Fairy tales have long inspired creativity, not just in storytelling but in visual art as well. These ancient stories, filled with magical beings and moral lessons, continue to evolve as artists reinterpret them in new and imaginative ways. The Art of Fairy Tales, a new book by Joanna Ebenstein, explores how artists across centuries have brought these stories to life through paintings, illustrations, and other forms of visual expression. Historian Marina Warner highlights the concept of enargeia, or "shining vitality," to describe how these artworks vividly capture the essence of fairy tales, making them feel alive and relevant even today. Ebenstein’s book is not arranged in chronological order, which allows for a unique dialogue between different eras. For instance, a 1922 illustration by William Nicholson, depicting a fairy emerging from a flower, is placed alongside contemporary artist Mat Collishaw’s 1997 photographs of fairies among modern technological waste. This contrast shows how the idea of the magical has changed over time, reflecting the values and concerns of each period. A major focus of the book is the Golden Age of Illustration, roughly between 1880 and 1930, when beautifully illustrated children’s books became popular. Ebenstein brings attention to lesser-known works, such as the rare 1926 edition of Histoire de la Princesse Boudour by François-Louis Schmied, which was printed in only 20 copies. She also highlights the lavish illustrations by Austrian artists Heinrich Lefler and Joseph Urban for a 1905 edition of the Grimms’ Fairy Tales, showing how fairy tales were adapted for luxury and artistic expression. As fairy tales move from one artistic medium to another, they undergo visual transformations that keep them fresh and engaging. For example, Russian artist Léon Bakst’s 1915 poster for Igor Stravinsky’s The Firebird turned a traditional Russian folktale into a striking visual design. Similarly, German animator Lotte Reiniger used silhouette animation in her 1926 film The Adventures of Prince Achmed, inspired by One Thousand and One Nights, to create a new form of storytelling. One of the most thought-provoking sections of the book is the chapter on witches and powerful women, exploring how fairy tales have been used to examine themes of female agency and rebellion. The 1890 illustration Metamorphosis – Black Cats Transforming Themselves into Witches by Théophile Alexandre Steinlen shows witches flying joyfully through the Parisian sky, challenging traditional gender roles. More recently, Spanish illustrator Ana Juan reimagines Little Red Riding Hood with a haunting image of a girl hiding a shadowy wolf beneath her skirt, while Israeli photographer Dina Goldstein’s Fallen Princesses series critiques the idealized image of Disney princesses. These works reflect what has been called “fairy-tale artivism,” using fairy tales to explore social issues and imagine new possibilities. Ebenstein’s book not only showcases the visual evolution of fairy tales but also demonstrates how they continue to inspire and transform both artists and audiences. As folklorist Cristina Bacchilega notes, fairy tales can spark change in both their characters and in those who tell and retell them. Through her careful curation of artworks, Ebenstein shows why these ancient stories still hold such a powerful place in our imagination, proving that fairy tales are not just for children but remain a rich source of creativity and reflection for all ages.