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The Best of Beardsley
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Displaying 1 - 2 of 2 reviews
May 6, 2021
Next year, I will have been alive twice as long as the ill-fated Aubrey Beardsley lived. And yet, it was at about the age he died that I became enamored of his work. I has seen his work here and there, but remember that this was before the internet had been populated with every desirable image you'd ever want (and many you wouldn't). My real introduction to his work came as an undergraduate humanities student nestled comfortably away in the Special Collections (read: Rare Books) room, where I discovered a set of books that would fix my love for late Victoriana forevermore: The Yellow Book: An Illustrated Quarterly.
When asked about why I became so enamored of Beardsley's work, I respond: "Why wouldn't I?" I really think it best to just let the work speak for itself. You know, a picture is worth . . .?
The Best of Beardsley a few of his images from Yellow Book Quarterly, but steps far beyond that short-lived (and seemingly doomed, once Oscar Wilde was arrested) relationship between Beardsley and editor John Lane. These were the drawings that really cemented his reputation, but before this there were earlier illustrations for Wilde's play Salome and the romantic poem Mort Darthur (none of which are included in this volume, being considered a sort of juvenalia), among others. And, of course, his art continued for several years after his ignominious departure from Lane's publication. The opprobrium that struck Wilde did little to taint Beardsley's output and, in fact, increased his fame and exposure to adherents of fin-de-siecle decadence. Unfortunately, tuberculosis killed him at the young age of 26 years, just as his art was hitting new heights of style and composition.
The introduction to The Best of Beardsley is one of the better introductions to an art book that I've had the privilege of reading. Of course all the biographical details are there (but let's face it, you can just go to Wikipedia to find this information), but what really stands out is R. A. Walker's analysis of the four phases of Beardsley's work, four phases that I had missed until I read this introductory essay and was able to cross-reference if with the full-page black and white plates that compose the vast majority of the book. But even at about 110 illustrations, we still are only seeing "The Best of". Notably absent are his explicit, one would have to say downright pornographic works, which even the Tate Museum housed in a different, restricted-access room in their 2020 exhibition of his work.
I see you combing the internet for those. Naughty, naughty. Honestly, I prefer to retain a little Victorian prudery in this regard. Besides, as Walker points out several times, Beardsley's sumptuous costumes are oftentimes the center of attention, and rightfully so. Take the Pre-Raphaelites' attention to detail and distil it down to sweeping, textured black-and-white illustrations, add a touch of whimsy, a pinch of, one must admit, Orientalism, and some intentional disproportion and, voila! Beardsley!
This art collection is not nearly enough Beardsley, but it can legitimately argue for being "The Best of," in large part because of the context given the illustrations by Walker's essay. Recommended.
When asked about why I became so enamored of Beardsley's work, I respond: "Why wouldn't I?" I really think it best to just let the work speak for itself. You know, a picture is worth . . .?
The Best of Beardsley a few of his images from Yellow Book Quarterly, but steps far beyond that short-lived (and seemingly doomed, once Oscar Wilde was arrested) relationship between Beardsley and editor John Lane. These were the drawings that really cemented his reputation, but before this there were earlier illustrations for Wilde's play Salome and the romantic poem Mort Darthur (none of which are included in this volume, being considered a sort of juvenalia), among others. And, of course, his art continued for several years after his ignominious departure from Lane's publication. The opprobrium that struck Wilde did little to taint Beardsley's output and, in fact, increased his fame and exposure to adherents of fin-de-siecle decadence. Unfortunately, tuberculosis killed him at the young age of 26 years, just as his art was hitting new heights of style and composition.
The introduction to The Best of Beardsley is one of the better introductions to an art book that I've had the privilege of reading. Of course all the biographical details are there (but let's face it, you can just go to Wikipedia to find this information), but what really stands out is R. A. Walker's analysis of the four phases of Beardsley's work, four phases that I had missed until I read this introductory essay and was able to cross-reference if with the full-page black and white plates that compose the vast majority of the book. But even at about 110 illustrations, we still are only seeing "The Best of". Notably absent are his explicit, one would have to say downright pornographic works, which even the Tate Museum housed in a different, restricted-access room in their 2020 exhibition of his work.
I see you combing the internet for those. Naughty, naughty. Honestly, I prefer to retain a little Victorian prudery in this regard. Besides, as Walker points out several times, Beardsley's sumptuous costumes are oftentimes the center of attention, and rightfully so. Take the Pre-Raphaelites' attention to detail and distil it down to sweeping, textured black-and-white illustrations, add a touch of whimsy, a pinch of, one must admit, Orientalism, and some intentional disproportion and, voila! Beardsley!
This art collection is not nearly enough Beardsley, but it can legitimately argue for being "The Best of," in large part because of the context given the illustrations by Walker's essay. Recommended.
January 20, 2008
Wow. I've been a fan of Beardsley since before I realized he was part of the Art Nouveau movement (my favorite period of art), but this book really makes clear his prodigious talent and eye for line, pattern, detail, and humor. And what's most amazing is that he died of TB at 25. I wish the book had included more in the foreword about his biography, but it does have some interesting facts and gives much historical detail and background information for his commissioned work. The point of the book, clearly, is the drawing, reproduced very well with a full page for each (only a selection reproduced here).
Displaying 1 - 2 of 2 reviews