Drawing by Hans Christian Andersen. Illustrations by various artists for the fairy tale by G.Kh. Andersen's "The Snow Queen"

A snowball was fluttering in the yard.
- These are white bees swarming! - said the old grandmother.
- Do they also have a queen? - the boy asked; he knew that real bees had one.
- Eat! - answered the grandmother. - Snowflakes surround her in a thick swarm, but she is larger than all of them and never remains on the ground - she always floats on a black cloud. Often at night she flies through the city streets and looks into the windows; That’s why they are covered with ice patterns, like flowers!
- We saw it, we saw it! - the children said and believed that all this was true.
- A Snow Queen can't get in here? - the girl asked once.
- Let him try! - said the boy. - I’ll put her on a warm stove, so she’ll melt!
But grandma patted him on the head and started talking about something else.
In the evening, when Kai was already at home and almost completely undressed, getting ready to go to bed, he climbed onto a chair by the window and looked into the small thawed window glass circle. Snowflakes fluttered outside the window; one of them, a larger one, fell on the edge of the flower box and began to grow, grow, until it finally turned into a woman wrapped in the finest white tulle, woven, it seemed, from millions of snow stars. She was so lovely, so tender, all dazzling white ice and still alive! Her eyes sparkled like stars, but there was neither warmth nor meekness in them. She nodded to the boy and beckoned him with her hand.

Artist Benvenuti

Artist Christian Birmingham

Artist Angela Barrett

Artist Edmund Dulac

Artist H. J. Ford

Kai and Gerda sat and looked at a book with pictures of animals and birds; on large tower clock struck five.
- Ay! - the boy suddenly screamed. “I was stabbed right in the heart, and something got into my eye!”
The girl wrapped her little arm around his neck, he blinked, but there seemed to be nothing in his eye.
- It must have jumped out! - he said.
But the fact of the matter is, no. Two fragments of the devil’s mirror hit him in the heart and in the eye, in which, as we, of course, remember, everything great and good seemed insignificant and disgusting, and the evil and bad were reflected even brighter, the bad sides of each thing stood out even more sharply. Poor Kai! Now his heart had to turn into a piece of ice!

Artist Nika Golts

The snow flakes kept growing and eventually turned into large white chickens. Suddenly they scattered to the sides, the large sleigh stopped, and the man sitting in it stood up. She was tall, slender, dazzling white woman- Snow Queen; both the fur coat and the hat she was wearing were made of snow.
- We had a nice ride! - she said. - But are you completely cold? Get into my fur coat!
And, placing the boy in her sleigh, she wrapped him in her fur coat; Kai seemed to have sunk into a snowdrift.
-Are you still freezing? - she asked and kissed his forehead.
Uh! There was a kiss colder than ice, penetrated him through with cold and reached his very heart, and it was already half icy. For one minute it seemed to Kai that he was about to die, but no, on the contrary, it became easier, he even completely stopped feeling cold.
- My sled! Don't forget my sled! - he realized.
And the sleigh was tied to the back of one of the white hens, who flew with them after the big sleigh. The Snow Queen kissed Kai again, and he forgot Gerda, his grandmother, and everyone at home.
- I won't kiss you anymore! - she said. - Otherwise I’ll kiss you to death!
Kai looked at her; she was so good! He could not imagine a more intelligent, charming face. Now she didn’t seem icy to him, like that time when she sat outside the window and nodded her head at him; now she seemed perfect to him.

Artist Angela Barrett

Artist Christian Birmingham

Artist Anastasia Arkhipova

Artist Vladislav Erko

The boat was carried further and further; Gerda sat quietly, wearing only stockings; Her red shoes floated behind the boat, but could not catch up with her.
The banks of the river were very beautiful; Everywhere one could see the most wonderful flowers, tall, spreading trees, meadows on which sheep and cows grazed, but nowhere was one to be seen human soul.
“Maybe the river is carrying me to Kai?” - Gerda thought, cheered up, stood on her bow and admired the beautiful green shores for a long, long time. But then she sailed to the big one cherry orchard, which houses a house with colored glass windows and a thatched roof. Two wooden soldiers stood at the door and saluted everyone who passed by with their guns.
Gerda shouted to them - she took them for alive - but they, of course, did not answer her. So she swam even closer to them, the boat came almost to the very shore, and the girl screamed even louder. An old, old woman in a large straw hat, painted with wonderful flowers, came out of the house, leaning on a stick.
- Oh, you poor baby! - said the old lady. - How did you get to such a big place? fast river did you get that far?
With these words, the old woman entered the water, hooked the boat with her hook, pulled it to the shore and landed Gerda.

Artist Arthur Rackham

Artist Edmund Dulac

Wood pigeons in a cage cooed quietly; the other pigeons were already sleeping; the little robber wrapped one arm around Gerda's neck - she had a knife in the other - and began to snore, but Gerda could not close her eyes, not knowing whether they would kill her or leave her alive. The robbers sat around the fire, sang songs and drank, and the old robber woman tumbled. It was scary for the poor girl to look at it.
Suddenly the forest pigeons cooed:
- Kurr! Kurr! We saw Kai! The white hen carried his sleigh on her back, and he sat in the Snow Queen's sleigh. They flew over the forest when we, the chicks, were still lying in the nest; she breathed on us, and everyone died except the two of us! Kurr! Kurr!
- What are you saying? - Gerda exclaimed. -Where did the Snow Queen fly to?
- She probably flew to Lapland - there is eternal snow and ice there! Ask the reindeer what's tied up here!
- Yes, there is eternal snow and ice there, it’s amazing how good it is! - said the reindeer. - There you jump in freedom across endless sparkling icy plains! The Snow Queen's summer tent will be pitched there, and her permanent palaces will be at the North Pole, on the island of Spitsbergen!

Artist Nika Golts

Then the little robber opened the door, lured the dogs into the house, cut the rope with which the deer was tied with her sharp knife, and said to him:
- Well, lively! Yes, take care of the girl. Gerda extended both hands in huge mittens to the little robber and said goodbye to her. The reindeer set off at full speed through stumps and hummocks through the forest, through swamps and steppes.

Artist Christian Birmingham

Here is my native northern lights! - said the deer. - Look how it burns!
And he ran on, not stopping day or night.

Artist Christian Birmingham

Artist Anastasia Arkhipova

The deer stopped at a miserable hut; the roof went down to the ground, and the door was so low that people had to crawl through it on all fours. There was an old Laplander woman at home, frying fish by the light of a fat lamp.

Artist Arthur Rackham

When Gerda had warmed up, eaten and drunk, the Laplander wrote a few words on the dried cod, told Gerda to take good care of it, then tied the girl to the back of the deer, and it rushed off again. The sky exploded again and threw out pillars of wonderful blue flame. So the deer and Gerda ran to Finnmark and knocked on the Finnish woman’s chimney - she didn’t even have a door.
Well, it was hot in her home! The Finnish woman herself, a short, dirty woman, walked around half naked. She quickly pulled off Gerda's entire dress, mittens and boots - otherwise the girl would have been too hot - put a piece of ice on the deer's head and then began to read what was written on the dried cod. She read everything from word to word three times until she had it memorized, and then she put the cod into the cauldron - after all, the fish was good for food, and the Finnish woman did not waste anything.

Artist Angela Barrett

I can't make her stronger than she is. Don't you see how great her power is? Don't you see that both people and animals serve her? After all, she walked around half the world barefoot! It’s not up to us to borrow her power! The strength is in her sweet, innocent childish heart. If she herself cannot penetrate the palace of the Snow Queen and remove the fragments from Kai’s heart, then we will certainly not help her! Two miles from here the Snow Queen's garden begins. Take the girl there, drop her off near a large bush covered with red berries, and come back without hesitation!
With these words, the Finnish woman lifted Gerda onto the back of the deer, and he began to run as fast as he could.
- Hey, I’m without warm boots! Hey, I'm not wearing gloves! - Gerda shouted, finding herself in the cold.

Artist Vladislav Erko

Artist Nika Golts

But the deer did not dare to stop until it reached a bush with red berries; Then he lowered the girl, kissed her right on the lips, and large shiny tears rolled from his eyes. Then he shot back like an arrow. The poor girl was left alone, in the bitter cold, without shoes, without mittens.

Artist Edmund Dulac

Artist Boris Diodorov

Artist Valery Alfeevsky

She ran forward as fast as she could; a whole regiment of snow flakes was rushing towards her, but they did not fall from the sky - the sky was completely clear, and the northern lights were glowing on it - no, they ran along the ground straight towards Gerda and, as they approached, they became larger and larger. Gerda remembered the large beautiful flakes under the burning glass, but these were much larger, more terrible, of the most amazing types and shapes, and all of them were alive. These were the vanguard of the Snow Queen's army. Some resembled large ugly hedgehogs, others - hundred-headed snakes, others - fat bear cubs with tousled hair. But they all sparkled equally with whiteness, they were all living snow flakes.

Artist Anastasia Arkhipova

Artist Arthur Rackham

Artist Nika Golts

Gerda began to read the “Our Father”; it was so cold that the girl’s breath immediately turned into a thick fog. This fog kept getting thicker and thicker, but small, bright angels began to stand out from it, who, having stepped on the ground, grew into large, formidable angels with helmets on their heads and spears and shields in their hands. Their number kept growing, and when Gerda finished her prayer, a whole legion had already formed around her. The angels took the snow monsters onto their spears, and they crumbled into thousands of snowflakes. Gerda could now boldly move forward; the angels stroked her arms and legs, and she no longer felt so cold.

Artist Angela Barrett

Artist Christian Birmingham

The walls of the Snow Queen's palace were covered in a blizzard, the windows and doors were damaged by violent winds. Hundreds of huge halls illuminated by the northern lights stretched one after another; the largest extended for many, many miles. How cold, how deserted it was in these white, brightly sparkling palaces! Fun never came here! At least rare time there would be a bear party here with dancing to the music of the storm, in which they could distinguish themselves with grace and ability to walk hind legs polar bears, or a game of cards was formed with quarrels and fights, or, finally, little white chanterelle gossips came together to talk over a cup of coffee - no, this never happened! Cold, deserted, dead! The northern lights flashed and burned so regularly that it was possible to accurately calculate at what minute the light would intensify and at what moment it would weaken. In the middle of the largest deserted snowy hall there was a frozen lake. The ice cracked on it into thousands of pieces, marvelously even and regular. In the middle of the lake stood the throne of the Snow Queen; She sat on it when she was at home, saying that she sat on the mirror of the mind; in her opinion, it was the only and best mirror in the world.

Artist Edmund Dulac

Kai turned completely blue, almost blackened from the cold, but did not notice it - the kisses of the Snow Queen made him insensitive to the cold, and his very heart became a piece of ice. Kai tinkered with the flat, pointed ice floes, arranging them in all sorts of ways. There is such a game - folding figures from wooden planks, which is called “Chinese puzzle”. Kai also made various intricate figures from ice floes, and this was called “ice mind games.” In his eyes, these figures were a miracle of art, and folding them was an activity of the first importance. This happened because there was a piece of a magic mirror in his eye! He put together whole words from ice floes, but he could not put together what he especially wanted - the word “eternity”. The Snow Queen told him: “If you put this word together, you will be your own master, and I will give you the whole world and a pair of new skates.” But he couldn't put it together.

Artist Christian Birmingham

At that time, Gerda entered the huge gate, made by violent winds. She read evening prayer, and the winds subsided, as if they had fallen asleep. She freely entered the huge deserted ice hall and saw Kai. The girl immediately recognized him, threw herself on his neck, hugged him tightly and exclaimed:
- Kai, my dear Kai! Finally I found you!
But he sat still as motionless and cold. Then Gerda began to cry; Her hot tears fell on his chest, penetrated his heart, melted his icy crust and melted the fragment. Kai looked at Gerda, and she sang:

Roses are blooming... Beauty, beauty!
Soon we will see the baby Christ.

Kai suddenly burst into tears and cried so long and so hard that the shard flowed out of his eye along with the tears. Then he recognized Gerda and was very happy.
- Gerda! My dear Gerda!.. Where have you been for so long? Where was I myself? - And he looked around. - How cold and deserted it is here!
And he pressed himself tightly to Gerda. She laughed and cried with joy.

Artist Nika Golts

Vilhelm Pedersen 1820-1859

was the first illustrator of fairy tales and stories by Hans Christian Andersen. His illustrations are distinguished by smoothness, softness and roundness of shapes, and laconic execution. It is interesting to note that often the faces of children drawn by Pedersen have a completely unchildish expression, and at the same time adults look just like big children. The world of Pedersen's illustrations is a world of leisurely stories in which things and objects can suddenly begin to speak and behave like people, and children - the heroes of Andersen's fairy tales - find themselves in amazing and sometimes cruel world, where you have to pay for everything, and where both good and evil get what they deserve.

Lorentz Frolich 1820-1859

was the second illustrator of fairy tales and stories by Hans Christian Andersen. His illustrations are quite similar to the works of the first illustrator of Andersen's fairy tales, Vilhelm Pedersen. Perhaps that's why he was chosen.

Edmund Dulac

born 1882 in Toulouse, France. His artistic abilities showed at an early age, and there are sketches he made when he was a teenager. Many of them are done in watercolor, the style he favored throughout his life. For two years he studied law at the University of Toulouse, while studying at the School Fine Arts. Having received a prize at a competition there, he realized where to make his way. From now on, he studies only at the School. In 1901 and 1903 he received the Grand Prix for works sent to annual competitions. In 1904, under the patronage of a school friend, he studied for two weeks in Paris at the Academie Gillien and then went to London, where his dizzying career began. This was a period when color printing of illustrations had just become technologically accessible and widespread. The first book with pasted-in illustrations was published in 1905.

E. Dulac's first work was a series of 60 illustrations for a collection of works by the Bronte sisters. It was evidence of his high level that he, a young 22-year-old foreigner who did not have a big name, received an order for such work.

An interesting aspect of these early illustrations was that they did not have pencil lines as boundaries between different colors. This was made possible thanks to new printing technologies that made it possible to accurately match the boundaries of different colors. For E. Dulac, who worked on paper in exactly this style, there was no need to return to the old-fashioned style of pencil lines hiding the inaccuracies of paint application.

Due to the great success of the new type of illustration, more and more publishers became interested in artists who could draw in the new style. Therefore, in 1907, E. Dulac received a new order for illustrations for One Thousand and One Nights. Then orders poured in one after another. "The Tempest" by W. Shakespeare 1908, "Rubayas" by Omar Khayyam 1909, "Sleeping Beauty and Other Tales" 1910, "Fairy Tales" by H. C. Andersen 1911, "Bells and Other Poems" by E. A . By 1912, "Princess Badura" 1913,

An interesting thing happened in 1913: his palette became more vibrant, using a richer, more romantic blue color,... and more eastern, which later became constant in his approach. 1914 saw the publication of Sinbad the Sailor and Other Stories from the Arabian Nights and the outbreak of the First World War. The war immediately entered into his creativity. "The Book of King Albert", "The Gift Book of Princess Mary" and his own book "The Book of Pictures from the French Red Cross by E. Dulac" were designed by one single author. The book "Tales of E. Dulac" was published in 1916. When the war ended, the last of his luxurious editions, "Tales of the Tangelwood Forest", was published. At this point, at the age of 35, he found himself in a situation where his profession became unnecessary.

This would be true if only making illustrations for books was all he could do. Although the rest of his life was spent in poverty (he lived paycheck to paycheck, as we would say), he was able to earn money and became famous in many fields. He was an outstanding cartoonist and for a year and a half supplied cartoons to the weekly magazine The Outlook. He painted portraits. He illustrated The Kingdom of Pearls, a story set in the 1920s. He created costumes and sets for the theater. He was a designer of stamps and banknotes for Britain and then, during the Second World War, for the Free French. He developed the design playing cards, packages of chocolate, medals, graphics for the Mercury Theater, bookplates for books and much, much more.

In 1924, he began collaborating with The American Weekly, a Saturday supplement on the Hearst newspaper chain, where he produced a series of color drawings in advance. given topic. The first series, Biblical Scenes and Heroes, began in October 1924 and ran for 12 issues. Until 1949, he returned to this market again and again as a source of income.

In the fall of 1942, a series of his illustrations for The Canterbury Tales was published. He was not satisfied with the quality received. Cheap paper and folded illustrations did not satisfy his tendency towards prefectionism.

And the books! Among all the great illustrators of gift editions, E. Dulac remained the most active throughout his life. "Green Lacquer Pavilion" 1925, "Treasure Island" 1927, and his other works created until the beginning of the 50s surpassed everything created by his contemporaries.

Edmund Dulac died in 1953.

Surely each of us in childhood read Andersen's "The Little Mermaid", "Snow White" by the Brothers Grimm or, say, "Sleeping Beauty" by Charles Perrault. But few people know and have seen the very first pictures of famous fairy tales.

Illustration by Vilhelm Pedersen for the fairy tale by Amadeus Hoffmann “The Nutcracker and mouse king»
Wilhelm Pedersen (1820–1859) – Danish artist and naval officer, esp. famous for, which was the first to illustrate the fairy tales of Hans Christian Andersen. The early tales were published without illustrations, but in 1849 a five-volume collection of his tales was published, with 125 illustrations by Pedersen. The author liked the illustrations so much that even today they are considered inseparable from Andersen’s fairy tales.

Illustration by Vilhelm Pedersen for Hans Christian Andersen's fairy tale "The Wild Swans"

Illustration by Vilhelm Pedersen for Hans Christian Andersen's fairy tale "The Shopkeeper's Brownie"

Illustration by Vilhelm Pedersen for Hans Christian Andersen's fairy tale "Ole Lukøje"

Illustration by Vilhelm Pedersen for the fairy tale “The Shepherdess and the Chimney Sweep” by Hans Christian Andersen

Sir John Tenniel (1820–1914) - English artist, cartoonist; the first illustrator of Lewis Carroll's books "Alice in Wonderland" and "Alice Through the Looking Glass", whose illustrations are considered canonical today. He made his debut as the author of illustrations for the first edition of Samuel Hall's Book of English Ballads, and worked as a regular cartoonist for the once popular Punch magazine.

John Tenniel's illustration for Lewis Carroll's Alice's Adventures in Wonderland

Illustration by Gustave Doré for the fairy tale “Puss in Boots” by Charles Perrault
Paul Gustave Doré (1832–1883) was a legendary French engraver, illustrator and painter. WITH early childhood Amazed those around him with his skill in drawing; for example, at the age of ten, he completed illustrations for Dante’s “Divine Comedy.” Doré did not receive an art education, but spent all his free time in the Louvre and National Library, studying paintings and engravings. Over the years creative activity Doré created thousands of illustrations for dozens of literary masterpieces, including “Gargantua and Pantagruel” and the fairy tales of Charles Perrault, the adventures of Baron Munchausen and Don Quixote. Dore is called the greatest illustrator of the 19th century for the unsurpassed play of light and shadow in his graphic works.

Illustration by Gustave Doré for the fairy tale “Cinderella” by Charles Perrault

Illustration by Gustave Doré for Charles Perrault's fairy tale “The Sleeping Beauty”

Illustration by Gustave Doré for the fairy tale by Charles Perrault " Donkey skin»

Illustration by Gustave Doré for Charles Perrault’s fairy tale “Tom Thumb”

Illustration by Arthur Rackham for the Brothers Grimm fairy tale “Little Red Riding Hood”
Arthur Rackham (1867–1939) was a prolific English artist who illustrated virtually all of the classic children's literature in English(“The Wind in the Willows”, “Alice in Wonderland”, “Peter Pan”), as well as Shakespeare’s “A Midsummer Night’s Dream” and the famous “Song of the Nibelungs”.

Rackham was first and foremost a brilliant draftsman, favoring the intricately twisting lines of intertwined branches, foaming waves and humanoid trees. His influence can be seen in Disney's early animated films, in films by Tim Burton (who used Rackham's former apartment as his London office) and Guillermo del Toro (who says he was inspired by Rackham's drawings for Pan's Labyrinth).

Illustration by Arthur Rackham for The Tales of King Arthur and the Knights of the Round Table by Nelly Montijn-The Fouw

Illustration by Anna Anderson for the Brothers Grimm fairy tale “Rapunzel”
Anna Anderson (1874–1930) - Scottish-born British artist; illustrator of literature for children, has collaborated with periodicals and drew greeting cards. The work of Anna Anderson influenced the style of such famous illustrators as Jesse King, Charles Robinson, Mabel Lucy Attwell.

Illustration by Anna Anderson for the Brothers Grimm fairy tale “Snow White and the Seven Dwarfs”

Illustration by Anna Anderson for Hans Christian Andersen's fairy tale “The Little Match Girl”

Illustration by Anna Anderson for Hans Christian Andersen's fairy tale "The Little Mermaid"

Illustration by Anna Anderson for Hans Christian Andersen's fairy tale “The Wild Swans”

Well, as a postscript - the very first role of the famous Pinocchio, belonging to the brush of the Italian engineer Enrico Mazzanti (1850–1910
It is noteworthy that this particular image is the only thing that has been preserved in history in memory of this talented person.

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