Shadows and Grace: Arthur Rackham’s Silhouette Illustrations for Cinderella (1919)

Fairy Godmother transforms the pumpkin.

Few names in the world of book illustration conjure as much wonder as Arthur Rackham. Born in London in 1867, Rackham became one of the most celebrated illustrators of the Edwardian era, known for his delicate watercolours and fine ink drawings that seem to hover between dream and nightmare.

His art graced beloved tales such as Peter Pan in Kensington Gardens, Alice’s Adventures in Wonderland, and Rip Van Winkle, defining the look and feel of fairy tales for generations. Yet in 1919, after decades of enchanting readers with muted tones and gnarled trees, Rackham did something entirely unexpected: he put away his paintbrushes and turned to the stark beauty of black and white silhouettes.

The Cinderella of Shadows

In 1919, Rackham illustrated a new version of Cinderella with text adapted by C. S. Evans. The story itself was familiar; the classic Charles Perrault version complete with glass slipper and pumpkin coach, but Rackham’s interpretation was entirely his own.

Rather than the soft washes of colour and intricate detail for which he was famous, Rackham created a world made only of shape, gesture, and shadow. His silhouettes, cut from darkness, are alive with expression and wit.

Cinderella bends gracefully over her chores. The stepsisters strut and sneer. The fairy godmother twirls in a flurry of cloak and wand. Through posture and profile alone, Rackham brings the story vividly to life.

“Every tilt of a chin or swoop of a gown tells a story.”

Critics have long admired how these simplified forms still convey personality and humour. The absence of colour invites readers to participate, to imagine, and to fill in the space between the lines. Even stripped of detail, Rackham’s world remains unmistakably his own; full of quiet magic and sly charm.

The fairy godmother bids farewell to Cinderella

A New Kind of Enchantment

While silhouette illustration had been around for centuries, from 18th-century portrait cuttings to paper theatres, Rackham transformed the tradition into something new: a dream world defined by contrast.

Black and white, light and shadow, precision and whimsy all come together to create a sense of intimacy and theatre. Occasionally, Rackham added a hint of colour, a touch of gold or grey, to suggest candlelight or moonlight. These subtle accents made the images shimmer as though caught between waking and sleep.

The book was beautifully produced by Heinemann, with Evans’s lightly humorous text accompanied by full-page plates and smaller vignettes throughout. Even the margins seem alive with movement: tiny figures dancing, scurrying, or peering around corners. It feels both like a storybook and a miniature stage.

“It is both a storybook and a stage set, alive with theatrical charm.”

A Collector’s Treasure

Today, the 1919 Cinderella stands as one of the most prized editions in Rackham’s catalogue. Collectors seek it not only for its rarity but for its special place in his career. Limited editions were produced, some signed by the artist, and these remain highly sought after.

Yet beyond their value as collectibles, these books hold something deeper: the joy of an artist experimenting, playing, and discovering. The sense of creative freedom still radiates from every silhouette.

An example of the purely black and white illustrations in Rackham's Cinderella.

The Art of Working Differently

There is something deeply inspiring about Rackham’s decision to embrace a new medium so late in his career. He could easily have continued to paint in the style everyone adored, but instead he challenged himself to try something completely different.

It reminds us that artists often do their best work when they step outside the familiar. Creativity thrives on risk and curiosity, not repetition. By paring his art down to its essentials, Rackham discovered a new form of storytelling, one that was as enchanting and evocative as any of his watercolours.

“By stepping away from colour, Rackham found new light.”

A century later, Cinderella still dances in her world of shadow and light. Through paper and ink alone, Arthur Rackham proved that true magic in art lies not in the medium, but in the imagination that shapes it.