Garth Williams

In a 1980 interview, Williams described his approach to illustrating stories by other writers. His initial reading of the material usually would suggest thirty or forty potential pictures. "To compose the pictures is very hard  ... I look for all the action in the story; then I arrange forms and color. I always try to imagine what the author is seeing. Of course, I have to narrow down my ideas to the number of drawings I'm allowed, which might be as few as ten per book. I make a list of illustrations. When I see a picture, I write down the idea and a page number while I read the manuscript."

Williams later illustrated the first edition of The First Four Years (1971), which is commonly considered the last of nine books in the Little House series.

Williams met his third and fourth wives while living in Mexico. Four months after his second divorce in 1962, he married Alicia Rayas, his nineteen-year-old Mexican housekeeper. Several years later they had a son. His last marriage was to Leticia Vargas Arredondo, from a prominent family in Guanajuato. He and Leticia had a daughter together when he was sixty-six years old. His youngest daughter was 17 when Williams died.

In 1958, Garth Williams wrote and illustrated a picture book that caused a small uproar: The Rabbits' Wedding. Aimed at children aged 3 to 7, it depicted animals in a moonlit forest attending the wedding of a white rabbit to a black rabbit. In 1959, Alabama Senator E. O. Eddins and Alabama State Library Agency director Emily Wheelock Reed took the lead in a controversy over the book. Senator Eddins, with the support of the White Citizens' Council and other segregationists, demanded that it be removed from all Alabama libraries because of its perceived themes of racial integration and interracial marriage. Reed reviewed the book and, finding no objectionable content, determined it was her ethical duty to defend the book against an outright ban. A battle ensued between Reed and her supporters, and the segregationist faction in the legislature. In the end, the book was not banned outright, but rather placed on special reserve shelves in the state library agency-run facilities. Libraries that had purchased their own copies were not required to make this change.

In 1951 he illustrated Charlotte's Web (1952); his eldest child Fiona, who was a toddler when the family escaped the Blitz, was his model for Fern Arable.

Williams drew few straight lines. He used charcoal and graphite pencils, from fine to very soft, to illustrate the Little House books. The "youngest" book in the series, Little House in the Big Woods, is nearly lamplit in its coziness, almost an echo of the small-animal sensibilities of The Fur Family or his deeply colored Little Golden Books. He used pen and ink for The Cricket in Times Square, the Rescuers books, Charlotte's Web, and Stuart Little. The Giant Golden Book of Elves and Fairies, a 1951 anthology, is noteworthy for Williams' extensive use of colored pencil. In the Golden Books and Little Golden Books, he favored oil pastels, ink washes, and watercolor. The Rabbits' Wedding (1958), which employed a limited palette of only a few delicate colors, contained some of the best-reproduced examples of his ability to convey hair, hide, grass, and fur textures.

Williams received the commission to illustrate the new Little House edition in about 1947. To know the worlds of Laura's childhood, Williams, who had never been west of the Hudson River, traveled the American Midwest to the places the Ingalls family had lived 70 years before, photographing and sketching landscapes, trees, birds and wildlife, buildings and towns.

In the United States, Williams worked making lenses at a war plant, applied for work as a camouflage artist, contributed war-effort posters to the British-American Art Center in New York, and brought his portfolio around to the major publishing houses. He drew for The New Yorker for a mutually unfulfilling period of time. Then, in 1945, he received his first commission as an illustrator, from editor Ursula Nordstrom of Harper's Department of Books for Boys and Girls. The story is that Nordstrom "told him she was expecting a manuscript that he might illustrate. By coincidence, when the manuscript arrived the author had pinned a note to it: 'Try Garth Williams'. The author was E. B. White; the book was Stuart Little." The Whites had wanted Robert Lawson to work on the project, but had burned through eight illustrators. The book became a success with adults as well as children. Williams later said that seeing grownups on buses and trains reading Stuart Little persuaded him to continue as a freelance illustrator.

In London, he volunteered with the British Red Cross Civilian Defense ambulances, and helped collect the dead and injured from the streets. After a bomb blast vaporized a friend who had been walking next to him, he sent his wife and daughter to Canada, and reunited with them in New York in 1942.

Williams studied architecture there, and worked for a time as an architect's assistant. When the Great Depression came, he made up his mind to be an artist instead of an architect. He began his studies at Westminster School of Art in 1929 and, in 1931, was awarded a four-year scholarship to the Royal College of Art where he created a sculpture that was awarded the British Prix de Rome. He continued his education at the British School at Rome in Germany and Italy, until the outbreak of World War II in Europe.

Garth Montgomery Williams (April 16, 1912 – May 8, 1996) was an American artist who came to prominence in the American postwar era as an illustrator of children's books. Many of the books he illustrated have become classics of American children's literature.

Born in New York City in 1912, Williams's father was a cartoonist for Punch and his mother was a landscape painter. He described them by saying, "Everybody in my home was always either painting or drawing." He grew up on farms in New Jersey and Canada until the family relocated to the United Kingdom in 1922, where his parents were from.