Merely fanciful or grotesque

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Thus the judgement of a reviewer examining Aubrey Beardsley’s work in The Graphic for May 23, 1896. The work in question was Beardsley’s Rape of the Lock illustrations being unveiled for the first time in the second number of The Savoy, the magazine which Beardsley co-founded with Arthur Symons and Leonard Smithers as a rival to the staid Yellow Book, also reviewed in the same column. Beardsley’s illustrations for Pope are now considered some of his very finest works and it’s difficult from our perspective to find any grotesquery there at all. It may be a reference to The Cave of Spleen, a drawing which saw the brief return of Beardsley’s earlier foetus creatures and a work to which some of Harry Clarke’s style would seem to owe a debt. In which case the reviewer should have been grateful to be spared the giant phalluses of The Lysistrata which Aubrey was also drawing for Smithers at this time.

The column above is one of many mentions of Beardsley and company to be found at the British Library’s new online archive of 19th century British newspapers. What might be a treasure trove is compromised slightly for me by being a collection of newspapers only, rather than magazines. A magazine database would give us all of The Savoy and The Yellow Book, as well as other titles which featured the work of fin de siècle illustrators. Patience is the key here, with every passing year more of the past becomes easily accessible.

So now, given the quantity of references there’s likely to be, dare I search for Oscar Wilde?

Elsewhere on { feuilleton }
The Aubrey Beardsley archive

The Great God Pan

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Pan teaching Daphnis to play the panpipes; Roman copy of a Greek original from the 3rd-2nd centuries BCE by Heliodoros.

“The worship of Pan never has died out,” said Mortimer. “Other newer gods have drawn aside his votaries from time to time, but he is the Nature-God to whom all must come back at last. He has been called the Father of all the Gods, but most of his children have been stillborn.”

So says a character in The Music on the Hill, one of the slightly more serious stories from Saki’s The Chronicles of Clovis (1911). Saki’s Pan is a youthful spirit closer to a faun than the goatish creature of legend. But being a gay writer whose tales regularly feature naked young men (surprisingly so, given the time they were written) I’m sure Saki would have appreciated the Roman statue above. There’s nothing chaste about this Pan with his “token erect of thorny thigh” as Aleister Crowley put it in his lascivious 1929 Hymn to Pan, a poem which caused a scandal when read aloud at his funeral some years later. The Roman statue was for a long while an exhibit in the restricted collection of the Naples National Archaeological Museum where all the more scurrilous and priapic artefacts unearthed at Pompeii were kept safely away from women, children and the great unwashed. These are now on public display and include the notorious statue of a goat being penetrated by a satyr.

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Einar Nerman

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left: No title or date; right: Joker from a playing card set (1924).

A recent post by Silent-Porn-Star draws my attention to Swedish illustrator and cartoonist Einar Nerman (1888–1983) whose work I don’t recall having come across before. There isn’t much available to see online unfortunately, a shame as SPS’s posting of a 1926 cigarette ad shows a distinct Beardsley influence. Nerman seems known chiefly today for his caricatures of Greta Garbo, one of which was used on a commemorative postage stamp in 2005.

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Greta Garbo.

Elsewhere on { feuilleton }
The illustrators archive

Previously on { feuilleton }
Oscar Wilde playing cards
Surrealist cartomancy

Art Nouveau illustration

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The cover picture of yesterday’s book purchase complements the month, being a woodcut by Leopold Stolba entitled February from a Ver Sacrum calendar for 1903. The book is Art Nouveau: Posters and Designs (1971), a collection edited by Andrew Melvin for the Academy Art Editions series and the book includes some covers for Jugend magazine which coincidentally was the subject of Monday’s post.

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Ornamental letters from The Studio magazine, 1894; no artists credited.

I wrote about another of the books in the Academy series, The Illustrators of Alice, a couple of years ago and while I don’t really need yet another Art Nouveau book, the presence of a few illustrations I hadn’t seen before made the purchase worthwhile. Further examples follow.

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Secret Lives of the Samurai

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Kiss of Death (2007).

From a series of marvellous homoerotic ink drawings by Kenya Shimizu. The artist seems to have no web presence at all, unfortunately, aside from three pages of work for sale at London’s Adonis Art Gallery. Most of the pictures there are hardcore images so if you don’t want to see any of that, don’t look. His paintings are as good as his drawings but I typically prefer the black and white work, especially since there’s a slight Beardsleyesque feel to some of them—or is it merely the Japanese line which Beardsley borrowed? Nice to see a variety of cum shots as well; the first drawing in the Samurai series, Release, is even a bukkake scene, something you rarely see in gay art.

Kenya Shimizu was born in Fukui Prefecture in Japan, 1976. Kenya Shimizu devoted himself early on to mastering the techniques of his art.  His homo-erotic fantasies (pen and ink) – very much in the Japanese erotic tradition – are brilliant compositions executed with panache and great skill.  His paintings on gold and silver leaf, are masterpieces of watercolour workmanship;  His watercolours of modern Japan – reveal and portray the present-day homo-erotic fantasies of the ‘salarymen’ and students of today’s Japan.

Within recent years, one of the leading Japanese practitioners of homo-erotic painting – Sadao Hasegawa – sadly died.  Now a worthy successor has come onto the scene.

Elsewhere on { feuilleton }
The gay artists archive

Previously on { feuilleton }
The art of Sadao Hasegawa, 1945–1999
The art of Takato Yamamoto
The art of ejaculation