DOCSLIB.ORG

The Early Work of Aubrey Beardsley

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Early Work of Aubrey Beardsley NC 242.B3M42 I- Earl^ work of Aubrey Beardsley, 3 T1S3 DQS aflTfl 4 university of Connecticut libraries Q^CO THIS VOLUME: -J DOES NOT CIRCULATE THE EARLY WORK OF AUBREY BEARDSLEY ,y>^' "'.^"7 /!>,^/',j^/' ^r:,,/^., /'^.y-^s^^t^^.^^.r;: (^r^\^.^„Sr,e^. ' ''WM'/. i^^ec^hicf ^^m-t '- f' LONDON: PRINTED BY THE SWAN ELECTRIC ENGRAVING COMPANY. Il6 CHARING CROSS ROAD. 1 INDEX OF CONTENTS. PORTRAIT OF AUBREY BEARDSLEV. From a study by Mr. F. H. Evans Plotogravure ........ Frontispiece TITLE-PAGE. From an unpublished design by Aubrey Bcardslcy PORTRAIT OF AUBREY BEARDSLEY. From a study by Mr. F. H. Evan Photograi'ure . 3 EARLY SKETCH OF HOLYWELL STREET. By permission of Mr. C. B. Cochran 4 HAIL MARY. Penal Sk.tch. By permission of Mr. F. H. Evans 5 PERSEUS AND THE MONSTRE. Pctin/. By permission of Messrs. Casscll & Co., Ld 6 FIGURE OF A CHILD. Pencil and Ink. By permission of Mr. F. H. Evans 7 PERSEUS. Design for a Panel. Ink „ 8 TWO FIGURES FROM BACK OF ' PERSEUS.' Penci/ 9 TWO FIGURES IN AN ATTIC. Ink and Wash Sketch lO THE PROCESSION OF JEANNE D'ARC. Pencil, reproduced in Collotype. By per mission of Mr. F. H. Evans ...... 1 SANDRO BOTTICELLL Pencil. By permission of Messrs. Cassell & Co., Ld. 1 z AN ANGEL WITH AN ORGAN. Pencil I? VIGNETTE OF A SHIP. Ink ' + ' OF A NEOPHYTE, AND HOW THE BL.ACK "ART WAS REVEALED TO HIM.' By permission of the Proprietor of the Pall Mall Magazine . 'THE KISS OF JUDAS' „ i6 VIRGILIUS THE SORCERER. By permission of Mr. David Nutt . '7 FRONTISPIECE TO ' PASTOR SANG.' By permission of Messrs. Longmans, Green & Co., and Mr. Elidn Mathews ...... i8 COVER DESIGN FOR THE STUDIO. Bv permission of Mr. Charles Holme '9 SIEGFRIED. From the Sti/dio » " 20 THE BIRTHDAY OF MADAME CIGALE. From the Studio „ 21 22 REVENANTS DE MUSIQUE. >> " SALOME WITH THE HEAD OF JOHN THE BAPTIST From the Studio. By permission of Mrs. Ernest Levcrson . 23 ISOLDE. Reproduced in colour. From ihe Stitdio. By permission of Mr. Charles Holme 2 + DESIGN FOR FRONT CO\'ER OF ' SALOIWE.' In possession of John Lane 25 TITLE-PAGE FOR 'SALOME' 26 CONTENTS BORDER FOR 'SALOME' 27 THE WOMAN IN THE MOON. 'Salome 28 THE PEACOCK SKIRT 29 THE BLACK CAPE 30 A PL.ATONIC LAMENT 3" ENTER HERODIAS 32 THE EYES OF HEROD 3? THE STOMACH DANCE 34 THE TOILETTE 35 INDEX OF CONTENTS. Wo. THE DANCER'S REWARD. 'Salome.' In possession of John Lane 36 THE CLIMAX. 57 THE TOILETTE. Unpublished Drawing for ' Salome' 38 JOHN AND SALOME. Unpublished Drawing 39 TAILPIECE FOR 'SALOME' 40 SKETCH FOR COVER OF 'SALOME' 41 PORTRAIT OF THE ARTIST 4.2 PORTRAIT OF MR. HARLAND 43 DESIGN FOR PROSPECTUS OF THE YELLOW BOOK 44 COVER DESIGN FOR YELLOW BOOK. Vol. L 45 DESIGN FOR REVERSE COVER OF YELLOW BOOK 46 TITLE-PAGE ORNAMENT FOR YELLOW BOOK. Vol. I. 47 L'EDUCATION SENTIMENTALE. From Yellozv Book, Vol. L 48 NIGHT PIECE 49 PORTRAIT OF MRS. PATRICK CAMPBELL 5° BOOKPLATE FOR JOHN LUMSDEN PROPERT, Esq. „ By permission 51 COVER DESIGN FOR YELLOW BOOK. Vol. H. In possession of John Lane 52 TITLE-PAGE ORNAMENT FOR ., ,, ... •^3 THE COMEDY BALLET OF MARIONETTES.— I. ¥rom Yellow Book,Yo\. \\. 54 THE COMEDY BALLET OF MARIONETTES.— II. 55 THE COMEDY BALLET OF MARIONETTES.— IIL 56 GAR9ONS DE CAFE 57 THE SLIPPERS OF CINDERELLA 58 PORTRAIT OF MADAME REJANE. Out/hic 59 COVER DESIGN FOR YELLOW BOOK. Vol. III. In possession of John Lane 60 TITLE-PAGE ORNAMENT FOR „ 61 MANTEGNA (published in the name of Philip Broughton). From the Yellow Book,Vo\. Ill 62 PORTRAIT OF THE ARTIST. Fancy portrait in bed , 63 LADY GOLD'S ESCORT 64 THE WAGNERITES 65 LA DAME AUX CAMfiLIAS 66 PASTEL STUDY (published in the name of Albert Foschter) . 67 COVER DESIGN FOR THE YELLOW BOOK. Vol. IV. In possession of Miss Chamberlayne ....... 68 TITLE-PAGE ORNAMENT FOR THE YELLOW BOOK. Vol. IV 69 THE MYSTERIOUS ROSE GARDEN. From the Yellow Book, Vol. IV. 70 THE REPENTANCE OF MRS. 71 PORTRAIT OF MISS WINIFRED EMERY. Outline „ 72 FRONTISPIECE FOR JUVENAL. From the Yellozv Book,Vo\.lV. In possession of Miss Chamberlayne ....... 73 POSTER DESIGN FOR THE YELLOW BOOK. In possession of John Lane 74 ANOTHER POSTER. Unpublished ... 75 COVER DESIGN FOR THE YELLOW BOOK. Unpublished „ 76 DESIGN FOR A BOOK COVER. Unpublished „ 77 . INDEX OF CONTENTS. No. TITLE-PAGE ORNAMENT. Unpublished ...... 78 MESSALINA. Unpublished ........ 79 MAITRESSE D'ORCHESTRE. Unpublished. In possession of John Lane . 80 Unpublished . TITLE-PAGE ORNAMENT. .81 FRONTISPIECE FOR 'AN EVIL MOTHERHOOD.' By permission of Mr. Elkin Matthews ......... 82 ' COFFEE.' Unpublished . BLACK . -83 PORTRAIT OF MISS LETTY LIND. Out/h„: Unpublished ... 8+ ATALANTA. Unpublished. In possession of John Lane .... 85 COVER DESIGN FOR 'THE CAMBRIDGE A.B.C By permission of Mr. Austen Leigh ......... 86 FRONTISPIECE FOR 'EARL LAVENDER.' By permission of Messrs. Ward & Downey. In possession of John Lane ...... 87 FRONTISPIECE TO ' PLAYS.' By John Davidson. In possession of John Lane . 88 TITLE-PAGE ORNAMENT FOR 'PLAYS.' By John Davidson. In possession of John Lane ......... 89 CHILD AT ITS MOTHER'S BED. From the Sketch. By permission of Mr. Max Beerbohm. ......... 90 AUTUMN. By permission of Mr. Wm. Heinemann ..... 91 FRONTISPIECE AND TITLE-PAGE FOR ' VENUS AND TANNH.\USER' Unpublished ......... 92 DESIGN FOR TITLE-PAGE (VENUS) ...... 93 HEADPIECE FROM ST. PAUL'S. By permission of Mr. Henry Reichardt . 94. HEADPIECE FROM ST. PJUL'S „ „ . 95 HEADPIECE FROM ST. PJUVS „ ,, . 96 COVER DESIGN FOR 'KEYNOTES.' In possession of John Lane . 97 „ 'THE DANCING FAUN' „ „ . 98 „ 'POOR FOLK' „ „ . 99 „ 'A CHILD OF THE AGE' „ „ . 100 „ 'THE GREAT GOD PAN' „ „ . 101 „ 'DISCORDS' „ „ . 102 „ 'PRINCE ZALESKI' „ „ . 103 „ 'THE WOMAN WHO DID' „ „ . 10+ „ 'WOMEN'S TRAGEDIES' „ „ . 105 „ 'GREY ROSES' „ „ . 106 ,. 'AT THE FIRST CORNER' „ „ . 107 „ ' MONOCHROMES' „ „ . 108 „ 'AT THE RELTON ARMS' „ „ .109 „ 'THE GIRL FROM THE FARM' „ „ .no „ 'THE MIRROR OF MUSIC „ „ .111 „ 'YELLOW AND WHITE' „ „ .112 „ 'THE MOUNTAIN LOVERS' „ „ • >'3 ,. 'THE WOMAN WHO DIDN'T' „ „ "4 „ 'THE THREE IMPOSTORS' „ „ 115 INDEX OF CONTENTS. COVER DESIGN FOR 'NOBODY'S FAULT.' In possession of John Lrhc 116 'THE BRITISH BARBARIANS.' 117 'THE BARBAROUS BRITISHERS' ii« 'PLATONIC AFFECTION' I \q 'YOUNG OFEG'S DITTIES' I 20 'PAGAN PAPERS' 12 I UNFINISHED SKETCH FOR COVER OF 'THE GREAT GOD PAN I 22 EIGHT INITIAL KEYS FOR 'KEYNOTES' SERIES . 123 SEVEN INITIAL KEYS „ „ „ . >H INITIAL KEY FOR CUTTING IN GOLD .... 125 COVER DESIGN FOR 'KEYNOTES' CIRCULAR 126 DESIGN FOR AN INVITATION CARD ..... 127 DESIGN FOR MENU OF THE PLAYGOERS' CLUB. By permission of Mr. Carl Hentschel ....... 128 DESIGN FOR A GOLF CARD. By permission of Mr. R. Hippesky Cox 129 PORTRAIT OF THE ARTIST IN OUTLINE FROM 'POSTERS IN MINIATURE' ........ FRONTISPIECE TO CHOPIN'S NOCTURNES. Unpubliehcd. In possession a John Lane ........ 131 CHOPIN'S BALLADE III. OP. 47. By permission of Mr. Charles Holme . COVER DESIGN FOR WHARTON'S 'SAPPHO.' In possession of John Lane '33 COVER DESIGN FOR 'PIERROT' '3 + TITLE-PAGE DESIGN FOR 'PIERROT' 135 DESIGN FOR END PAPER. 'PIERROT' 136 DESIGN FOR END PAPER. 'PIERROT' '37 DESIGN FOR REVERSE COVER OF 'PIERROT' .38 BOOK-PLATE OF MISS OLIVE CONSTANCE. Photogravure. By peimission '39 MR. H. A. JONES AND HIS BAUBLE. By permission. ¥tom i\\c Pall Mall Budget 140 FOUR DESIGNS FOR THE NEW COINAGE „ 141 MR. HENRY IRVING AS BECKET 142 MISS ELLEN TERRY IN 'BECKET' •43 FOUR SKETCHES FROM 'BECKET' 144 TWO SKETCHES FROM 'BECKET' 145 M. ZOLA AND THE ADADEMIE FRANCAISE „ 146 PORTRAIT OF EMILE ZOLA '47 PORTRAIT OF VERDI 148 MR. AND MRS. BANCROFT IN 'DIPLOMACY' „ '49 ^NEAS ON THE LINKS 150 'ORPHEUS' AT THE LYCEUM. Two Sketches „ '5' ' ORPHEUS ' AT THE LYCEUM. Two Sketches „ 152 PORTRAIT OF JULES FERRY •S3 MR. HARRISON'S IDEAL NOVELIST •54 MR. PENNELL AS 'THE DEVIL OF NOTRE DAME' '55 DESIGN FOR A POSTER. By permission of Mr. Wm. Heinemann . .56 ' SIGNATURE. From the reverse cover of ' Salome . '57 — Aubrey Vincent Beardsley. Born August 2\, 1872 Died 3iarch i6, 1898. /^^NE hears it asserted, with a confidence that possibly may ^^-^ be born of a wish, that ' the Beardsley craze is dead.' For such as truly hold this belief it can never have been very much alive ; nor is there reason why it should have been. The suddenness of Beardsley's leap into notoriety, the curiosity excited by his audacious invention and novel style, the puzzlement that his work produced on the minds of a steady-going public, sensitive to shocks, are sufficient justification in themselves for those who can see in him only a transient ' craze.' Beardsley never could have been, and never was, intended for the many. His work is seldom of a kind that could be described as popular. Much of it, indeed, is so deliberately regardless of popular prejudices and conventions that one cannot wonder if the public at large found voice to protest against the effronteries of Beardsley at large, and objected to the inroads made upon their forbearance by what they could only regard as incomprehensible manifestations of an unmen- tionable phase of life. Making all possible allowance for this attitude, however, it remains a truism that objections do not kill. To a young and rising artist they are as wholesome nutriment as praise ; fre- I B Aubrey Vincent Beardsley. quently more wholesome. And Beardsley had both. Extravagantly praised and extravagantly hated, he worked in an atmosphere of exotic stimulus which was largely responsible for the eccentricities that developed themselves in his art and in his character. Pricked on upon one hand by the lavish admiration of a group which saw in him more genius than he was really conscious of himself, piqued on the other by the exclamations of a public he was delighted to offend, it is small wonder that his work presented a see-saw appearance, ranging from the nearly sublime to the more than frankly ridiculous.
Load more

Recommended publications
  • BA THESIS Alex Lorenzů
    Charles University in Prague Faculty of Arts Department of Anglophone Literatures and Cultures BA THESIS Alex Lorenzů Literary, Cultural and Historical Influences in the Works and Beliefs of Oscar Wilde Literární, kulturní a historické vlivy v díle a přesvědčeních Oscara Wildea Prague 2012 Supervisor: PhDr. Zdeněk Beran Acknowledgements I would like to thank PhDr. Zdeněk Beran for his thorough consultation of the ideas behind my thesis and the approaches to them, as well as for his support during the writing process. Prohlášení Prohlašuji, že jsem tuto bakalářskou práci vypracoval samostatně, že jsem řádně citoval všechny použité prameny a literaturu a že práce nebyla využita v rámci jiného vysokoškolského studia či k získání jiného či stejného titulu. V Praze dne 15. 8. 2012 …....................................... Alex Lorenzů Souhlasím se zapůjčením bakalářské práce ke studijním účelům. Abstract The thesis deals with the cultural and literary influences that can be traced in the works of Oscar Wilde. Its aim is to map out and elucidate some of the important motifs of the author's work and aesthetics in their own context as well as in the wider cultural-historical one. The methods used will be comparison of relevant materials, analysis of certain expressions typical of the author with their connotations, explaining the intertextual allusions in Wilde's work, and historical sources. The requisite attention will also be paid to Wilde as a representative of a subversive element of Victorian society and how this relates to his sexuality; that is to say, exploring the issue of the tabooing of non-heterosexuality, which may have been a decisive factor in Wilde's criticism of the conventions of his era and to his search of positive role-models in the ancient tradition both for his art and for his personal philosophy.
    [Show full text]
  • The Century Guild Hobby Horse Mitchell, Rebecca
    The Century Guild Hobby Horse Mitchell, Rebecca DOI: 10.1086/696259 License: None: All rights reserved Document Version Peer reviewed version Citation for published version (Harvard): Mitchell, R 2018, 'The Century Guild Hobby Horse' Papers of the Bibliographical Society of America, vol. 112, no. 1, pp. 75-104. https://doi.org/10.1086/696259 Link to publication on Research at Birmingham portal Publisher Rights Statement: Version accepted for publication by Papers of the Bibliographical Society of America on 11/09/2015. Final version of record available at: https://www.journals.uchicago.edu/doi/10.1086/696259 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. When citing, please reference the published version. Take down policy While the University of Birmingham exercises care and attention in making items available there are rare occasions when an item has been uploaded in error or has been deemed to be commercially or otherwise sensitive.
    [Show full text]
  • The Picture of Dorian Gray Symbols and Motifs Worksheet
    The Picture of Dorian Gray Symbols and Motifs Worksheet SYMBOL – A literal object, person, place etc. that represents a figurative idea/concept/emotion. MOTIF – a recurring image or concept that reiterates an idea/concept/emotion. Read the information about each element (supplied below) and summarise the important points (and add your own) to fill in this table. Symbol/Motif What it Significance to our represents understanding of the novel E.g. The painting Beauty, vanity, The presence of the painting is a the passing of time constant reminder of the true result and conscience. of Dorian’s actions. It allows him to act without thought of the consequences and to only worry about his own pleasure, but he cannot hide from it forever. Eventually the painting’s mere existence comes to torture Dorian. Flowers The book The opium dens James Vane Red and white SOURCE 1: Course Hero The Painting By far the most important symbol in the novel is Basil's portrait of Dorian. The centrepiece of the plot, the portrait interacts with Dorian throughout the narrative. When Dorian does something immoral, the results show up on the painting, while Dorian's own face stays unmarked and beautiful. This painting is Basil's best work, but must, because of its magical power, remain unseen by everyone except Dorian. Basil and Henry saw the portrait when it was first complete. Though it is rarely seen, this picture looms symbolically and metaphorically over the entire book. The picture takes the Victorian ideal of art to its logical extreme. If art is useful because it teaches a moral lesson, how perfect must this painting be since it is an immediate barometer of ethical changes? Basil's final glimpse of his masterpiece occurs when he says that to know Dorian he must see his soul.
    [Show full text]
  • Salome: the Image of a Woman Who Never Was
    Salome: The Image of a Woman Who Never Was Salome: The Image of a Woman Who Never Was; Salome: Nymph, Seducer, Destroyer By Rosina Neginsky Salome: The Image of a Woman Who Never Was; Salome: Nymph, Seducer, Destroyer, By Rosina Neginsky This book first published 2013 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2013 by Rosina Neginsky All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-4621-X, ISBN (13): 978-1-4438-4621-9 To those who crave love but are unable to love. TABLE OF CONTENTS List of Illustrations ..................................................................................... ix Epigraph: Poem “Salome” by Rosina Neginsky ........................................ xv Preface ...................................................................................................... xxi Introduction ................................................................................................. 1 Part I: Creation of the Salome Myth Chapter One ................................................................................................. 8 History and Myth in the Biblical Story Chapter Two .............................................................................................
    [Show full text]
  • Introduction the Fighting Nineties: the Age of the Critical Function
    Cambridge University Press 978-1-107-10974-2 - Literature and the Politics of Post-Victorian Decadence Kristin Mahoney Excerpt More information Introduction The Fighting Nineties: The Age of the Critical Function In December 1928, the Leicester Galleries hosted an exhibition of the works of Max Beerbohm titled “Ghosts.” The exhibition included caricatures of Oscar Wilde, Lord Queensberry, John Lane, Walter Pater, Henry Harland, and Aubrey Beardsley. In the exhibition catalog, Beerbohm characteristi- cally apologizes for his own anachronism, feigning embarrassment at the irrelevance of his work to the modern moment. He lives in Italy now, he notes, and it’s very hard to keep up: “So very many people with faces and figures unknown to me have meanwhile become famous that I have abandoned all hope of being ‘topical.’”1 Nevertheless, he suggests that per- haps the visitors to the gallery won’t mind “looking at some people who flourished in past days.”2 He first addresses his fellow specters from the Victorian era: “Those of you who are as old as – or almost (and even that is saying much) as old as I – will perhaps like to have the chords of memory struck by the drawings on these walls.”3 But he continues to suggest that “eventheyoung...mayconceivablyfeelaslightthrill”whilecontemplat- ing the “ghosts” in the gallery.4 “I have noticed,” he writes, “that the young in this era have what those in my own era hadn’t: a not unfriendly interest in the more or less immediate past.”5 This “not unfriendly interest” in the late-Victorian period had been on the rise since the publication of Holbrook Jackson’s well-received The Eighteen-Nineties in 1913.
    [Show full text]
  • The Yellow Book Vol, I
    The Yell ow Book An Illustrated (Quarterly Volume I April 1894 London: Elkin Mathews &f John Lane Contents Letterpress I. The Death of the Lion . By Henry James . Tagc 7 II. Tree-Worship Richard Le Gallienne . 57 III. of Cosmetics . A Defence Max Beerbohm . 65 IV. Arthur Christopher Benson 83 V. Irremediable Ella D Arcy ... 87 VI. The Frontier . William Watson . .113 VII. Night on Curbar Edge VIII. A Sentimental Cellar George Saintsbury . 119 IX. Stella Maris . Arthur Symons . .129 X. Mercedes Henry Harland . -135 XI. A Broken Looking-Glass XII. Alere Flammam Edmund Gosse . XIII. A Dream of November 153 XIV. The Dedication Fred M. Simpson . .159 XV. A Lost Masterpiece . George Egerton . .189 XVI. Reticence in Literature Arthur Waugh . 201 XVII. Modern Melodrama Hubert Crackanthorpe . 223 XVIII. London , Davidson . XIX. Down-a-down John -233 XX. The of Love-Story Luigi Richard Garnett, LL.D. 235 Tansillo . Oliver Hobbes John ] XXI. The Fool s Hour and George Moore } Pictures The Yellow Book Vol, I. April, 1894. Pictures By Sir Frederic Leighton, I. A Study . P.R.A. Frontispiece e II. L Education Sentimentale Aubrey Beardsley . P"S 55 III. Le Puy en Velay . Joseph Pennell . 63 IV. The Old Oxford Musicusic } Walter Sickert . .85 Hall . Will Rothenstein . .in V. Portrait of a Gentleman . VI. The Reflected Faun Laurence Housman . 117 VII. Night Piece . Aubrey Beardsley . .127 Sir Frederic Leighton, VIII. A Study . P.R.A. 133 IX. Portrait of a Lady . Will Rothenstein . .151 X. Portrait of Mrs. Patrick] Aubrey Beardsley 157 Campbell . j XI. The Head of Minos J.
    [Show full text]
  • Durham E-Theses
    Durham E-Theses The century guild hobby horse and Oscar Wilde: a study of British little magazines, 1884-1897 Tildesley, Matthew Brinton How to cite: Tildesley, Matthew Brinton (2007) The century guild hobby horse and Oscar Wilde: a study of British little magazines, 1884-1897, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2449/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 The Century Guild Hobby Horse and Oscar Wilde: A Study of British Little Magazines, 1884-1897. Matthew Brinton Tildesley. The copyright of this thesis rests with the author or the university to which it was submitted. No quotation from it, or information derived from it may be published without the prior written consent of the author or university, and any information derived from it should be acknowledged.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title The Fabian Child: English and American Literature and Socialist Reform, 1884-1915 Permalink https://escholarship.org/uc/item/2q169884 Author Hollander, Amanda Farrell Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles The Fabian Child: English and American Literature and Socialist Reform, 1884-1915 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in English by Amanda Farrell Hollander 2015 © Copyright by Amanda Farrell Hollander 2015 ABSTRACT OF THE DISSERTATION The Fabian Child: English and American Literature and Socialist Reform, 1884-1915 by Amanda Farrell Hollander Doctor of Philosophy in English University of California, Los Angeles, 2015 Professor Joseph E. Bristow, Chair “The Fabian Child: English and American Literature and Socialist Reform, 1884-1915” intervenes in current scholarship that addresses the impact of Fabian socialism on the arts during the fin de siècle. I argue that three particular Fabian writers—Evelyn Sharp, E. Nesbit, and Jean Webster—had an indelible impact on children’s literature, directing the genre toward less morally didactic and more politically engaged discourse. Previous studies of the Fabian Society have focused on George Bernard Shaw, H. G. Wells, and Beatrice Webb and Sidney Webb to the exclusion of women authors producing fiction for child readers. After the Fabian Society’s founding in 1884, English writers Sharp and Nesbit, and American author Webster published prolifically and, in their work, direct their socialism toward a critical and deliberate reform of ii literary genres, including the fairy tale, the detective story, the boarding school novel, adventure yarns, and epistolary fiction.
    [Show full text]
  • View and Download La Belle Époque Art Timeline
    Timeline of the History of La Belle Époque: The Arts 1870 The Musikverein, home to the Vienna Philharmonic, is inaugurated in Vienna on January 6. The Metropolitan Museum of Art in New York is established on April 13, without a single work of art in its collection, without any staff, and without a gallery space. The museum would open to the public two years later, on February 20, 1872. Richard Wagner premieres his opera Die Walküre in Munich on June 26. Opening reception in the picture gallery at the Metropolitan Museum of Art, 681 Fifth Avenue; February 20, 1872. Wood engraving published in Frank Leslie’s Weekly, March 9, 1872. 1871 Giuseppe Verdi’s opera Aida premieres in Cairo, Egypt on December 24. Lewis Carroll publishes Through the Looking Glass, a sequel to his book Alice’s Adventures in Wonderland (1865). James McNeill Whistler paints Arrangement in Grey and Black No. 1, commonly known as “Whistler’s Mother”. John Tenniel – Tweedledee and Tweedledum, illustration in Chapter 4 of Lewis Carroll’s Through the Looking Glass and What Alice Found There, 1871. Source: Modern Library Classics 1872 Claude Monet paints Impression, Sunrise, credited with inspiring the name of the Impressionist movement. Jules Verne publishes Around the World in Eighty Days. Claude Monet – Impression, Sunrise (Impression, soleil levant), 1872. Oil on canvas. Musée Marmottan Monet, Paris. 1873 Société Anonyme Coopérative des Artistes Peintres, Sculpteurs, Graveurs (Co-operative and Anonymous Association of Painters, Sculptors, and Engravers) (subsequently the Impressionists) is organized by Monet, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley in response to frustration over the Paris Salon.
    [Show full text]
  • Grade 12 English the Picture of Dorian Gray Notes
    THE PICTURE OF DORIAN GRAY Oscar Wilde Oscar Wilde was born on October 16, 1854, in Dublin, Ireland. He was educated at Trinity College in Dublin and at Magdalen College, Oxford, and settled in London, where he married Constance Lloyd in 1884. In the literary world of Victorian London, Wilde fell in with an artistic crowd that included W. B. Yeats, the great Irish poet, and Lillie Langtry, mistress to the Prince of Wales. A great conversationalist and a famous wit, Wilde began by publishing mediocre poetry but soon achieved widespread fame for his comic plays. The first, Vera; or, The Nihilists, was published in 1880. Wilde followed this work with Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895), and his most famous play, The Importance of Being Earnest (1895). Although these plays relied upon relatively simple and familiar plots, they rose well above convention with their brilliant dialogue and biting satire. Wilde published his only novel, The Picture of Dorian Gray, before he reached the height of his fame. The first edition appeared in the summer of 1890 in Lippincott’s Monthly Magazine. It was criticized as scandalous and immoral. Disappointed with its reception, Wilde revised the novel in 1891, adding a preface and six new chapters. The Preface (as Wilde calls it) anticipates some of the criticism that might be leveled at the novel and answers critics who charge The Picture of Dorian Gray with being an immoral tale. It also succinctly sets forth the tenets of Wilde’s philosophy of art.
    [Show full text]
  • Aesthetic Movement to Degeneration
    • The Aesthetic Movement in England was related to other movements such as Symbolism or Decadence in France and Decadentismo in Italy. • British decadent writers were influenced by Walter Pater who argued that life should be lived intensely with an ideal of beauty. • It was related to the Arts and Crafts movement but this will be traced back to the influence of British decorative design, the Government Schools of Design and Christopher Dresser. • In France, Russia and Belgium Symbolism began with the works of Charles Baudelaire who was influenced by Edgar Allan Poe. • It is related to the Gothic element of Romanticism and artists include Fernand Khnopff, Gustave Moreau, Gustav Klimt, Odilon Redon, Pierre Puvis de Chavannes, Henri Fantin-Latour, and Edvard Munch. These artists used mythology and dream imagery based on obscure, personal symbolism. It influenced Art Nouveau and Les Nabis (such as Édouard Vuillard, Pierre Bonnard and Maurice Denis). • In Italy, Gabriele D’Annunzio (1863-1938) promoted irrationality against scientific rationalism. 1 Simeon Solomon (1840-1905), Walter Pater, 1872, pencil on paper, Peter Nahum Ltd, Leicester Galleries Walter Pater (1839-1894) • Essayist, literary and art critic and fiction writer. His father was a physician but died when he was young and he was tutored by his headmaster. His mother died when he was 14 and he gained a scholarship to Queen’s College, Oxford in 1858. • He read Flaubert, Gautier, Baudelaire and Swinburne and learnt German and read Hegel. He did not pursue ordination despite an early interest. He stayed in Oxford and was offered a job at Brasenose teaching modern German philosophy.
    [Show full text]
  • Critical Beauty: the Decorative, the Grotesque and the Explicit in the Work of Aubrey Beardsley and Kara Walker
    Critical Beauty: The Decorative, the Grotesque and the Explicit in the work of Aubrey Beardsley and Kara Walker Natalya Hughes School of Art Theory/ Art History College of Fine Arts University of New South Wales STATEMENT OF ORIGINAL AUTHORISHIP ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed …………………………………………….............. Date …………………………………………….............. ii ABSTRACT This research project centres on a representative mode in the visual arts marked by seemingly contradictory operations. Made through a particular use of decorative form, this mode combines the operations of aesthetic pleasure and a more challenging or destabilising affect. It co-implicates formal beauty and a critical content usually associated with so-called anti-aesthetic art practices. The written component analyses the occurrence of this contradictory logic of representation in the work of late Victorian artist Aubrey Beardsley, and contemporary African American artist Kara Walker. Here I argue that while existing criticism on Beardsley and Walker points to the co-existence of these seemingly contradictory operations, it consistently privileges one term (i.e.
    [Show full text]