Page 84 - Gullivers

society, at least in America and Britain where most of the editions discussed were published, that is moving towards publications with very specific child appeal. John Hassall’s illustrations appear in an edition ‘retold for little folk by Agnes Grozier Herbertson’. Hassall, born in England, studied art in Antwerp and Paris. On his return to Britain, he established
his reputation as a designer of posters and greeting cards, a form and style he adapted well to illustrating children’s books. His skill in appealing to children was also honed by illustrating comics and boys’ adventure stories. His line is clear and bold, and his colours flat, giving a somewhat two-dimensional effect to his illustration, especially his colour work. In Gulliver’s Travels some of his best work is in the black and white drawings, which simply yet effectively catch mood, as in the scene where the Lilliputians scheme against Gulliver who stands back-turned, distanced, and therefore equal in stature to his accusers, or where again viewed from the back, the Brobdingnagian servant lies distraught as an eagle makes off with the box containing Gulliver. In contrast, some of the colour illustrations are stereotypical, lacking emotional as well
as physical depth, unlike the black and white drawings where there is a greater sense of an artist catching the feelings of his subjects. In colour, comic moments are better depicted by Hassall, for example
a hint of burlesque in the scene where
the Brobdingnagian farmer and his wife examine Gulliver. This also illustrates the cover of the retelling illustrated by Hassall, and commonly from here on some form of coloured cover, engraved, laid on picture- plate or dust jacket, sets out
to attract readers to many of the editions of Gulliver’s Travels.
It is not a surprise that Hungarian artist,Vilmos Andreas,‘Willy’ Pogány illustrated an edition of Gulliver’s Travels; it is edited by Padraic Colum, the illustrations for whose books are among Pogány’s best known work. Pogány,
one of the most popular illustrators of his time in the United States, was also well-regarded for his decorative work and film set and stage design. His early influences included Hungarian peasant art and Chinese and Japanese decorative art. Later, he developed an interest in Art Nouveau. These influences may be seen in his Gulliver, particularly vibrantly in scenes in Laputa and Lagado, where
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