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Aubrey Beardsley
BEARDSLEY, AUBREY VINCENT (1872—1898), English artist in black and white, was born at Brighton on the 24th of August 1872. In 1883 his family settled in London, and in the following year he appeared in public as an “infant musical phenomenon,” playing at several concerts with his sister. In 1888 he obtained a post in an architect’s office, and afterwards one in the Guardian Life and Fire Insurance Company (1889). In 1891, under the advice of Sir Edward Burne-Jones and Puvis de Chavannes, he took up art as a profession. In 1892 he attended the classes at the Westminster School of Art, then under Professor Brown; and from 1893 until his death, at Mentone, on the 16th of March 1898, his work came continually before the public, arousing a storm of criticism and much hostile feeling. Beardsley had an unswerving tendency towards the fantastic of the gloomier and “unwholesome” sort. His treatment of most subjects was revolutionary; he deliberately ignored proportion and perspective, and the “freedom from convention” which he displayed caused his work to be judged with harshness. In certain phases of technique he especially excelled; and his earlier methods of dealing with the single line in conjunction with masses of black are in their way unsurpassed, except in the art of Japan, the country which probably gave his ideas some assistance. He was always an ornamentist, rather than an illustrator; and his work must be judged from that point of view. His frontispiece to Volpone is held by some to be, from this purely technical standpoint, one of the best pen-drawings of the age. His posters for the Avenue theatre and for Mr Fisher Unwin were among the first of the modern cult of that art.
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Aestheticism
Art Nouveau
Ashcan School
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Baroque
Byzantine art
Classicism
Colonial Era
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Futurism
Golden Age of Illustration
Gothic Art
Hudson River School
Impressionism
Mannerism
Naturalism
Neoclassicism
Newlyn School
Northern Renaissance
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Renaissance
Rococo
Romanticism
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Fantasy & Mythology神秘奇幻
Figure & Portrait人物
Floral & Vase花卉
Food & Fruit食物水果
Garden & Country花园乡村小屋
Indoor室内
Landscape风景
Military & War战争
Music & Dancer音乐舞蹈
Paintings of Paintings画中有画
Palace(宫廷）
Plant & Botanical绿植
Pop Art & Vintage波普仿古
Religion & Philosophy宗教哲学
Sculpture & Status雕像
Seascape & Stream海景水景
Sport & Game体育游戏
Still life静物
Street & Road街道
Transportation交通工具
Wild West美国西部
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The Peacock Skirt
The Peacock Skirt
Aubrey Beardsley
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Price: $167.52
Isolde
Isolde
Aubrey Beardsley
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Price: $169.56
The Toilet of Salome
The Toilet of Salome
Aubrey Beardsley
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Price: $167.99
The Toilet of Salome Working proof of a line block for Salome
The Toilet of Salome Working proof of a line block for Salome
Aubrey Beardsley
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Price: $167.34
How Sir Belvidere cast the sword Excalibur into the water for Le Morte Darthur
How Sir Belvidere cast the sword Excalibur into the water for Le Morte Darthur
Aubrey Beardsley
+ Choose Size & Frame
Price: $167.42
The Cave of Spleen for The Rape of the Lock
The Cave of Spleen for The Rape of the Lock
Aubrey Beardsley
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Price: $167.99
The Fourth Tableau of Das Rheingold Design for the front wrapper of The
The Fourth Tableau of Das Rheingold Design for the front wrapper of The
Aubrey Beardsley
+ Choose Size & Frame
Price: $167.42
How King Arthur saw the Questing Beast for Le Morte Darthur
How King Arthur saw the Questing Beast for Le Morte Darthur
Aubrey Beardsley
+ Choose Size & Frame
Price: $167.64
The Third Tableau of Das Rheingold
The Third Tableau of Das Rheingold
Aubrey Beardsley
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Price: $168.22
A Snare of Vintage for Lucian s True History
A Snare of Vintage for Lucian s True History
Aubrey Beardsley
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Price: $168.22
The Toilet of Lampito
The Toilet of Lampito
Aubrey Beardsley
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Price: $168.22
How a Devil a Woman s likeness would have Sir Bors for Le Morte Darthur
How a Devil a Woman s likeness would have Sir Bors for Le Morte Darthur
Aubrey Beardsley
+ Choose Size & Frame
Price: $167.64
The Death of Pierrot
The Death of Pierrot
Aubrey Beardsley
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Price: $168.22
Cul de lampe The Pierrot of the Minute
Cul de lampe The Pierrot of the Minute
Aubrey Beardsley
+ Choose Size & Frame
Price: $167.64
How La Beale Isoud Wrote to Sir Tristram for Le Morte Darthur
How La Beale Isoud Wrote to Sir Tristram for Le Morte Darthur
Aubrey Beardsley
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Price: $167.50
Bon Mots of Smith and Sheridan 22
Bon Mots of Smith and Sheridan 22
Aubrey Beardsley
+ Choose Size & Frame
Price: $209.99
Caricature of Queen Victoria as a ballet dancer
Caricature of Queen Victoria as a ballet dancer
Aubrey Beardsley
+ Choose Size & Frame
Price: $174.81
Bon Mots of Smith and Sheridan 39
Bon Mots of Smith and Sheridan 39
Aubrey Beardsley
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Price: $168.72
Title page of TYoung Ofeg s Ditties
Title page of TYoung Ofeg s Ditties
Aubrey Beardsley
+ Choose Size & Frame
Price: $171.64
The Baron s Prayer for The Rape of the Lock
The Baron s Prayer for The Rape of the Lock
Aubrey Beardsley
+ Choose Size & Frame
Price: $168.22
Aubrey Beardsley
BEARDSLEY, AUBREY VINCENT (1872—1898), English artist in black and white, was born at Brighton on the 24th of August 1872. In 1883 his family settled in London, and in the following year he appeared in public as an “infant musical phenomenon,” playing at several concerts with his sister. In 1888 he obtained a post in an architect’s office, and afterwards one in the Guardian Life and Fire Insurance Company (1889). In 1891, under the advice of Sir Edward Burne-Jones and Puvis de Chavannes, he took up art as a profession. In 1892 he attended the classes at the Westminster School of Art, then under Professor Brown; and from 1893 until his death, at Mentone, on the 16th of March 1898, his work came continually before the public, arousing a storm of criticism and much hostile feeling. Beardsley had an unswerving tendency towards the fantastic of the gloomier and “unwholesome” sort. His treatment of most subjects was revolutionary; he deliberately ignored proportion and perspective, and the “freedom from convention” which he displayed caused his work to be judged with harshness. In certain phases of technique he especially excelled; and his earlier methods of dealing with the single line in conjunction with masses of black are in their way unsurpassed, except in the art of Japan, the country which probably gave his ideas some assistance. He was always an ornamentist, rather than an illustrator; and his work must be judged from that point of view. His frontispiece to Volpone is held by some to be, from this purely technical standpoint, one of the best pen-drawings of the age. His posters for the Avenue theatre and for Mr Fisher Unwin were among the first of the modern cult of that art.

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