Robert Ingpen's Illustration Style and Artistic Value in Picture Books
Jingying E
Jinlin Normal University, Siping, China
Abstract
This study is grounded in the historical development of illustration art and analyzes the artistic style and value of Robert Ingpen's illustrations, based on a certain level of understanding of illustration art. The paper briefly introduces Robert Ingpen’s life and experiences. By understanding his life story, we can appreciate the style and values embedded in his works, guided by his thoughts. In recent years, the public has increasingly sought spiritual resonance with artists and designers through their works, hoping to achieve a soulful connection with them. While analyzing Ingpen's spiritual world and creative techniques, this study focuses on his values, such as his care for children and his love for nature. Through analyzing Ingpen's works, we aim to learn how he seamlessly integrates complex philosophical ideas into his illustrations, where each stroke conveys these underlying concepts.
Ingpen's greatness is not only reflected in his exceptional artistic skills but also in his meticulous creative process and compassionate creative philosophy. His contributions to the development of illustration and picture books have had a significant and lasting impact. Every work of art is not independent; it embodies the author's personal insights and the energy they wish to share with the world. Through studying Robert Ingpen's life and works, this paper demonstrates the importance of the meaning behind artistic works. Illustration art should not exist merely for the sake of creation; it should embody the personal character and spirit of the illustrator, and the soul of the illustration should be a reflection of the spirit of the era.
Keywords: Robert Ingpen; Illustration; Artistic Value; Picture Books
1.Introduction
1.1 Research Background and Significance
Robert Ingpen is one of Australia's most distinguished illustrators, having won the prestigious Hans Christian Andersen Award for Illustration, often referred to as the "Nobel Prize of Children's Picture Book Illustration." Ingpen's artistic charm is not only evident in his exceptional drawing skills but also in his deep care for children, understanding of philosophy, and love for nature. While illustration art is often influenced by commercial demands and market trends, the advancement of technology and the rise of digital printing have broadened the horizons of illustrators. As a result, illustration has become a significant form of art, gaining increasing recognition within the art world. Ingpen’s success is attributed not only to his dedication to the art of illustration but also to his ability to touch the hearts of the Australian public with his depictions of local landscapes and culture. His meticulous and rigorous approach to creation has played a crucial role in the development of the field of illustration.
In the modern, fast-paced visual culture, where digital illustrations are increasingly prominent, illustrations are no longer merely annotations to text but are essential in enhancing the audience’s visual experience and soulful connection. The rise of illustration as an independent art form has narrowed the gap between it and traditional "fine art." By choosing Robert Ingpen as the subject of analysis, this paper explores the value and practical significance of illustration art through an examination of Ingpen’s works and the characteristics of the illustration era in which he worked. Furthermore, a comparison of Ingpen’s works with those of other notable illustrators from the same era, such as Mitsu Yamamoto, Maurice Sendak, and Farshid Masahari, will provide a more detailed analysis of the artistic value of his illustrations.
1.2 Robert Ingpen's Biography
1.21Early Years of Robert Ingpen
Robert Ingpen was born on October 13, 1936, in Geelong, Victoria, Australia. His early life, like many artists, played a key role in shaping his character and development. Unlike artists such as Henri Rousseau or Vincent van Gogh, Ingpen was born into a wealthy family. His father was a businessman, and their food transportation vehicles were a familiar sight in Geelong, which provided Ingpen with a solid economic foundation for his artistic journey. While financial stability is not a guaranteed path to success, it gave Ingpen the privilege of access to an excellent learning environment and a broader perspective. Through continuous reading, observation, and practical experience, he was able to accumulate creative materials, free from the concerns of survival, and focus his energy on painting.
From an early age, Ingpen displayed a rich imagination and the ability to creatively express stories. His parents supported and encouraged his imaginative expressions, which allowed him to continue developing his creativity without limitation. Their encouragement provided the foundation for his career as an illustrator, ensuring that he maintained the purity of a child’s imagination, which would later serve as the bedrock of his illustrative style.
1.22 Robert Ingpen as an Adult
In 1954, Ingpen entered the Royal Melbourne Institute of Technology’s Art and Design Department and graduated with honors in 1958 with a degree in Book Arts. This formal education not only deepened his childhood dream but also nurtured his interest in classical painting styles, solidifying his foundation in illustration. During this period, Ingpen encountered various artistic influences, particularly the works of American realist painter N.C. Wyeth, whose focus on realistic detail and lifelike scenes greatly impacted Ingpen’s artistic development. Wyeth's emphasis on realistic representation and the creation of vivid, captivating atmospheres shaped Ingpen's approach to creating highly detailed and realistic illustrations.
Ingpen's works not only faithfully recreated the scenes and objects he painted but also infused them with emotion, imbuing the artwork with life and meaning. His meticulous technique, combined with his use of soft, warm colors and light effects, drew the viewer into his imaginative world, blending the depiction of objects with deep emotional resonance.
1.23 The Historical and Artistic Context of Robert Ingpen's Era
The earliest history of illustration can be traced back to cave paintings, and as history progressed, illustrations became a reflection of the times. From ancient cave art to the famous ukiyo-e prints of Japan’s Edo period, illustration has evolved from a decorative element to a complex art form conveying deeper cultural and spiritual meanings. The late 19th century and early 20th century marked a golden age for illustration, particularly in Europe and America. This period saw the rapid development of the printing industry, making illustrated books more accessible to the public. The demand for illustrated works grew significantly, leading to a flourishing of artistic experimentation and the emergence of unique, individualistic styles among illustrators.
From the 1880s to the 1920s, illustration became an integral part of the publishing industry, widely used in magazines and books. This period was characterized by a shift from strictly representational styles to more abstract and expressive approaches, reflecting the evolving cultural and artistic climate. Illustrators during this time sought to express their emotions and personal perspectives, contributing to the development of new artistic movements. The evolution of illustration from an ancillary art form to a legitimate artistic discipline marked the beginning of a new chapter in the history of visual art.
1.3 Robert Ingpen's Midlife and Artistic Achievements
In 1968, Ingpen left his job and began working as a freelance artist, producing a wide range of artworks. During this time, he created murals for city halls, designed stamps for the Australian Post, and even sculpted bronze gates for a cricket club. In addition to these public commissions, he worked on posters, brochures, sculptures, coins, badges, flags, and tapestries, demonstrating the breadth of his artistic talents.
Throughout his life, Ingpen remained dedicated to illustrating famous literary works, including Chaucer's The Canterbury Tales, Carroll's Alice's Adventures in Wonderland, Defoe's Robinson Crusoe, and Twain's The Adventures of Tom Sawyer. These works, along with many others, span a wide range of literary history, showcasing his versatility and creativity.
In 1986, Ingpen was awarded the Hans Christian Andersen Award for Illustration, often considered the "Nobel Prize of Children's Picture Book Illustration," in recognition of his outstanding contributions to the field. He remains the only Australian artist to have received this prestigious honor. In addition to the Andersen Award, Ingpen received numerous other accolades, including the Australian Dulon Medal in 1989, an honorary Doctorate of Arts from RMIT University in 2005, and the Order of Australia Medal in 2007. These awards affirm his significant role in the development of illustration and picture books as a respected art form.
2.Analysis of the Characteristics and Artistic Style of Robert Ingpen's Illustrations in Picture Books
2.1Characteristics of Robert Ingpen’s Picture Book Illustrations
In his book How to Make a Good Picture Book, Gao Guangcai explains that a “picture book” refers to a book that uses a series of illustrations to express a story or a theme similar to a story. The term "Picture Book" specifically refers to a picture book in English, where the images and the text may not necessarily have a direct connection, unlike "Illustrated Books" which specifically involve illustrations [6]. Robert Ingpen has secured a prominent position in the world of illustration due to his near-photographic realistic style, which earned him the highest honor in the illustration field, the Hans Christian Andersen Award. Ingpen’s exceptional artistic skill is evident not only in the nearly lifelike depiction of objects but also in his mastery of the overall composition of the artwork and his control over the symbolic meaning of the figures. This is one of the key reasons for his lasting influence in the field of illustration.
Ingpen’s illustrations feature grand and imposing artistic styles, combined with firm, sketch-like lines and realistic, unpretentious three-dimensional perspectives. His method of expression allows for tightly interconnected visual elements that reinforce the integrity of the scene, imparting a sense of grandeur and vigor to the overall composition.
One of the best examples of Ingpen’s realistic painting style is seen in his illustrations for Mark Twain’s The Stolen White Elephant. This work tells the story of the protagonist, a "white elephant envoy" sent from Siam to England, who faces the mysterious disappearance of the white elephant during a journey. Twain’s writing weaves a suspenseful and eerie tale where the protagonist, who has entrusted the search for the stolen elephant to a detective, discovers that his blind trust in the detective ultimately leads to a complex and unsettling deception. Twain's narrative method uses intricate storytelling, drawing readers into the mystery of the theft and encouraging them to question the true identity of a wise man: Is he a sincere, humble person, or a scheming thief?
Ingpen’s watercolor illustrations for The Stolen White Elephant imbue the story with an air of mystery and confusion. His illustrations go beyond merely depicting the scenes from the story; they incorporate his own artistic interpretation, making the illustrations not just book images, but individual works of art. For example, in the scene where the detective asks the protagonist about the elephant’s usual diet, Ingpen’s depiction shows the massive white elephant partially hidden behind a stack of disorganized Bibles. The intricate portrayal of the Bibles, with their varying thicknesses and shadow effects, is rendered with such precision that it feels as if the viewer is seeing a stack of real Bibles in front of them. The white elephant itself is vividly depicted, and the fine lines used to capture its form give the impression that this is a watercolor piece. The folds of the elephant’s skin, including the wrinkles on its chin and belly, are depicted in great detail, and the use of light and shadow creates a sense of depth and texture, even revealing the fine fur on its body. This is a subtle foreshadowing of the elephant’s eventual death.
Looking at the composition of the image, the entire scene uses a classical golden ratio, with the elephant placed at the center of visual attention. Although the Bibles occupy nearly two-thirds of the image, they do not diminish the elephant's visual dominance, which is a testament to Ingpen's masterful technique. The color palette further enhances the artistic expression, with the overall tone being a mixture of gray with a hint of yellow, evoking a mysterious and eerie atmosphere. (See table 2-1).（Images in PDF version, to view please download this article）
In addition to The Stolen White Elephant, The Broken Beak Bird is another classic example of Ingpen’s realistic painting style. The Broken Beak Bird, written by American author Nathaniel L. Archibald and illustrated by Robert Ingpen, was created as a collaboration between the two. Nathaniel’s childhood experience, marked by his father’s struggles with schizophrenia and societal rejection, deeply influenced his empathy for marginalized groups. As a result, many of his works center around the plight of these vulnerable groups, with The Broken Beak Bird being a prime example of this theme.
The story of The Broken Beak Bird depicts a young sparrow, graceful and delicate by nature, who one day awakens to find that its beak has been broken, rendering it unable to feed itself and robbing it of its ability to survive. As time passes, the sparrow grows weak and emaciated. When it begins to wander aimlessly, its companions believe it is suffering the consequences of its own actions and ignore it. In desperation, the sparrow begins begging for food from the customers at a café, but all it receives in return are mocking comments about its appearance. Just as the sparrow reaches the depths of despair, a homeless man appears, sharing a half-eaten piece of bread with the bird. The two outcasts, in their mutual isolation, find warmth and solace in each other’s company.
Robert Ingpen’s illustrations for The Broken Beak Bird make the story of the sparrow and the homeless man even more poignant and relatable, evoking a strong emotional response from the audience. Through Ingpen's unique realistic painting techniques, viewers can feel the sparrow's loneliness and sorrow from being ostracized, as well as the kindness and solitude of the homeless man. The viewer can almost feel the shared energy of these two lonely souls comforting each other. Despite being isolated by society, they maintain a grateful and accepting attitude towards each other. Ingpen imbues The Broken Beak Bird with a deep, resonant power, a quality not only attributed to his exceptional artistic skills but also to his profound interpretation of the text.
The most iconic image in this book is the cover illustration. Not only does it have a lifelike quality, but it is also a brilliant example of Ingpen’s mastery of composition. In this piece, Ingpen eliminates extraneous elements that are not closely tied to the theme and carefully curates the components of the image to enhance the overall effect. He focuses on depicting the sparrow’s broken beak and the homeless man’s hand. The hand is rendered with remarkable detail: the wrinkles, the broken nails, and the dirt lodged in the crevices of his nails are all clearly visible. Through this hand, the viewer can almost sense the hardships of the homeless man’s life—living rough, enduring hunger and cold. The frail body of the sparrow rests delicately on the man’s finger, while the surrounding space is left empty, allowing the viewer’s heart to resonate with the profound emotional connection between the two characters. (See table 2-2).（Images in PDF version, to view please download this article）
Robert Ingpen’s award-winning work The Ugly Duckling, which earned him the Hans Christian Andersen Award for Illustration, features a composition with high research value. As one of the most classic of Hans Christian Andersen's fairy tales, The Ugly Duckling has accompanied many people through their childhood. In this work, Ingpen employs a combination of horizontal and triangular compositional techniques.
In the illustration, the figure of the ugly duckling serves as the main subject of the image and is depicted as an upright figure, with horizontal lines assisting in emphasizing its form. The horizontal water ripples distributed across the scene create a calm and peaceful atmosphere. This horizontal layout brings characteristics of solidity, peace, and stability to the image. Ingpen uses the horizontal composition to depict the ugly duckling on the shimmering surface of the water, effectively conveying his perception of the character. Through this serene and beautiful image, he expresses his own understanding of beauty and ugliness, fostering a deeper connection with the audience.
Building on his signature realistic style, Ingpen uses oil painting and watercolor techniques, alongside collage, frottage, and other artistic methods, to enrich the visual presentation of the image. This brings more complexity to the scene and invites further contemplation. The simple and straightforward contours, along with the skeletal structure of the image, form a relatively loose triangular composition involving the ugly duckling’s figure, its reflection in the water, and the lotus flowers in the lower left corner. The triangle, universally known for its stability, creates a sense of security. Ingpen positions the duckling, its reflection, and the lotus flowers into an equilateral triangle, making the composition more stable. The combination of triangular composition and the horizontal water ripples not only strengthens the overall stability of the image but also adds a dynamic quality, making the scene more engaging and visually impactful, capturing the viewer’s attention(See table 2-3). （Images in PDF version, to view please download this article）
3.The Artistic Value of Robert Ingpen's Illustrations in Picture Books
Illustration art, as an important form of traditional painting, is similar to picture books in that both rely on text for expression. Illustration art complements and visually expresses the ideas and meanings embedded in the text, making them more vivid and easier for the audience to understand and appreciate. Throughout the history of painting, illustration art has served many different functions and purposes, so it cannot be reduced to a single, abstract concept. This is due to the fact that illustration art is deeply personal and highly creative. Based on the summaries and classifications by predecessors, the purposes of art can generally be divided into two categories: one is the art of no particular motivation, and the other is the art of specific motivation. The former is not created for any particular symbolic purpose, and it is not constrained by practical considerations. The latter, on the other hand, is created with a specific symbolic purpose in mind, serving as a means of communication with the outside world. Robert Ingpen's illustration art belongs to the category of art with a specific motivation.
Ingpen’s illustrations convey the emotional energy contained within the stories, aiming to raise awareness of environmental protection, promote life philosophies, and highlight social phenomena and other positive values. Through his works, Ingpen demonstrates his care for children, his attention to environmental issues, and his respect for history. His illustrations are not merely a product of imagination and creativity, but also focus on the objective, tangible reality of the subjects. Ingpen once said, "I am not an artist, I am an illustrator." He is dedicated to using illustrations to interpret classic literary works. When creating illustrations for Alice's Adventures in Wonderland and Through the Looking-Glass, he faced dual pressures from the author, Lewis Carroll, and the original illustrator, John Tenniel. Despite this, Ingpen transformed these works into masterpieces. In order to perfectly capture the essence of the works, Ingpen not only realistically depicted the objects in the story but also left enough space for the audience’s imagination, allowing them to experience their own fairy tale.
The artistic value of illustration art is not only reflected in the illustrator’s technique and creativity but also in the original intention behind the creation of the work and the emotional connection conveyed. Ingpen’s illustrations deeply touch the hearts of his audience by conveying philosophy, caring for children, and nurturing a love for nature. In The Song of Life, Ingpen uses his illustrations to convey the journey and meaning of life, from birth to death, to children. In I Love Nature, he conveys his deep care for the natural world. The Messenger of Peace communicates the serious concept of "peace" to children. With his brush, Ingpen expresses his love for life and the world to children, society, and the world, which is the core expression of artistic value.
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