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This cleverly crafted section of the book includes 12 brief essays (one for each chapter of \u201cAlice\u2019s Adventures in Wonderland\u201d) by some of the great contemporary illustrators who reflect on their illustrating \u2018Alice\u2019 journey. Each piece is accompanied by numerous examples of illustrations by other artists for each respective chapter. Essays were contributed by Michael Foreman, Chiara Carrer, Ralph Steadman, Helen Oxenbury, Barry Moser, Justin Todd, John Vernon Lord, Emma Chichester-Clark, Gavin O\u2019Keefe, DeLoss McGraw, Tatiana Ianovskaia and John Bradley.<\/p>\n\n\n\n
Michael Foreman speaks of his Wonderland being his native Cornwall in England and how that influenced conceptualising his illustrations for ‘Alice’. Ralph Steadman reflects on his creative process during which the initial idea is not fully formed and the drawing slowly acquires a life of its own and dictates the direction it will follow. Justin Todd sheds light on the limitation of the number of pictures (22 colour plates) that was imposed by his publisher, which forced him to be very inventive in combining some scenes and sequences on one plane.<\/p>\n\n\n\n
Most surprising for me was John Bradley\u2019s account of the rocky start to his no less shaky ‘Alice’ journey. Being totally candid (which I admire), his essay notes from the outset that he has never been a fan of the book. He took the commission which had a very tight production deadline, whilst juggling many other jobs. John ultimately ended up being disappointed with his efforts, despite the resultant book being awarded first prize at the Philadelphia book show in the same year it was published; here is John Bradley\u2019s rather bleak reflection about his work:<\/p>\n\n\n\n
“From my point of view it resulted in a bit of a ‘curate’s egg’ of an illustrated book, a book I was never entirely happy with but that I did finish on time. I was least happy with the character of Alice herself as I thought I didn’t really have enough time to develop a consistent and individualistic interpretation that was my own – also the publisher was keen to ‘soften’ my approach for commercial purposes – so I was feeling frustrated that Alice let down some of the other characters.”<\/em><\/p><\/blockquote>\n\n\n\nI have enjoyed the writing of the ever articulate John Vernon Lord, who stayed within the confines of the brief for this part of the anthology, which was his reflections on illustrating \u201ca particular chapter\u201d; in this instance, The Mad Tea Party. Whilst other artists wrote about their illustrating ‘Alice’ experience at large, John Lord sticks with the assigned chapter experiences. He reflects on the importance of staying true to the text, which was tested by Carroll\u2019s inclusion of little description of the characters at the tea party. He then speaks, at some length, about illustrating a few items of everything that begins with an \u201cM\u201d, such as mouse traps, and the moon, and memory and muchness, as discussed in the mad tea party scene. Check out my reviews of the awesome Artists\u2019 Choice Editions of John Vernon Lord\u2019s \u201cAlice in Wonderland\u201d<\/a> (2009) and \u201cThrough the Looking-Glass\u201d<\/a> (2011).<\/p>\n\n\n\nI also enjoyed the Australian illustrator Gavin O\u2019Keefe\u2019s essay, which lets us in on his long-standing association with ‘Alice’. He has illustrated it twice (in the late 1980s, published in Australia in 1990 and again in 2011). The second time he also illustrated \u201cThrough the Looking-Glass\u201d and both books were published in a companion volume.<\/p>\n\n\n\n
Gavin O\u2019Keefe\u2019s initial inspiration included Tenniel, some horror writings, the surrealist notions and other contemporary illustrators (notably, Mervyn Peake). These have blended into the most unique vision of black and white \u201cWonderland\u201d, permeated with O\u2019Keefe\u2019s signature darkness and strangeness rarely seen in other versions. <\/p>\n\n\n\n
Having always wondered what artists might feel when they come back to an already illustrated work, I have found an answer in Gavin\u2019s experience. His second go at ‘Alice’ was prompted 20 years after the first version was published. By then he had set about illustrating \u201cThrough the Looking-Glass\u201d and found that he had \u201cmoved on artistically\u201c. He wanted his second ‘Alice’ to be stylistically consistent with the sequel and ended up creating illustrations that \u201cvacillated between the literal and the surreal, between the simple and the complex\u201d<\/em> and bore little resemblance to his earlier 1980\u2019s ‘Alice’ version. <\/p>\n\n\n\nRumour has it that Gavin O\u2019Keefe is thinking of illustrating \u201cWonderland\u201d for a third time, possibly in colour this time. Multiple returns to ‘Alice’ are not unheard of \u2013 think Rene Cloke<\/a>, Gennady Kalinovksy, Kuniyoshi Kaneko<\/a>. Below is Gavin\u2019s pre-emptive reflection on what it might look like:<\/p>\n\n\n\nIf I were to visit Wonderland and the Looking-Glass World once more, my illustrations would be different once again – just as the illustration of the many artists who have been inspired by ‘Alice’ exhibit differing perspectives.<\/p><\/blockquote>\n\n\n\n