1
/
of
1
Leila's Books
The Art of Aubrey Beardsley
The Art of Aubrey Beardsley
Regular price
$2.50 USD
Regular price
Sale price
$2.50 USD
Shipping calculated at checkout.
Quantity
Couldn't load pickup availability
This ebook edition has been proofed and corrected for errors and compiled to be read with without errors!
***
Contents:
PREFACE
AUBREY BEARDSLEY
ILLUSTRATIONS
1. Portrait of Aubrey Beardsley.
2. The Litany of Mary Magdalen.
3. A Portrait of Aubrey Beardsley. By Himself.
4. Incipit Vita Nova.
5. Sandro Botticelli.
6. "Siegfried." From "The Studio."
7. Merlin. From "Le Morte d'Arthur."
8. Vignette. From "Le Morte d'Arthur."
9. La Belle Isoud at Joyous Gard. From "Le Morte d'Arthur."
10. How Queen Guinever Made Her a Nun. From "Le Morte d'Arthur."
11. "Of a Neophyte and How the Black Art Was Revealed Unto Him."
12. The Kiss of Judas.
13. A Suggested Reform in Ballet Costume.
14. Baron Verdigris.
15. The Woman in the Moon.
16. The Peacock Skirt.
17. The Black Cape.
18. The Platonic Lament.
19. Enter Herodias.
20. The Eyes of Herod.
21. The Stomach Dance.
22. The Toilette of Salome.
23. The Dancer's Reward.
24. The Climax.
25. The Toilette of Salome. First Drawing.
26. John and Salome.
27. Salome on Settle.
28. Design for "Salome." From "The Studio."
29. Design for the Cover of "The Yellow Book" Prospectus.
30. Night Piece.
31. Portrait of Mrs. Patrick Campbell.
32. Title Page Ornament for "The Yellow Book."
33. Comedy Ballet of Marionettes, I. From "The Yellow Book." Vol. II.
34. Comedy Ballet of Marionettes, II. From "The Yellow Book." Vol. II.
35. Comedy Ballet of Marionettes, III.
36. Garçons de Café. From "The Yellow Book." Vol. II.
37. The Slippers of Cinderella.
38. Portrait of Mantegna. From "The Yellow Book." Vol. III.
39. The Wagnerites. From "The Yellow Book." Vol. III.
40. La Dame Aux Camélias. From "The Yellow Book." Vol. III.
41. Madame Réjane.
42. Portrait of Balzac.
43. Design for Frontispiece to "An Evil Motherhood."
44. Design for Front Cover of "Pierrot."
45. Design for End Paper of "Pierrot."
46. Design for End Paper of "Pierrot."
47. Lysistrata.
48. An Athenian Woman.
49. Myrrhina.
50. The Dream.
51. The Baron's Prayer.
52. The Rape of the Lock.
53. Design for the Prospectus of "The Savoy."
54. Another Design for the Prospectus of "The Savoy."
55. Cover Design. From "The Savoy" No. 1.
56. Contents Page. From "The Savoy" No. 1.
57. The Abbé. From "Under the Hill."
58. The Fourth Tableau of "Das Rheingold."
59. Erda. To illustrate "Das Rheingold."
60. The Death of Pierrot.
61. Ave Atque Valet Catullus, Carmet Ci.
62. Aubrey Beardsley's Book-Plate.
***
ANIMA naturaliter pagana, Aubrey Beardsley ended a long career, at tile age of twenty-six, in the arms of the Church. No artist of our time, none certainly whose work has been in black and white, has reached a more universal, or a more contested fame; none has formed himself, out of such alien elements, a more personal originality of manner; none has had so wide an influence on contemporary art. He had the fatal speed of those who are to die young; that disquieting completeness and extent of knowledge, that absorption of a lifetime in an hour, which we find in those who hasten to have done their work before noon, knowing that they will not see the evening. He had played the piano in drawing-rooms as an infant prodigy, before, I suppose, he had ever drawn a line: famous at twenty as a draughtsman, he found time, in those incredibly busy years which remained to him, to deliberately train himself into a writer of prose which was, in its way, as original as his draughtsmanship, and into a writer of verse which had at least ingenious and original moments. He seemed to have read everything, and had his preferences as adroitly in order, as wittily in evidence, as almost any man of letters; indeed, he seemed to know more, and was a sounder critic, of books than of pictures; with perhaps a deeper feeling for music than for either. His conversation had a peculiar kind of brilliance different in order but scarcely inferior in quality to that of any other contemporary master of that art; a salt, whimsical dogmatism, equally full of convinced egoism and of imperturbable keen sightedness. Generally choosing to be paradoxical; and vehement on behalf of any enthusiasm of the mind, he was the dupe of none of his own statements, or indeed of his own enthusiasms, and, really, very coldly impartial. I scarcely except even his own judgment of himself in spite of his petulant, amusing self-assertion, so full of the childishness of genius. He thought, and was right in thinking, very highly of himself; he admired himself enormously; but his intellect would never allow itself to be deceived even about his own, accomplishments.
***
Contents:
PREFACE
AUBREY BEARDSLEY
ILLUSTRATIONS
1. Portrait of Aubrey Beardsley.
2. The Litany of Mary Magdalen.
3. A Portrait of Aubrey Beardsley. By Himself.
4. Incipit Vita Nova.
5. Sandro Botticelli.
6. "Siegfried." From "The Studio."
7. Merlin. From "Le Morte d'Arthur."
8. Vignette. From "Le Morte d'Arthur."
9. La Belle Isoud at Joyous Gard. From "Le Morte d'Arthur."
10. How Queen Guinever Made Her a Nun. From "Le Morte d'Arthur."
11. "Of a Neophyte and How the Black Art Was Revealed Unto Him."
12. The Kiss of Judas.
13. A Suggested Reform in Ballet Costume.
14. Baron Verdigris.
15. The Woman in the Moon.
16. The Peacock Skirt.
17. The Black Cape.
18. The Platonic Lament.
19. Enter Herodias.
20. The Eyes of Herod.
21. The Stomach Dance.
22. The Toilette of Salome.
23. The Dancer's Reward.
24. The Climax.
25. The Toilette of Salome. First Drawing.
26. John and Salome.
27. Salome on Settle.
28. Design for "Salome." From "The Studio."
29. Design for the Cover of "The Yellow Book" Prospectus.
30. Night Piece.
31. Portrait of Mrs. Patrick Campbell.
32. Title Page Ornament for "The Yellow Book."
33. Comedy Ballet of Marionettes, I. From "The Yellow Book." Vol. II.
34. Comedy Ballet of Marionettes, II. From "The Yellow Book." Vol. II.
35. Comedy Ballet of Marionettes, III.
36. Garçons de Café. From "The Yellow Book." Vol. II.
37. The Slippers of Cinderella.
38. Portrait of Mantegna. From "The Yellow Book." Vol. III.
39. The Wagnerites. From "The Yellow Book." Vol. III.
40. La Dame Aux Camélias. From "The Yellow Book." Vol. III.
41. Madame Réjane.
42. Portrait of Balzac.
43. Design for Frontispiece to "An Evil Motherhood."
44. Design for Front Cover of "Pierrot."
45. Design for End Paper of "Pierrot."
46. Design for End Paper of "Pierrot."
47. Lysistrata.
48. An Athenian Woman.
49. Myrrhina.
50. The Dream.
51. The Baron's Prayer.
52. The Rape of the Lock.
53. Design for the Prospectus of "The Savoy."
54. Another Design for the Prospectus of "The Savoy."
55. Cover Design. From "The Savoy" No. 1.
56. Contents Page. From "The Savoy" No. 1.
57. The Abbé. From "Under the Hill."
58. The Fourth Tableau of "Das Rheingold."
59. Erda. To illustrate "Das Rheingold."
60. The Death of Pierrot.
61. Ave Atque Valet Catullus, Carmet Ci.
62. Aubrey Beardsley's Book-Plate.
***
ANIMA naturaliter pagana, Aubrey Beardsley ended a long career, at tile age of twenty-six, in the arms of the Church. No artist of our time, none certainly whose work has been in black and white, has reached a more universal, or a more contested fame; none has formed himself, out of such alien elements, a more personal originality of manner; none has had so wide an influence on contemporary art. He had the fatal speed of those who are to die young; that disquieting completeness and extent of knowledge, that absorption of a lifetime in an hour, which we find in those who hasten to have done their work before noon, knowing that they will not see the evening. He had played the piano in drawing-rooms as an infant prodigy, before, I suppose, he had ever drawn a line: famous at twenty as a draughtsman, he found time, in those incredibly busy years which remained to him, to deliberately train himself into a writer of prose which was, in its way, as original as his draughtsmanship, and into a writer of verse which had at least ingenious and original moments. He seemed to have read everything, and had his preferences as adroitly in order, as wittily in evidence, as almost any man of letters; indeed, he seemed to know more, and was a sounder critic, of books than of pictures; with perhaps a deeper feeling for music than for either. His conversation had a peculiar kind of brilliance different in order but scarcely inferior in quality to that of any other contemporary master of that art; a salt, whimsical dogmatism, equally full of convinced egoism and of imperturbable keen sightedness. Generally choosing to be paradoxical; and vehement on behalf of any enthusiasm of the mind, he was the dupe of none of his own statements, or indeed of his own enthusiasms, and, really, very coldly impartial. I scarcely except even his own judgment of himself in spite of his petulant, amusing self-assertion, so full of the childishness of genius. He thought, and was right in thinking, very highly of himself; he admired himself enormously; but his intellect would never allow itself to be deceived even about his own, accomplishments.
Share
