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The Revolutionaries of the Golden Age of Picture Books
A Recap of the 1400's to 1900's
Caleb Allen
February 23, 2025
I discovered my passion for writing and illustrating picture books in the middle of my second year as an illustration major. During a weekly Friday Interview series put on by my college, a speaker shared his journey transitioning from creating art for magazines and newspapers that he saw as disposable to crafting lasting children's books. I unfortunately can't recall his name, but his words still resonate with me today.
He spoke about the purpose he found in creating picture books, transforming his art from something fleeting into cherished works that could stand the test of time. As he reminisced about the books he grew up with and how they continued to impact him, I realized the true power of this medium. Picture books have the ability to transcend time, molding and shaping us through the stories they tell. Books can even change their meaning to us as we grow over time and the places we find ourselves in life.
This talk ignited a deep curiosity within me. I found myself pondering a flurry of questions: What exactly makes a picture book great? How do text and illustration work together to create a perfect balance? When did picture books first emerge, and how have they evolved over time?
So far, we've been learning about the people leading up to the golden age of picture books. But, before diving into the influential figures of the golden age, we must look at how the picture book market was started, the stories that inspired artists, and society's views on picture books leading up to this time. We must also consider the artistic movements of this period. What dominoes had to be set up before Walter Crane, Randolph Caldecott, and Kate Greenaway arrived to knock them down, changing picture books forever?
As I delved deeper into these questions, I discovered the fascinating history behind the golden age of picture books. This pivotal period revolutionized the way we think about children's literature, shaped by societal changes, artistic movements, and visionary creators.
An Industry Pressed
The Industrial Revolution brought about major changes in society, technology, and culture, and lasted from the late 18th century until the mid-19th century. These changes impacted the development and popularity of picture books.
In 1440, Johannes Gutenberg invented the printing press, revolutionizing the way books were produced. Despite this groundbreaking invention, books were still expensive and time-consuming to create. They were typeset with decorations, and any color was hand-painted. For about 200 years after Gutenberg's invention, books were not typically created for children. The few children's books that did exist during this time focused on good behavior, morals, and religious or educational lessons. Access to these books was limited to the wealthy, as they were costly, and it was uncommon for children to own or handle books freely.
It wasn't until 1697 that Charles Perrault, a French academic, published a small volume of fairy tales, marking one of the first glimmers of growth for children's books. Perrault's stories, such as "Cinderella" and "Sleeping Beauty," entertained readers rather than serving solely as educational tools.
The Goose
Charles Perrault 1628 - 1703
Charles Perrault was born in 1628 in Paris, France. He was born into a wealthy family. He got a full education that included law and mingling in Parisian society's intellectual circles. He held various government positions in his life, even serving as a high-ranking French government official under King Louis XIV.
Yet, Perrault's lasting legacy lies in his contributions to literature. In 1697, at the age of 69 and in retirement, Perrault published 'Tales of My Mother Goose'. It includes some of his most famous fairy tales, like "Cinderella," "Sleeping Beauty," "Little Red Riding Hood," and "Puss in Boots." These tales were based on existing folk tales but adapted and written in Perrault's writing style. They became very popular and laid the foundation for the modern fairy tale.
Perrault's fairy tales were first published under his son's name. At the time, it was unusual for a man of Perrault's stature to be linked to such "children's stories." But, their popularity grew. They have since become classics, and have been translated into many languages and countless mediums.
Charles Perrault passed away in 1703, leaving behind a literary legacy that continues to captivate and inspire readers of all ages.
As the Industrial Revolution progressed, significant advancements in printing technology made it possible to mass-produce books at a lower cost. This included the steam-powered printing press and lithography. This increased accessibility allowed more families to afford picture books for their children. Moreover, the rise of the middle classcreated a demand for age-appropriate literature, including picture books, due to more disposable income and leisure time.
Publishing Gold and a Revolution
John Newbery 1713 - 1767
During this time period, religion had a significant influence on picture books. Many books were created with a strong religious focus, serving as educational tools in monastery schools and emphasizing moral instruction. These books often contained lessons on proper behavior, manners, and virtues, reflecting the predominant belief of the time that literature should shape young minds and instill societal values. This religious influence on children's books fueled one of the most significant debates of the era that continues today: the balance between entertainment and education.
Some argue that picture books should prioritize amusement, providing children with a whimsical escape from reality and nurturing their imagination. They believe that the primary purpose of these books is to delight and engage young readers, fostering a love for literature and creativity. On the other hand, many maintain that picture books have a responsibility to educate and instill moral values. They see these books as powerful tools for shaping character and imparting important life lessons. This push and pull between entertainment and instruction played out in the pages of picture books throughout this period and beyond, with some creators prioritizing humor and imagination while others focused on delivering moral content.
It was into this complex and evolving landscape that John Newbery, often referred to as the Father of Children's Literature, emerged. Newbery recognized the growing demand for children's books that balanced entertainment and education. He sought to create works that would captivate young readers while also providing them with valuable knowledge and moral guidance. Through his innovative publishing practices and carefully curated content, Newbery played a crucial role in bridging the gap between amusement and instruction in children's literature, setting a new standard for what children's books could achieve and paving the way for the Golden Age that was to come.
Having the title 'Father of Children's Literature' doesn't mean he was the first to publish a picture book. There were many before him that accomplished that. The title comes from being the first to turn them into a profitable business. He was a publisher and writer of about 200 children's books. He realized that children had no stories/books of their own and was the first to try to fix that problem. Newbery brought joy to the books for children. Before him, children's books were almost entirely lacking in comfort and amusement. His contribution marked a milestone in making books for children. By the end of his life, the early picture book market was born in the form of 'Toy Books'.
Newbery was born in 1713 in Waltham, Berkshire, England. He was the son of a farmer, Robert Newbery. However, other members of his family worked in publishing. Newbery received a basic education growing up, only learning the skills needed for farming. Yet, he loved reading and wanted a career that would let him indulge in his passion for books. At the age of 16, he began an apprenticeship with William Carnan, a printer in the town of Reading, located nine miles from his home. Newbery mastered the printing skills of the time and helped make Carnan's newspaper, the Reading Mercury. Over time, Newbery advanced to the role of assistant to the printer.
When William Carnan died in 1737, Newbery, who was 24, got half of his printing business. He shared it with Carnan's brother. The Reading Mercury thrived under Newbery's supervision. By 1743, it was in nearly 50 markets and ranked among the top papers of the day. The paper's success owed much to Newbery. He actively promoted it and explored new markets and business opportunities. In 1740, he toured England in search of new opportunities. He gathered insights that would later inform his book publishing. It was during this time that Newbery published his first book. This marked the start of the career for which he would be best remembered. However, for much of his life, a lot of his income did not come from publishing. It came from his various side businesses, such as selling patent medicines.
Newbery moved to London to continue looking for new chances. In 1745, he started the Bible and Sun publishing company at St. Paul's Churchyard. This move marked the start of Newbery's most prolific years as a publisher.
He began making and selling children's books in London. His books aimed to both entertain and educate children. His first success in this new market came with the 1744 publication A Pretty Little Pocket Book. It was one of the first Toy Books and is the birth of a whole market just for children's books. A Pretty Little Pocket Book is notable for its high-quality content and was typically sold with a toy. It had expensive copperplate engravings and a gilt cover. This book was very different from earlier, dull chapbooks during that time. The public loved it. At least 10,000 copies were distributed between its release and the end of the century. Other notable books published by Newbery were The History of Little Goody Two-Shoes and Mother Goose (based on Charles Perrault's stories).
Toy Books differed from the Chapbooks of that time in a few ways. First, a chapbook was printed on a single sheet of paper and cheaply made, then folded into a book, much like a ‘zine today. They had crude woodcut pictures and were sold on street corners. In contrast, early toy books were full books for children with many wood engraving illustrations. They often came with a toy or gift, thus the name ‘Toy Book’. Later, Toy Books became very focused on illustrations, often taking up the whole page and being bright and vivid with color, as we see with Edmund Evans later in history.
John Newbery's children's books were a very lucrative business for him. Many dealers imitated them, and the trend of books for kids spread over England, Scotland, and even America. A new chapter had begun for the content of the books by Newbery, and a new field opened for the culture and development of the picture book. Newbery's stories were for fun, with a moral that mixed in learning for a new fun twist. These books were also vivid and artful, and children found them entertaining. The stories were for children and written just for them. Though they were still at times instructive and tiresome by today's standards, they were far more fun than anything before. Newbery infused something of imagination and heroic adventure into his little books.
The emergence of children's literature brought new life to many classic stories. During this time, figures like Hans Christian Andersen and the Brothers Grimm traveled the world, collecting and adapting traditional folktales and fairy tales. The Brothers Grimm did not intend for their collections to be read by children at first; rather, they were preserving these stories as part of their scholarly work. However, as the middle class grew and had more disposable income and leisure time to spend on their children, the market for picture books expanded, and these classic tales found a new audience.
The Industrial Revolution brought about significant changes in family dynamics, particularly in urban areas. Childrenwere no longer expected to work alongside their parents, so they had more time for education and leisure activities. Society began to recognize childhood as a distinct stage of life, separate from adulthood, and placed greater emphasis on children's welfare, education, and entertainment. This shift in attitudes further fueled the demand for picture books and other age-appropriate literature.
Moreover, the Industrial Revolution contributed to a significant increase in literacy rates, as education became more accessible and valued. As more children learned to read, the demand for picture books and other children's literature grew exponentially. Publishers and authors recognized this growing market and began creating content specifically tailored to young readers, adapting classic stories and creating new ones to captivate this burgeoning audience.
Oh Brother, Grimm
Jacob Grimm 1785 - 1863
Wilhelm Grimm 1786 - 1859
“How often when we are comfortable, we begin to long for something new! ”
The Brothers Grimm were born in Hanau, east of Frankfurt, Germany. Jacob Ludwig Carl was born on January 4th, 1785, followed by Wilhelm Carl on February 24th, 1786. In 1791, the Grimm family moved to the countryside town of Steinau, where the brothers developed a deep love for rural life.
The death of their father in 1796 plunged the Grimm family into financial hardship. Two years later, Jacob and Wilhelm moved to Kassel with help from a kind aunt. They went to the famous Friedrichsgymnasium. Despite their lower-class background and near-poverty status, they managed to graduate and subsequently enrolled at the University of Marburg.
Their law professor, Friedrich von Savigny, inspired them, getting them into linguistics and medieval German literature. During their time at the university, they developed a keen interest in language and literature, focusing on ancient Germanic and Nordic myths and stories.
In 1806, Jacob and Wilhelm both worked as librarians at the Hessian State Library in Kassel. Their work there gave them access to many literary texts, including folktales and medieval manuscripts. This work kindled their interest in collecting and preserving Germanic folklore. In 1812, the brothers published their first collection of folk and fairy tales, called "Children's and Household Tales" ("Kinder- und Hausmärchen"), but it is commonly known as "Grimm's Fairy Tales."
Their first edition wasn't for children, but it was a scholarly pursuit instead. They tried to record the tales faithfully, even down to the accent of the language. They aimed to create a unified German cultural story, partly based on Johann Herder'sidea. He thought that folklore was the only way for Germany (and any nation) to revitalize its sense of self. Herder saw folklore as "the national soul expressed in folk poems." These movements started in Central and Eastern Europe and then moved West in the 1800s. Without them, we likely wouldn't have many of the records we study today, which concern fairy tales, folk legends, nursery rhymes, and other folklore.
The tales originally found by the Grimm Brothers were violent, sexual, and bawdy. They had frank discussions about issues that impacted the storytellers' worlds. For context, women often told these stories to each other while doing housework and men told them around the fire after the kids had gone to bed. They were generally for fun, but they often had lessons too. After all, most tales do. Writers, editors, and storytellers began to use fairy tales in 18th and 19th-century Europe to teach children morals and culture. Charles Perrault of France was the most famous for doing so. Before that, they were mostly for adults. They were for teaching or entertainment. That's why many of the tales are gruesome or filled with sex. They were not 'toned down' for children at the time.
In the 1800s, folklore and fairy tale collections became a focus of scholarly attention. The Brothers Grimm worked with other collectors and scholars, including Joseph Jacobs, Andrew Lang in the UK/Scotland, as well as John Campbell, and many other scholars across Europe. As the field grew, many folklore societies and journals were founded throughout the late 1800s. They were generally working for the same reasons: to collect, preserve, study, and share folklore for scholarly work and to unify their country.
People began buying Children's and Household Tales and telling the stories to their children. They complained that the stories were too graphic. This made the Grimm brothers start heavily editing and sanitizing the tales. Many Christian references were added because of harsh criticism that they weren't Christian enough. In Wilhelm's later versions, he bent to the will of middle-class parents and the church. Parents wanted the stories to be suitable for children. The brothers were poor and at one point only eating one meal a day because they couldn't afford enough food. To make the collection more popular and maximize financial success, they began to sanitize and edit the stories.
The Brothers Grimm's decision to edit and tone down the violence and sexual content in their stories sparked a debate about the appropriateness of exposing children to the darker elements of these tales. Some praised the Grimms for making these stories more suitable for young audiences, while others criticized the loss of authenticity and the potential impact on children's understanding of the world. This debate continued to influence the way fairy tales were presented in picture books throughout the Golden Age and beyond.
As the tales were adapted and reimagined over the years, they became a staple of children's literature around the world. These stories proved to be captivating and accessible to young readers. The Grimms' work set a standard for moral lessons and imaginative storytelling in children's books. It inspired many authors and illustrators to create their visual versions of these timeless tales. These illustrators included George Cruikshank, Richard Doyle, Walter Crane, and many, many others.
Wilhelm married Henriette Dorothea Wild. Jacob never married and devoted himself entirely to his academic work. In 1837, they relocated to Berlin, where they joined the Prussian Academy of Sciences. Wilhelm Grimm passed away on December 16, 1859, followed by Jacob Grimm on September 20, 1863. As the Grimm Brothers passed away, they left behind a significant legacy of stories that began to captivate the growing picture book market. Parallel to this time, there was a shift in artistic taste, influenced by movements like the Pre-Raphaelites. This shift, combined with the growing market interest, ushered in the Golden Age of children's picture books.
The Roaring 1850s
In response to the industrial revolution, the Pre-Raphaelite Brotherhood, Aesthetic Movement, and the Arts and Crafts Movement emerged as powerful reactions against the industrialization and mass production that characterized the Victorian era. These movements had a profound impact on the aesthetics of picture books, as artists sought to promote the values of craftsmanship, authenticity, and social reform through their work.
"Man is never so serious as when he plays; man is wholly man only when he plays."
Pre-Raphaelite Brotherhood
The Pre-Raphaelite Brotherhood, founded in 1848, was another group of artists who rejected the industrialization and materialism of Victorian society. They sought to return to the simplicity and sincerity of medieval and early Renaissance art, creating works that were deeply spiritual and emotionally charged. The Pre-Raphaelites often depicted scenes from literature and mythology, using vibrant colors and intricate details to bring their subjects to life.
It was started by seven young artists in their twenties. Painting was taught at London's Royal Academy and similar institutions. It adhered strictly to a set of rules, formulas, and conventions, which dictated subject matter and technique.The core of the early Pre-Raphaelite Brotherhood was formed by Dante Gabriel Rossetti, William Holman Hunt, and John Millais. They challenged the art establishment by exhibiting scandalous paintings signed "PRB."
They chose this name because they revered early Italian and Flemish art, predating Raphael. The Brotherhood didn't aim to copy these styles. Instead, they sought to capture a similar spirit of freedom and simplicity. They achieved this withradical techniques. They painted directly from nature, and outdoors, and used bright, translucent colors on a white background. This was a departure from the dark backgrounds and muted colors favored by the Academy at that time.
The Pre-Raphaelite Brotherhood was tired of their times' artistic rules. They set several key principles. First, they advocated for a return to the detailed realism and vibrant colors of early Italian and Flemish art. They rejected the artificiality and formulaic approaches of academic painting. Second, they emphasized studying nature with care to achieve accurate and deep symbols in their work. Third, they sought to fill their art with sincerity and emotion. They focused on themes of love, nature, and social justice, valuing these over superficiality and conventional beauty. They aimed to challenge modern society's norms and prejudices through their art, often portraying unconventional subjects and stories with a moral earnestness. These principles had a blend of medieval inspiration and innovative spirit. It had a big impact on Victorian art and culture, influenced movements like Aestheticism and the Arts and Crafts Movement, and shaped attitudes towards the Industrial Revolution.
Inspiring the West
The influence of Japanese art on Western artists during the mid-19th century was significant and played a crucial role in inspiring the artists of the Golden Age of picture books. This influence, known as Japonisme, began after Japan ended its isolationist policy in 1854, opening its borders to trade with the West.
As Japanese art and cultural objects, such as ukiyo-e prints, textiles, and ceramics, became more accessible to Western audiences, artists were captivated by the unique aesthetics and techniques employed by Japanese artists. The characteristics of Japanese art that particularly inspired Western artists included:
The characteristics of Japanese art that specifically inspired Western artists included flat, bold colors and simplified forms. These stood in stark contrast to the more realistic and detailed approach favored by European artists at the time. Japanese compositions often featured asymmetrical layouts and unusual perspectives, adding a sense of dynamism and novelty to the artwork. The emphasis on nature, especially flora and fauna, resonated with the growing interest in the natural world and the desire to capture its beauty in art. Decorative patterns and motifs, such as those found in Japanese textiles and prints, provided Western artists with inspiration to incorporate into their own designs. Finally, the graceful, flowing lines of Japanese art, particularly in calligraphy and woodblock prints, inspired Western artists to experiment with more fluid and expressive line work in their illustrations.
Artists associated with the Pre-Raphaelite Brotherhood, Aestheticism, and the Arts and Crafts Movement were particularly drawn to these elements. They incorporated them into their own work, leading to a fresh, innovative approach to art and design.
For example, artists like Walter Crane and Kate Greenaway were heavily influenced by Japanese art. They were instrumental in the development of children's picture books during the Golden Age. They adopted the flat, decorative style and incorporated nature-inspired motifs into their illustrations, creating a new visual language for children's literature.
The influence of Japanese art also extended to other aspects of the book-making process, such as book binding and printing techniques. Japanese books’ high level of craftsmanship and attention to detail inspired Western artists and publishers to elevate the quality of their own productions.
The introduction of Japanese art and aesthetics to the Western world had a profound impact on illustration styles, as artists incorporated elements of this foreign tradition into their work. This cross-cultural exchange enriched the visual language of picture books but also raised questions about cultural appropriation and the authentic representation of diverse cultures.
As picture books began to reach a wider, international audience, creators and publishers had to navigate the challenges of appealing to different cultural sensibilities and translating their works for global consumption. The Golden Age of picture books was thus marked by a constant negotiation between the local and the global, the traditional and the innovative, and the entertaining and the educational. By grappling with these complexities, the creators of this era laid the foundation for the diverse and dynamic picture book landscape we know today.
Inspiration & Further Reading,
When a Robot Finds a Paintbrush
“Man has lost his dignity, but Art has saved it and preserved it for him in expressive marbles. Truth still lives in fiction, and from the copy the original will be restored.”
Aesthetic 1860-1900
The Industrial Revolution had brought about significant changes in the way goods were produced, with machines replacing skilled artisans and mass production becoming the norm. This shift led to a proliferation of cheap, poorly made goods that lacked the beauty and quality of handcrafted items. In response, the Aesthetic Movement championed the idea of "art for art's sake," emphasizing the importance of beauty and sensory pleasure in art and design. Artists associated with this movement rejected the notion that art should serve a moral or practical purpose and instead focused on creating works that were visually stunning and emotionally evocative.
The Aestheticism Movement shares many values with the Pre-Raphaelite Brotherhood. They rejected the norm that the Victorian period had made in formulaic art and craft. They rebelled against Victorian materialism and modern industrialism. They especially criticized the boring designs of mass-produced consumer goods made by machines without creativity. Aesthetic artists valued craftsmanship and brought back pre-industrial techniques. They championed "art for art's sake." They removed art from its traditional moral or socio-political roles. They did this to focus on exploring color, form, and composition in the pursuit of beauty. This was in contrast to Victorian ornateness. Aesthetic art favored pale colors, geometric patterns, and simple forms. The movement drew inspiration from Pre-Raphaelite paintings, medieval designs, and Japanese motifs. It sought to add art to everyday life. This included ceramics, metalwork, fashion, furniture, and interior design.
The Aesthetic Movement and the Arts and Crafts Movement are two distinct trends in art and design that emerged during the 19th century. While they share a few similarities, they each have their unique styles and philosophies. In Britain, in the mid to late 19th century, it became clear that machines were making bad goods and causing social problems.
It sought to escape the ugliness of the Industrial Age. It made beauty through art. It made objects that were pleasing to look at. It valued craftsmanship and quality materials over usefulness or education. Artists of this period were inspired by many cultures and time periods. These ranged from Renaissance painting and Greek sculpture to East Asian art and design. The artists aimed to excite the senses and emotions of their viewers.
You Take the Brush and Play
“If you want a golden rule that will fit everything, this is it: Have nothing in your houses that you do not know to be useful or believe to be beautiful.”
Arts and Crafts Movement 1880-1920
The Arts and Crafts Movement sought to revive traditional craftsmanship and celebrate the beauty of handmade objects. Led by figures like William Morris, this movement promoted the idea that art and design should be accessible to all and that the process of creation was just as important as the final product. Artists and designers associated with the Arts and Crafts Movement often drew inspiration from nature and medieval art, creating works that were rich in detail and symbolism.
The Arts & Crafts movement is known by this name in both the United Kingdom and the United States. It sets itself apart in these regions mainly through different attitudes towards industrialization. British artists and designers often doubted the machine's role in creativity, while their American counterparts tended to embrace it. The movement's philosophy was simple. It sought to preserve traditional craftsmanship in an age of mass production by focusing on handmade items withattention to detail and design. The goal was to counteract the harm of industry, inspired by the Aesthetic movement and figures like William Morris and John Ruskin. Society's values shifted, and they started to care about how an item was made. This change influenced everything, from the architecture of buildings to pieces of jewelry and, of course, the philosophy surrounding children's books.
The Line of Cheap and Beauty
This emphasis on handcrafted quality also raised questions about the accessibility and affordability of picture books in an increasingly mechanical and factory focused world. The process of creating a picture book by hand was time-consuming and expensive, which meant that these books were often only available to wealthy families. As the demand for picture books grew, publishers began to explore ways to make them more affordable and accessible to a wider audience.
One solution we see during the Golden Age from Edmund Evans, was to use new printing technologies, such as chromolithography, which allowed for the mass production of color illustrations. While some artists and critics feared that this mechanization would lead to a loss of quality and authenticity, others saw it as an opportunity to bring the beauty of picture books to a larger audience. The debate over embracing new technologies while preserving traditional techniques played out in the pages of picture books, with some artists pushing the boundaries of what was possible with new printing methods while others staunchly defended the value of handcrafted illustrations.
The influence of the Aesthetic Movement, the Arts and Crafts Movement, and the Pre-Raphaelite Brotherhood on picture book aesthetics cannot be overstated. These movements helped to elevate the status of picture books as works of art and inspired generations of artists and illustrators who would go on to create some of the most beloved and enduring books of the Golden Age. By celebrating the values of craftsmanship, authenticity, and social reform, these movements laid the foundation for a new era of creativity and innovation in the world of children's literature.
As we have seen, the Golden Age of picture books was not a sudden phenomenon but rather the result of a complex interplay of societal, technological, and artistic factors. The stage was set for a golden age of picture books as these various threads converged. Society was ready, with a growing appreciation for childhood and a demand for quality children's literature. A market was emerging, thanks to the efforts of pioneering publishers and the increased accessibility of books. And artists were inspired, armed with new techniques, styles, and a passion for creating beautiful, meaningful works of art for children. The Golden Age was upon us, and the world of picture books would never be the same.
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