Plus, a bit of bonus music today because this is the song that introduced me to Beardsley, way back in (gulp) 1977. That was in the pre-internet world, and it wasn’t easy to find Beardsley prints. Our local library didn’t carry anything, and neither did our only book store. I finally found a book at UWO with a compilation of his work. I think it was simply called Aubrey Beardsley, and it was a thrilling discovery.
I love the way Beardsley draws armour. It’s so highly decorative with all sorts of complicated and intricate patterns and a feminine cut and drape. His chainmail hangs like silk, and the overall effect is one of weightless beauty.
Most of the artwork for Le Morte Darthur is set outdoors, and Beardsley places his characters into stylized high-contrast landscapes filled with heavy repetitive curving lines and shapes. The artist uses a leaf motif plus a multiplicity of trees as repetitive elements that create a strong sense of place and link the illustrations into a cohesive set.
A few of the smaller, deceptively simple figure studies today. I love the way Beardsley captures so much complexity using high-contrast, geometric lines. It’s hard to believe that he was only 19 when he began work on this book.
Today I’m sharing a few of the smaller portraits from the book. The last illustration is one of my favourites. Beardsley uses negative space brilliantly, and his simple line drawings create compellingly complex faces.
Artwork via: Enchanted Booklet
Many of the figures in Beardsley’s work are androgenous, and as you can imagine, this created quite a stir during the Victorian times in which they were published. Despite the controversy, or perhaps because of it, Beardsley’s work was well-considered in art circles and the book sold moderately well. Over the next few days, I’ll be posting some of the more well-known figures in the book, but I wanted to introduce a few select examples today as a signpost to the overarching theme of androgyny.
Artwork via: Enchanted Booklet
Artwork via: Enchanted Booklet