HANSEL AND GRETEL // WILDERNESS

A classic tale of early childhood, the story of Hansel and Gretel follows a pair of children abandoned to certain death in the woods by their impoverished parents. Their deaths are inevitable as far as the adults are concerned, but instead the wilderness proves to be a space of transformation for them both.

The forest is a considerable presence in many fairy tales, and it functions as both threat and refuge. There are wolves, cannibal witches, and other dangers, but there are just as many opportunities. Characters often find wealth or power in the woods, as Hansel and Gretel do when the witch’s death leads not only to freedom but to the discovery of her treasure. Writers and illustrators have their own perspectives, and whether the woods are some howling wilderness to be tamed, a romantic refuge, or something else entirely will depend on who’s shaping the story.

Gammer Grethel, 1863

Adapted from the illustrations of George Cruikshank (1792-1878) and Ludwig Grimm (1790-1863), this engraving shows the natural world as romantic and even peaceful. Gretel sleeps against a Hansel transformed into a fawn, a detail sometimes added from the similar tale, Little Brother and Little Sister.

Sine Illus C78ger

R. Anning Bell, 1901

English artist Robert Anning Bell (1862-1933) avoids the woods entirely in favor of a more welcoming, domesticated nature. In his interpretation, we catch up with Hansel and Gretel just as they are led home, their trial over.

Sine Illus B455gri

Harry Rountree, 1908

The Hansel and Gretel of Harry Rountree (1878-1950) are clearly miserable, shuffling along in an oppressive, enclosing space. The woods in this illustration are muddy and claustrophobic, but the bird – also a part of the natural world – provides a bright point and a guide.

Sine Illus R78sto

Arthur Rackham, 1909

Arthur Rackham (1867-1939) makes use of the height of the cottage steps and roofline to pen Hansel and Gretel in. He also takes advantage of wilderness, making sure that the trees block out any sky. The children are thoroughly trapped by their surroundings.

Sine Illus R23fair

Arthur Rackham, 1909

In this illustration, Rackham uses the same enclosing wilderness to provide a sense of protection. Alone and focused on collecting pebbles to mark his and Gretel’s path, Hansel’s position among the trees is almost comfortable.

Sine Illus R23fair

Charles Robinson, 1911

Known for his “graceful, sensitive, and often light-hearted portrayal of children, babies, and fairies,” Charles Robinson (1870-1937) is the second of three illustrator brothers (Dalby). In his Hansel and Gretel, the forest is made frightening by way of the children themselves, huddled in shadows and looking up to emphasize the scale of their surroundings.

Sine Illus R53big

Kay Nielsen, 1925

Danish artist Kay Nielsen (1886-1957) is more stylized than many of his Golden Age contemporaries. Nielsen’s forest is dense, starkly lit, and nearly fluid. The trees loom and sweep overhead, emphasizing how inviting the comparatively solid and brightly colored witch’s cottage looks.

Sine Illus N554ki

Charles Folkard, 1949

The witch’s cottage created by Charles Folkard (1878-1963) looks like it could have grown up out of the ground, despite the confectionary details. Once again, the trees block out any sky and lean so close to the house that it becomes part of the dangerous landscape.

Sine Illus F65gri

Rie Cramer, c. 1960

Sometimes criticized for being overly sweet, Dutch artist Rie Cramer’s work became increasingly bright and simple as her career progressed. Her Hansel and Gretel are not abandoned by their guardians, but become lost while chasing a butterfly. The wilderness they find themselves in is equally saccharine, though still dangerous.

Sine Illus C734sil

Exhibit Front Page

Previous Case

Next Case