早期生活,教育和早期的职业生涯

 

奥布里比尔兹利,c。1895

比亚兹莱出生在布赖顿,英格兰,1872年8月21日,命名为1872年10月24日。他的父亲,文森特·保罗·比尔兹利(1839 - 1909),是一个商人的儿子,自己文森特没有贸易,依靠私人收入从一个继承,他收到他的外祖父在他21岁的时候。文森特的妻子,艾伦Agnus皮特(1846 - 1932),是外科医生的女儿主要印度军队的威廉·皮特。皮特是一个完善的和受人尊敬的家庭在布赖顿,和比尔兹利的母亲嫁给了一个人的社会地位较低的比预期。他们结婚后不久,文森特被迫出售他的一些财产为了解决索赔”毁约“从另一个女人声称他答应娶她。他出生的时候,比尔兹利的家人,包括他的妹妹梅布尔长大了一岁,住在艾伦的家族家12白金汉。房子的数量在白金汉路12岁的时候,但人数年前改变了,现在31。

 

奥布里比尔兹利的雅克布兰奇.

1883年他的家人定居在伦敦,和他在第二年出现在公众作为一个“婴儿音乐现象”,和他的妹妹玩几家音乐会。1885年1月,他开始参加布莱顿,举起和苏塞克斯语法学校,他将在接下来的四年。他第一次诗歌,图纸和漫画出现在打印在“过去和现在”,学校的杂志。1888年,他获得了一个职位架构师的办公室,后来在《卫报》的生活和火灾保险公司。1891年的建议下爱德华·伯恩-琼斯爵士和皮埃尔Puvis de通知,他拿起艺术作为职业。1892年,他参加了上课威斯敏斯特艺术学院下,然后教授弗雷德·布朗.

工作

 

孔雀裙,1893

1892年,比尔兹利前往巴黎,在那里他发现了海报的艺术Henri de图卢兹对日本版画,巴黎的时装,这两个是主要影响他自己的风格。比尔兹利的第一委员会勒莫提d 'Arthur通过托马斯Malory(1893),他说明了出版社j . m .削弱和公司.

他六年的主要创意输出可以分为几个时期,被他的签名的形式。在早期他的工作主要是无符号。在1891年和1892年他发展到用他名字的首字母,A.V.B.1892年中期,Le中d 'Arthur和俏皮话他用Japanese-influenced马克成为越来越优雅,有时还伴有学士在大写正楷字体。他苦心经营黄色的书与美国作家亨利·哈兰第一四个版本,他担任美术编辑和制作封面设计和许多杂志的插图。他也是紧密结合唯美主义的英国首相颓废和象征意义。他大部分的图像在墨水,功能大黑暗地区与大空白的,精致的细节和地区与地区根本没有形成对比。

 

胃里跳舞,1893年

比尔兹利是最具争议性的艺术家新艺术派时代,以他的黑暗和反常的图像和怪诞的情色作品,他后期作品的主题。他的插图是在黑色和白色,白色背景。他的一些图纸,灵感来自日本shunga艺术品,出现巨大的生殖器。他最著名的情色插图相关的主题和历史神话,其中包括他的插图私下打印版阿里斯托芬'他的图纸奥斯卡•王尔德的玩莎乐美在1896年,最终在巴黎首映。其他主要说明项目包括一个1896年版的锁的强奸通过亚历山大·蒲柏,50图纸的收集一本奥布里比尔兹利(1897)。

他也产生了大量的插图的书籍和杂志(如豪华版的先生托马斯Malory的勒莫提d 'Arthur),为杂志等工作工作室和萨,他是一个联合创始人。萨沃伊的创始人,比尔利能够追求他的写作以及插图,和很多他的作品,包括在山上(一个基于故事唐怀瑟传说)和“理发师”的民谣出现在杂志上。

 

舞者的奖励,莎乐美:在一幕悲剧

比尔兹利是一个漫画家做了一些政治漫画,镜像王尔德的艺术的智慧。比尔兹利的工作反映了颓废他的时代,他的影响力是巨大的,清晰可见的法国符号学派对海报艺术1890年代和许多后期的工作新艺术的艺术家如佩普和克拉克。比尔兹利的一些所谓的作品被发表在一本题为《五十图纸Aubery比尔兹利,从集合中选择h·s·尼科尔先生。这些后来被发现是伪造的,区分几乎淫秽色情的元素,而不是比尔兹利的更微妙的性的使用。

私人生活

比尔兹利是一个公共以及私人偏心。他说,“我有一个目标——怪诞。如果我不是丑陋的我什么都没有。王尔德说他“一张脸像一个银斧,和草绿色的头发。”比尔兹利是细致的关于他的装束:颜色的衣服、帽子、领带;黄色手套。他会出现在他的出版商晨礼服和专利皮革泵.

尽管比尔兹利是相关的同性恋集团包括奥斯卡·王尔德和其他英国美学家,他的性取向保持问题的细节。他被普遍认为是无性。猜测他的性行为包括的谣言与他姐姐乱伦的关系,梅布尔,由她的兄弟可能怀孕和流产。在他的整个职业生涯,比尔兹利肺结核反复发作。他频繁的肺出血和经常不能工作或离开他的家。

比尔兹利转换为罗马天主教1897年3月,随后恳求他的出版商,伦纳德·史密瑟斯,“摧毁所有副本和坏的图纸…所有圣所有淫秽图画。“史密瑟斯忽视了比尔兹利的愿望,实际上继续出售复制品以及伪造的比尔兹利的工作。

 

 

“伊索德”,潘杂志的插图

死亡

1897年状况恶化使法国里维埃拉转会,他死于1898年3月16日一年后在丽都酒店芒通、法国、出席了他的母亲和姐姐。他25岁,死因肺结核。在芒通大教堂安魂弥撒曲后第二天,他的遗被埋葬在邻公墓。

媒体形象

在英国广播公司1982剧戏剧奥布里,写的约翰塞尔温吉尔伯特,比尔兹利描绘的演员约翰迪克斯。有关戏剧比尔兹利的生活从奥斯卡·王尔德的时间1895年4月被捕,导致黄皮书比尔兹利失去他的位置,在1898年他死于肺结核。

 

 

鲁迅《小引》

比亚兹莱的一生犹如他的黑白插画一样，既单纯又传奇，这个仅仅受过2个月正规训练的画家在其短暂的26年的生命中留下大量令人争议的作品。他往往采用大量头发般纤细线条与黑块的奇妙构成来表现事物的印象，充满着诗样的浪漫情愫和无尽的幻想。比亚兹莱向我们展示的是一个充斥了罪恶的激情和颓废格调的另类世界。他独特的绘画风格和手法无法将他的作品简单的归入任何一个派列，而他带给我们的艺术享受也是任何其他画家所无法给予的。

————选自《新艺术运动大师图典》

没有一个艺术家，作为黑白画的艺术家，获得比他更为普遍的声誉；也没有一个艺术家影响现代艺术如他一般广阔。"-"视为一个纯然的装饰性艺术家，比亚兹莱是无匹的。"这是鲁迅先生在他自费出版结集的《比亚兹莱画选》中对这世纪末的艺术家赞赏倍至的言语。

Early life, education and early career

 

Aubrey Beardsley, c. 1895

Beardsley was born in Brighton, England, on 21 August 1872, and christened on 24 October 1872.^[1] His father, Vincent Paul Beardsley (1839–1909), was the son of a tradesman; Vincent had no trade himself, and relied on a private income from an inheritance that he received from his maternal grandfather when he was 21 Vincent's wife, Ellen Agnus Pitt (1846–1932), was the daughter of Surgeon-Major William Pitt of the Indian Army. The Pitts were a well-established and respected family in Brighton, and Beardsley's mother married a man of lesser social status than might have been expected. Soon after their wedding, Vincent was obliged to sell some of his property in order to settle a claim for his "breach of promise" from another woman who claimed that he had promised to marry her.At the time of his birth, Beardsley's family, which included his sister Mabel who was one year older, were living in Ellen's familial home at 12 Buckingham Road. The number of the house in Buckingham Road was 12, but the numbers were changed years ago, and it is now 31.

 

Aubrey Beardsley by Jacques-Émile Blanche.

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.January 1885 he began to attendBrighton, Hove and Sussex Grammar School, where he would spend the next four years. His first poems, drawings and cartoons appeared in print in "Past and Present", the school's magazine. In 1888 he obtained a post in an architect's office, and afterwards one in the Guardian Life and Fire Insurance Company. In 1891, under the advice of Sir Edward Burne-Jones and Pierre Puvis de Chavannes, he took up art as a profession. In 1892 he attended the classes at theWestminster School of Art, then under Professor Fred Brown.

Work

 

The Peacock Skirt, 1893

In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house J. M. Dent and Company

His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals.  He co-founded The Yellow Book with American writerHenry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence andSymbolism. Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all.

 

The Stomach Dance, 1893

Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings forOscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock byAlexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley(1897

He also produced extensive illustrations for books and magazines (e.g. for a deluxe edition of Sir Thomas Malory's Le Morte d'Arthur) and worked for magazines such as The Studio and The Savoy, of which he was a co-founder. As a cofounder of The Savoy, Beardsley was able to pursue his writing as well as illustration, and a number of his writings, including Under the Hill (a story based on the Tannhäuser legend) and “The Ballad of a Barber” appeared in the magazined did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists such as Pape and Clarke. Some alleged works of Beardsley's were published in a book titled Fifty Drawings by Aubery Beardsley, Selected From the Collection of Mr. H. S. Nicols. These were later discovered to be forgeries, distinguishable by their almost pornographic erotic elements, rather than Beardsley's somewhat more subtle use of sexuality.^[10]

Private life

Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps.

Although Beardsley was associated with the homosexual clique that included Oscar Wilde and other English aesthetes, the details of his sexuality remain in question. He was generally regarded as asexual. Speculation about his sexuality include rumours of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried During his entire career, Beardsley had recurrent attacks of tuberculosis. He suffered frequent lung haemorrhages and was often unable to work or leave his home.

Beardsley converted to Roman Catholicism in March 1897, and subsequently begged his publisher, Leonard Smithers, to “destroy all copies of Lysistrata and bad drawings... by all that is holy all obscene drawings." Smithers ignored Beardsley’s wishes, and actually continued to sell reproductions as well as forgeries of Beardsley's work.

 

 

"Isolde", illustration inPan magazine

Death[edit]

In 1897 deteriorating health prompted his move to the French Riviera, where he died a year later on 16 March 1898 at the Cosmopolitan Hotel in Menton, France, attended by his mother and sister. He was 25 years of age and the cause of death was tuberculosis. Following a Requiem Mass in Menton Cathedral the following day, his remains were interred in the adjacent cemetery.

Media portrayals

In the BBC 1982 Playhouse drama Aubrey, written by John Selwyn Gilbert, Beardsley was portrayed by actor John Dicks. The drama concerned Beardsley's life from the time of Oscar Wilde’s arrest in April 1895, which resulted in Beardsley losing his position at The Yellow Book, to his death from tuberculosis in 1898.^[16]