Best of Aubrey Beardsley by Kenneth Clark, Baron Clark McKenzie, Visit Amazon's Aubrey

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In the autumn of 1895, Smithers prepared a publication to overhaul The Yellow Book, which since Beardsley 's dismissal had gone into a gratifying decline. It was called The 1896. Beardsley did the cover of the Savoy, first and appeared in January, volume (pi. 57). The amorino relieving himself on a copy of The Yellow Book, a detail omitted drawing was published. It is the not a very interesting piece of design, and the subsequent covers or frontispieces are worse. Like drawings, they are no longer shocking.

Clearly drawn it is as a concept. The implied drawing When, from voluminous it in skirts, there always in the right place. His necks, hands, as exquisitely as they are on Greek vases, or Gothic in illuminations. More surprising still, in his late illustrations to Juvenal and Aris- tophanes, where the nude figures are drawn in attitudes of difficult foreshortening and contrapposto , there is still the same absolute certainty. Yet Beardsley seems to have had practically no academic training (he went for a time to evening classes "from the life" at — any more than did Brygos, Nicholas Hilliard; and one schools by Westminster School of Art) and never drew is left wondering young students, although or Pol de if Limbourg, or the years spent in art a pleasant distraction, are not a complete waste of time.

It it visit to Burne-Jones in 1891, and the figure on the right obviously derived from him. is man hand, the tegna's in the center inspired by Man- Entombment, from engraving of the which he is On the other also derived the figure of the kneeling Magdalen. The engraving can be seen on the wall of the He room in Menton in which Beardsley died. returned to the same theme in a pen-and- ink drawing in Volume IV of The called The Repentance of Mrs Yellow Book Like all artists in search of the ideal, Beardsley often repeated the same subjects, with minimal of Tannhauser to the variation: The Return Venusberg (pi.

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