In this article, problems of development of the art of illustrating children’s books are considered for the first time in a chronological framework, from the end of the 18th - early 20th century. The main milestones of its formation--the unique “handwriting” of individual authors and associations, and vectors of aesthetic influence that allow us to find a complex synthesis of traditions in graphic images--are outlined. The article uses archival materials and studies little-known examples of book graphics. A children’s book may rightfully be considered one of the foundations of a child’s spiritual education. The illustrations are no less important than the text - they contribute to a deeper perception and awareness of the book’s material and introduce young readers to the world of fine art. However, understanding the importance of illustrations in a book for children’s reading did not come immediately to Russian artists, writers and publishers, and only developed at the end of the 19th century, when views of child psychology and pedagogy changed. A turning point for Russian culture, the turn of the 19th-20th centuries was also a time for changes in children’s book design. Many masters, often already known for their paintings and graphic art, now tried their hand in this area. Children’s book illustration has a special artistic language, different from images for books designed for an adult audience. The appearance of “picture books,” where illustrations predominate over the text, reflects this difference. The authors note that at the turn of the 19th-20th centuries, Russian design of children’s books achieved a high professional level. Artists made use of older traditions of book illustration starting from the 17th century and created striking examples of domestic graphic art.