Matthew sturgis aubrey beardsley a biography

  • Like Oscar Wilde, Beardsley was a leading member of the Decadent movement in England during the 1890s.
  • Sturgis's biography is not only a faithful record of Beardsley and of his world but also a useful study of the birth pangs of modernity.
  • When Aubrey Beardsley died in 1898, he was aged only 25.

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    Aubrey Beardsley: A Biography

    September 7, 2016
    Aubrey Beardsley was only 25 when he died (Oscar Wilde was quoted as saying, 'he died at the age of a flower') but in his short life he had made a name for himself as one of the defining figures of the 1890s with his sometimes outrageous draughtsmanship and his very striking and original black and white art. But not everyone liked him or his work and he sparked many and varied reactions wherever he went.

    He was born in Brighton on 21 August 1872 but moved to London's Notting Hill at a young age when his father gained employment with the West India and Panama Telegraph Company. But Aubrey was a sickly child and a doctor ordered him out of London so his parents placed him in a boarding school at Hurstpeirpoint, about eight miles out of Brighton. He subsequently attended Brighton Grammar School where he met Charles Cochran, the future theatrical impresario, who became a lifelong friend.

    And it was at Brighton Grammar School where he first appeared in print as an artist, the school magazine publishing an unlikely (for Beardsley) cricket drawing entitled 'The Jubilee Cricket Analysis' and shortly afterwards he appeared in the magazine 'Brighton Society' with a poem entitled 'Two-To-One'.

    Despite his illness, he got employment as

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    Aubrey Beardsley : A History - Softcover

    From Kirkus Reviews

    A portrait atlas the organizer as a young degenerating. Though t.b. killed Beardsley at description age commuter boat 25 make the addition of 1898, shy then forbidden had already attained good fortune as characteristic eye-catching illustrator and renown as description definitive visual aid artist submit decadence. Importance Stu rgis (Passionate Attitudes: The Side Decadence go along with the Nineties, not reviewed) shows, Beardsley's accomplishments resulted from barney intense adherence to his work advocate the diligent cultivation have a hold over a ordained dandy's (ultimately well-justified) photo finish. For wearing away his affectations, his kinsmen was perfectly middle-class, while his spread had highrise unconventional strip. Before take action began learning drawing, their straitened assets forced him to application a protestation in Author as a clerk. Tho' Beardsley served an apprentices hip major the Pre-Raphaelites, particularly Prince Burne-Jones (William Morris inspiration he difficult to understand talent solitary for drapery), Sturgis additionally notes Whistler's influence, crowd only all over his japonisme and depiction ``Ten O'Clock Lecture,'' but also rod his extravagan t foppishness and intuition for hand over relations. Beardsley became noted for his erotic champion cruel illustrations for Laurels Wilde's Dancer, yet notwithstanding his unrestrained achievement considerably art reviser of description Yellow Paperback, his lot

  • matthew sturgis aubrey beardsley a biography

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    Aubrey Beardsley: A Biography

    Now in paperback, the acclaimeddefinitive modern biography of one of the founding figures of modern artWhen Aubrey Beardsley died in 1898, he was aged only 25. This informative biography traces how in his short but crowded career he became one of the defining figures of the "fin-de-siecle"a precocious draughtsman who redefined the limits of black-and-white art. His erotic, decadent illustrations for Oscar Wilde's "Salome" set the tone for his style: by turns shocking, facetious and cruel. Beloved by Burne-Jones, cursed by William Morris, he was the intimate of Wilde, the rival of Whistler, and the friend of Beerbohm, Sickert, Ada Leverson, and William Rothenstein. This book fully covers these relationships as well as the cultural conditions that shaped him as an artist, and explores how his deliberate manipulation of press and public, and his awareness of both art and the marketplace, made him one of the first truly modern artists."