An excerpt:
For one so romantic in the expression of his art, I should say his literary and artistic tastes were severely classic, though you would have expected them to be bizarre. He was ambitious of literary success, but any aspirations were wisely discouraged by his admirers. His writings, however brilliant—and they often were brilliant —shewed a dangerous cleverness, which on cultivation might have proved disastrous to the realization of his true genius. "Under the Hill" is a delightful experiment in a rococo style of literature, and it would be difficult to praise sufficiently the rhythm and metrical adroitness of the two poems in the Savoy Magazine. Though I cannot speak of his musical attainments, it may be regarded as fortunate that so remarkable a genius was directed to a more permanent form of executive power.
His knowledge of life, art, and literature seemed the result of instinct rather than study; for no one has ever discovered where he found the time or opportunity for assimilating all he did. Gregarious and sociable by nature, he was amusingly secretive about his methods and times of work. Like other industrious men, he never pretended to be busy or pressed for time. He never denied his door to callers, nor refused to go anywhere on the plea of "work."
He disliked anyone being in the room when he was drawing, and hastily hid all his materials if a stranger entered the room. He would rarely exhibit an unfinished sketch, and carefully destroyed any he was not thoroughly satisfied with himself. He carried this sensitive spirit of selection and self-criticism rather far. Calling on friends who possessed primitives, he would destroy these early relics and leave a more mature and approved specimen of his art, or the édition de luxe of some book he had illustrated. Some of us were so annoyed that we were eventually obliged to lock up all early examples. For though friends thus victimized were endowed with a more valuable acquisition, they had a natural sentiment and affection for the unsophisticated designs of his earlier years.
His life, though many-sided and successful, was outwardly uneventful. In the early summer of 1892 he entered Professor Brown's night school at Westminster, but during the day continued his work at the Guardian Fire Insurance until August, when, by his sister's advice, he resigned his post. In December he became acquainted with Mr. Pennell, from whose encouragement and advice he reaped the fullest advantage. After commencing the decorations to the "Morte d'Arthur," he ceased to attend Professor Brown's classes. In February 1893 some of his drawings were first published in London in the Pall Mall Budget under the editorship of Mr. Lewis Hind, but one of the most striking of his early designs appeared in a little college magazine entitled The Bee. When The Studio was started by Mr. Charles Holme under the able direction of the late Gleeson-White, Beardsley designed the first cover and Mr. Pennell contributed, the well-known appreciation of the new artist.
Towards the end of 1893 he commenced working for Mr. John Lane, who issued his marvellous illustrations to "Salome" in 1894. In April of the same year appeared the Yellow Book. To the first four volumes Beardsley contributed altogether about eighteen illustrations. From a pictorial point of view this publication had no other raison d'être than as a vehicle for the production of Beardsley's work, though Henry Harland, in his capacity as literary editor, revealed the presence of many new writers among us. Throughout 1894 Beardsley's health seemed to improve, and his social success was considerable. In the previous year he had been ridiculed, but now the world accepted him at Mr. Pennell's valuation. The Beardsley type became quite a fashion, and was burlesqued at many of the theatres; his name and work were on every one's lips. He made friends with many of his contemporaries distinguished in art and literature. At the house of one of his friends he delivered a very amusing lecture on "Art" which created much discussion.
A little later Beardsley was popularly supposed to have given pictorial expression to the views and sentiments of a certain school, and his drawings were regarded as the outward artistic sign of inward literary corruption. This is not the place to discuss the invention of a mare's nest. He suffered considerably by this premature attempt to classify his art. Further efforts to ridicule his work and suppress its publication were, however, among the most cheering failures of modern journalism. In 1895 he ceased to contribute to the Yellow Book, and in January 1896 The Savoy was started by Leonard Smithers, with Mr. Arthur Symons as the literary editor, who became the most subtle and discerning of all his critics after Beardsley's death. Failing health was the only difficulty with which he had to contend in the future....
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For one so romantic in the expression of his art, I should say his literary and artistic tastes were severely classic, though you would have expected them to be bizarre. He was ambitious of literary success, but any aspirations were wisely discouraged by his admirers. His writings, however brilliant—and they often were brilliant —shewed a dangerous cleverness, which on cultivation might have proved disastrous to the realization of his true genius. "Under the Hill" is a delightful experiment in a rococo style of literature, and it would be difficult to praise sufficiently the rhythm and metrical adroitness of the two poems in the Savoy Magazine. Though I cannot speak of his musical attainments, it may be regarded as fortunate that so remarkable a genius was directed to a more permanent form of executive power.
His knowledge of life, art, and literature seemed the result of instinct rather than study; for no one has ever discovered where he found the time or opportunity for assimilating all he did. Gregarious and sociable by nature, he was amusingly secretive about his methods and times of work. Like other industrious men, he never pretended to be busy or pressed for time. He never denied his door to callers, nor refused to go anywhere on the plea of "work."
He disliked anyone being in the room when he was drawing, and hastily hid all his materials if a stranger entered the room. He would rarely exhibit an unfinished sketch, and carefully destroyed any he was not thoroughly satisfied with himself. He carried this sensitive spirit of selection and self-criticism rather far. Calling on friends who possessed primitives, he would destroy these early relics and leave a more mature and approved specimen of his art, or the édition de luxe of some book he had illustrated. Some of us were so annoyed that we were eventually obliged to lock up all early examples. For though friends thus victimized were endowed with a more valuable acquisition, they had a natural sentiment and affection for the unsophisticated designs of his earlier years.
His life, though many-sided and successful, was outwardly uneventful. In the early summer of 1892 he entered Professor Brown's night school at Westminster, but during the day continued his work at the Guardian Fire Insurance until August, when, by his sister's advice, he resigned his post. In December he became acquainted with Mr. Pennell, from whose encouragement and advice he reaped the fullest advantage. After commencing the decorations to the "Morte d'Arthur," he ceased to attend Professor Brown's classes. In February 1893 some of his drawings were first published in London in the Pall Mall Budget under the editorship of Mr. Lewis Hind, but one of the most striking of his early designs appeared in a little college magazine entitled The Bee. When The Studio was started by Mr. Charles Holme under the able direction of the late Gleeson-White, Beardsley designed the first cover and Mr. Pennell contributed, the well-known appreciation of the new artist.
Towards the end of 1893 he commenced working for Mr. John Lane, who issued his marvellous illustrations to "Salome" in 1894. In April of the same year appeared the Yellow Book. To the first four volumes Beardsley contributed altogether about eighteen illustrations. From a pictorial point of view this publication had no other raison d'être than as a vehicle for the production of Beardsley's work, though Henry Harland, in his capacity as literary editor, revealed the presence of many new writers among us. Throughout 1894 Beardsley's health seemed to improve, and his social success was considerable. In the previous year he had been ridiculed, but now the world accepted him at Mr. Pennell's valuation. The Beardsley type became quite a fashion, and was burlesqued at many of the theatres; his name and work were on every one's lips. He made friends with many of his contemporaries distinguished in art and literature. At the house of one of his friends he delivered a very amusing lecture on "Art" which created much discussion.
A little later Beardsley was popularly supposed to have given pictorial expression to the views and sentiments of a certain school, and his drawings were regarded as the outward artistic sign of inward literary corruption. This is not the place to discuss the invention of a mare's nest. He suffered considerably by this premature attempt to classify his art. Further efforts to ridicule his work and suppress its publication were, however, among the most cheering failures of modern journalism. In 1895 he ceased to contribute to the Yellow Book, and in January 1896 The Savoy was started by Leonard Smithers, with Mr. Arthur Symons as the literary editor, who became the most subtle and discerning of all his critics after Beardsley's death. Failing health was the only difficulty with which he had to contend in the future....
AUBREY BEARDSLEY
An excerpt:
For one so romantic in the expression of his art, I should say his literary and artistic tastes were severely classic, though you would have expected them to be bizarre. He was ambitious of literary success, but any aspirations were wisely discouraged by his admirers. His writings, however brilliant—and they often were brilliant —shewed a dangerous cleverness, which on cultivation might have proved disastrous to the realization of his true genius. "Under the Hill" is a delightful experiment in a rococo style of literature, and it would be difficult to praise sufficiently the rhythm and metrical adroitness of the two poems in the Savoy Magazine. Though I cannot speak of his musical attainments, it may be regarded as fortunate that so remarkable a genius was directed to a more permanent form of executive power.
His knowledge of life, art, and literature seemed the result of instinct rather than study; for no one has ever discovered where he found the time or opportunity for assimilating all he did. Gregarious and sociable by nature, he was amusingly secretive about his methods and times of work. Like other industrious men, he never pretended to be busy or pressed for time. He never denied his door to callers, nor refused to go anywhere on the plea of "work."
He disliked anyone being in the room when he was drawing, and hastily hid all his materials if a stranger entered the room. He would rarely exhibit an unfinished sketch, and carefully destroyed any he was not thoroughly satisfied with himself. He carried this sensitive spirit of selection and self-criticism rather far. Calling on friends who possessed primitives, he would destroy these early relics and leave a more mature and approved specimen of his art, or the édition de luxe of some book he had illustrated. Some of us were so annoyed that we were eventually obliged to lock up all early examples. For though friends thus victimized were endowed with a more valuable acquisition, they had a natural sentiment and affection for the unsophisticated designs of his earlier years.
His life, though many-sided and successful, was outwardly uneventful. In the early summer of 1892 he entered Professor Brown's night school at Westminster, but during the day continued his work at the Guardian Fire Insurance until August, when, by his sister's advice, he resigned his post. In December he became acquainted with Mr. Pennell, from whose encouragement and advice he reaped the fullest advantage. After commencing the decorations to the "Morte d'Arthur," he ceased to attend Professor Brown's classes. In February 1893 some of his drawings were first published in London in the Pall Mall Budget under the editorship of Mr. Lewis Hind, but one of the most striking of his early designs appeared in a little college magazine entitled The Bee. When The Studio was started by Mr. Charles Holme under the able direction of the late Gleeson-White, Beardsley designed the first cover and Mr. Pennell contributed, the well-known appreciation of the new artist.
Towards the end of 1893 he commenced working for Mr. John Lane, who issued his marvellous illustrations to "Salome" in 1894. In April of the same year appeared the Yellow Book. To the first four volumes Beardsley contributed altogether about eighteen illustrations. From a pictorial point of view this publication had no other raison d'être than as a vehicle for the production of Beardsley's work, though Henry Harland, in his capacity as literary editor, revealed the presence of many new writers among us. Throughout 1894 Beardsley's health seemed to improve, and his social success was considerable. In the previous year he had been ridiculed, but now the world accepted him at Mr. Pennell's valuation. The Beardsley type became quite a fashion, and was burlesqued at many of the theatres; his name and work were on every one's lips. He made friends with many of his contemporaries distinguished in art and literature. At the house of one of his friends he delivered a very amusing lecture on "Art" which created much discussion.
A little later Beardsley was popularly supposed to have given pictorial expression to the views and sentiments of a certain school, and his drawings were regarded as the outward artistic sign of inward literary corruption. This is not the place to discuss the invention of a mare's nest. He suffered considerably by this premature attempt to classify his art. Further efforts to ridicule his work and suppress its publication were, however, among the most cheering failures of modern journalism. In 1895 he ceased to contribute to the Yellow Book, and in January 1896 The Savoy was started by Leonard Smithers, with Mr. Arthur Symons as the literary editor, who became the most subtle and discerning of all his critics after Beardsley's death. Failing health was the only difficulty with which he had to contend in the future....
For one so romantic in the expression of his art, I should say his literary and artistic tastes were severely classic, though you would have expected them to be bizarre. He was ambitious of literary success, but any aspirations were wisely discouraged by his admirers. His writings, however brilliant—and they often were brilliant —shewed a dangerous cleverness, which on cultivation might have proved disastrous to the realization of his true genius. "Under the Hill" is a delightful experiment in a rococo style of literature, and it would be difficult to praise sufficiently the rhythm and metrical adroitness of the two poems in the Savoy Magazine. Though I cannot speak of his musical attainments, it may be regarded as fortunate that so remarkable a genius was directed to a more permanent form of executive power.
His knowledge of life, art, and literature seemed the result of instinct rather than study; for no one has ever discovered where he found the time or opportunity for assimilating all he did. Gregarious and sociable by nature, he was amusingly secretive about his methods and times of work. Like other industrious men, he never pretended to be busy or pressed for time. He never denied his door to callers, nor refused to go anywhere on the plea of "work."
He disliked anyone being in the room when he was drawing, and hastily hid all his materials if a stranger entered the room. He would rarely exhibit an unfinished sketch, and carefully destroyed any he was not thoroughly satisfied with himself. He carried this sensitive spirit of selection and self-criticism rather far. Calling on friends who possessed primitives, he would destroy these early relics and leave a more mature and approved specimen of his art, or the édition de luxe of some book he had illustrated. Some of us were so annoyed that we were eventually obliged to lock up all early examples. For though friends thus victimized were endowed with a more valuable acquisition, they had a natural sentiment and affection for the unsophisticated designs of his earlier years.
His life, though many-sided and successful, was outwardly uneventful. In the early summer of 1892 he entered Professor Brown's night school at Westminster, but during the day continued his work at the Guardian Fire Insurance until August, when, by his sister's advice, he resigned his post. In December he became acquainted with Mr. Pennell, from whose encouragement and advice he reaped the fullest advantage. After commencing the decorations to the "Morte d'Arthur," he ceased to attend Professor Brown's classes. In February 1893 some of his drawings were first published in London in the Pall Mall Budget under the editorship of Mr. Lewis Hind, but one of the most striking of his early designs appeared in a little college magazine entitled The Bee. When The Studio was started by Mr. Charles Holme under the able direction of the late Gleeson-White, Beardsley designed the first cover and Mr. Pennell contributed, the well-known appreciation of the new artist.
Towards the end of 1893 he commenced working for Mr. John Lane, who issued his marvellous illustrations to "Salome" in 1894. In April of the same year appeared the Yellow Book. To the first four volumes Beardsley contributed altogether about eighteen illustrations. From a pictorial point of view this publication had no other raison d'être than as a vehicle for the production of Beardsley's work, though Henry Harland, in his capacity as literary editor, revealed the presence of many new writers among us. Throughout 1894 Beardsley's health seemed to improve, and his social success was considerable. In the previous year he had been ridiculed, but now the world accepted him at Mr. Pennell's valuation. The Beardsley type became quite a fashion, and was burlesqued at many of the theatres; his name and work were on every one's lips. He made friends with many of his contemporaries distinguished in art and literature. At the house of one of his friends he delivered a very amusing lecture on "Art" which created much discussion.
A little later Beardsley was popularly supposed to have given pictorial expression to the views and sentiments of a certain school, and his drawings were regarded as the outward artistic sign of inward literary corruption. This is not the place to discuss the invention of a mare's nest. He suffered considerably by this premature attempt to classify his art. Further efforts to ridicule his work and suppress its publication were, however, among the most cheering failures of modern journalism. In 1895 he ceased to contribute to the Yellow Book, and in January 1896 The Savoy was started by Leonard Smithers, with Mr. Arthur Symons as the literary editor, who became the most subtle and discerning of all his critics after Beardsley's death. Failing health was the only difficulty with which he had to contend in the future....
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AUBREY BEARDSLEY
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Product Details
| BN ID: | 2940015562620 |
|---|---|
| Publisher: | OGB |
| Publication date: | 10/06/2012 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| File size: | 1 MB |
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