Andrew Lang's The Blue Fairy Book, ca. 1889 (Henry J. Ford illustration)

This illustration, drawn only three decades after the final Grimm edition, arguably presents itself to an older audience - the complexity and business of the scene, along with Rumpelstiltskin's intruder-like stance in the doorway of the dark room alludes to a more sexual reading of the text, or at least a more serious one. When Andrew Lang began the collaboration of "The Blue Fairy Book" he and the fairytale genre were under a lot of criticism for not being serious enough for adult readers, but too brutal and unrealistic for children (Lang.) This illustration sets the mood for Lang's validation of this literary art form.

Warwick Goble Illustration for "The Grimms' Fairytales," ca. early 1900's

Having taken a special interest in Japanese drawing style, and strong in watercolour painting, it is no wonder that Warwick Goble was a natural at illustrating for folk and fairy tales. This illustration of the Miller's daughter as Queen, guessing the name of her helper, explores the lavish costuming and luxury (reminiscent of his many beautiful drawings of women in their traditional flowery japanese kimonos etc.) in which a Queen should be living. As well, Rumpelstiltskin is clothed in lavish clothing, but this costume represents a firey passion - that of the devil's or a dragon-like hunter.

Paul Zelinsky, 1986

This modern illustration from Paul Zelinsky's version of the take explores the softer, perhaps more child-friendly account of this complex and questionably moral tale. Even Rumpelstiltskin here is almost aesthetically pleasing and can actually be seen in a feminine light because of the smoothness of skin, softness of eyes and longer hair (though still retaining the goblin-like qualities.) The Miller's daughter again, seems to be in a mid-teenager state - a great age to which children audiences can sympathize.

Frost Newton, 2006

This abstraction of the text into a symbolic and playful account by Frost Newton explores why "for some reason all these stories have stood the test of time and been passed down through generations" (Newton.)

This visualization of Rumpelstiltskin takes into account many aspects, literal and representative in the text. The large head of Rumpelstiltskin, capped with the classic jesters hat as seen in previous illustrations, has two protruding sub-heads; The Fox on the right, symbolic of cunning trickery and clever deception, and the monkey on the left, symbolic for thievery. The three faces allude to the demonic ability of Rumpelstiltskin to deceive, but they also can represent the three controlling patriarchal figures of the story (king, father and helper) towering over the tiny, helpless woman. The positioning of the face between the woman and the castle also represent her struggle to overcome obstacles to gain the status of Queen.

An interesting aspect of this painting is also the colouring - the shades are predominantly gold, alluding to the fact that this story is more about money and status, than about romance or heroism.

Newton has also done paintings of other famous tales such as Cinderella, Hansel and Gretel, The Nutcracker and Ulysses with ironic and contemporary jabs at modern archetypes and how they relate to these time-tested stories.