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“If I am not grotesque, I am nothing.” This insightful study illuminates previously unexplored aspects of Aubrey Beardsley’s relationship to the grotesque and his use of media, particularly his manipulation of the periodical press. For the first time and with keen intelligence, Evanghelia Stead fully reveals the aesthetic importance of Beardsley’s Bon-Mots vignettes, as well as the relationship between Darwinism, his innovative foetus motif, and Decadence itself. Beautifully illustrated throughout, the book calls on histories of culture and aesthetics to show how the artist reworked traditional imagery and manipulated it beyond recognition—revealing for instance the influence of cathedral grotesques on Beardsley’s own grotesque performances. Stead also demonstrates his major impact on Italian, French, American and German creative minds through the periodical press. Rich in original thought and detailed, comparative analysis, this book is an invigorating and enlightening read for scholars of Aubrey Beardsley, as well as for anyone interested in nineteenth-century visual culture, art history, art criticism, print culture, illustration, grotesque iconography, and cultural history.
A beautiful and informative gift book devoted to the work of Aubrey Beardsley, one of the defining artists of the Art Nouveau style. Aubrey Beardsley (1872–1898) was only twenty-five when he died from tuberculosis, but in his short life he established a reputation as one of the most accomplished—and controversial—illustrators of his day. Astonishingly, all his work was created in the course of only six years, yet his contribution to the visual language of Art Nouveau was profound; today, his work is instantly recognizable for its use of black ink and flowing lines on white paper, along with its erotically charged subject matter. Not all his work was sexually provocative—much was satirical, attacking the decadent mores of the time—but some was and remains shocking, taking its stylistic inspiration from Japanese shunga and Greek vase painting and its thematic inspiration from mythology, history, poetry, and drama. This beautifully designed, accessibly priced book offers a wealth of illustrations by Beardsley, and introduces his exquisitely crafted drawings and prints to a new audience. Including a fascinating text by Jan Marsh, Aubrey Beardsley brings together a carefully curated selection of works from Beardsley’s tragically short but highly productive life.
Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
An illustrated monthly.
Citizen Warhol investigates Andy Warhol's most deep-seated influences - his religious practices; his art training; his dalliance with Aubrey Beardsley; his triumphs as a commercial artist - and shows how they were fundamental to the life and legacy of the mature artist.
A Classic Available Again Aristophanes was the greatest writer of ancient Athenian "old comedy," known for its satires of contemporary life and for its broad, often obscene humor. "Lysistrata" was first produced in 411 BC, when the Peloponnesian War had been devastating Greece for 20 years. Most people know the plot: Lysistrata assembles women from all of Greece, and they agree that they will not have sex until the men make peace. Aubrey Beardsley was the greatest and the most controversial Art Nouveau illustrator in England, famous for his illustrations of Mallory's "Morte d'Arthur," Oscar Wilde's "Salome," Pope's "The Rape of the Lock," and for several magazines. Because he was associated with Oscar Wilde, Beardsley lost his job as art editor of a magazine named "The Yellow Book" in 1895, soon after Wilde was arrested for homosexuality. He was approached by Leonard Smithers, a publisher of erotic books, who asked him to illustrate "Lysistrata." His illustrations are very much in the spirit of Aristophanes, as funny as they are obscene. Beardsley converted to Catholicism in 1897, and soon after, he asked Smithers to "destroy all copies of "Lysistrata"" with its "obscene drawings," but Smithers refused. Beardsley died of tuberculosis in 1898, at the age of 26. Smithers initially published "Lysistrata" in a limited edition of one hundred copies. It was reprinted in the 1960s and 1970s, but copies have long been scarce and expensive. Though some may find it offensive, we believe it is valuable to reprint this book, so all the books illustrated by this great artist are readily available.
The Art of Aubrey Beardsley is a study about English artist and illustrator Aubrey Beardsley, written by British editor and critic Arthur Symons. The book includes biographical essay and numerous illustrations by the artist. Beardsley's drawings in black ink, influenced by the style of Japanese woodcuts, emphasized the grotesque, the decadent, and the erotic. He was a leading figure in the aesthetic movement which also included Oscar Wilde and James McNeill Whistler.
Drawn from Birmingham Museums Trust's incomparable collection of Victorian art and design, this exhibition will explore how three generations of young, rebellious artists and designers, such as Edward Burne-Jones, John Everett Millais, and Dante Gabriel Rossetti, revolutionized the visual arts in Britain, engaging with and challenging the new industrial world around them.