In the brief span of his life and career, Aubrey Beardsley (1872–98) galvanized public attention in 1890s London with his exotic renderings of subjects, which often projected the sensual and the grotesque. This splendid volume brings together the best of Beardsley's work — a rich selection ranging from illustrations for Laclos's Les Liaisons Dangereuses and Balzac's La Comédie Humaine to magazine cover designs, book plate silhouettes, title-page ornaments, and delightful mini-portraits of major composers. Also included are two photographs of the artist, consisting of private portrait stud... [Read More]
Collected and edited by R. A. Walker. Photograph of the artist. 134 plates. Index. Measures 8.5x11 inches. Yellow boards with Beardsley pattern in black. Aubrey Beardsley (1872-1898), famous by his early twenties, died aged 25 leaving an immense volume of work behind.
Every generation has a chance to rediscover the ageless tales from Arthurian myth. But who was King Arthur? Was he a great and noble king, a strong warrior chieftain, a Celtic deity, or a compelling character of myth and legend? The lack of solid evidence has fueled fierce debate among scholars and historians. But whether or not we can verify his existence — or guess at his appearance — a gallery of important artists have used their prodigious talents to depict King Arthur and his compatriots in a range of creative styles. This stunning array of 148 color and black-and-white illustrations... [Read More]
At twenty, "the Fra Angelico of Satanism," as Roger Fry was to call Aubrey Beardsley, was working as an obscure clerk in a London life insurance company. Three years later he was the most notorious—and perhaps the most influential—artist in England. His controversial drawings for Oscar Wilde's Salome were so daring and different that someone quipped that Wilde's play illustrated Beardsley's art. His work as art editor of the two most famous magazines of the 1890's, The Yellow Book and The Savoy, consolidated his fame although he was unreasonably dragged into the Wilde scandal and nearly de... [Read More]
John Flaxman (1755-1826) and Aubrey Beardsley (1872-1898) were two of the most influential artists England ever produced. Yet despite similar artistic personalities and a shared interest in a disciplined linear style of drawing, their lives and works never before have been examined together. This study focuses on these issues and clearly demonstrates that Flaxman’s engravings are an important new source for Beardsley’s art. This book is also a major contribution towards a reappraisal of the lives and works of both artists.
Few artists have had so much written about them as Aubrey Beardsley. From Joseph Pennell's praise in "A New Illustrator" in 1893, through the fusillade aimed at "The Yellow Book," the eulogies of Beerbohm, Ross, and Symons, the turn-of-the-century listings of Vallance and Gallatin, R. A. Walker's miscellanies spanning the teens through the forties, the 1966 Victoria and Albert Museum exhibition catalogue and Brian Reade's subsequent book, to recent biographies and critical studies, there is a seemingly endless Beardsley literature. One result of this plethora of books, monographs, and articles... [Read More]
Home may be a house or an apartment or a cardboard box, but it is never just that. It is not merely bricks and mortar, but rather something far more abstract, something both physical and emotional. We all personalize our spaces, invoking our own domestic aesthetics, creating an extension of ourselves, a statement of our character, our historical and social situation, and our aspirations. Home Sweet Home 102 investigates these and other notions of home through texts, found photographs, commissioned artwork and music. Jay Davis's fantastical interior-scapes are illustrated and discussed by poet ... [Read More]
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