attention because of any single performance. Arthur B. Frost (1851-), however, achieved a triumph with his illustrations in pen-and-ink for the first series of (Nights with Uncle Remus.' Frost caught the high imaginative qualities of Joel Chandler Harris and produced pictures that show a wonderful blending of the negro and animal set forth amid realistic Southern scenes and they exhibit a delicious humor. They are as closely identified with the text as Tenniel's pictures are with the text of
Bibliography.— Crane, Walter,