Aubrey Beardsley : $b the clown, the harlequin, the pierrot of his age — John Shaqi
Aubrey Beardsley : $b the clown, the harlequin, the pierrot of his ageMacfall, Haldane
General
Aubrey Beardsley : $b the clown, the harlequin, the pierrot of his age
Macfall, Haldane
Beardsley, Aubrey, 1872-1898; Illustration of books -- Great Britain -- 19th century
Morris was not the only one who baffled the efforts of Vallance to get
the young Beardsley a hearing. By John Lane, fantastically enough, he
was also to be rejected! Beardsley was always full of vast schemes and
plans; one of these at the moment was the illustrating of Meredith’s
_Shaving of Shagpat_--a desire to which he returned and on which he
harped again and again. Vallance, hoping that John Lane, a member of
the firm of Elkin Mathews and John Lane, then new and unconventional
publishers, would become the bridge to achievement, brought about
a meeting between Beardsley and John Lane at a small gathering
at Vallance’s rooms as Yuletide drew near. But John Lane was not
impressed; and nothing came of it. It was rather an irony of fate that
Beardsley, who resented this rejection by John Lane, for some reason,
with considerable bitterness, was in a twelvemonth to be eagerly sought
after by the same John Lane to their mutual success, increase in
reputation, triumph, and prodigious advertisement.
However neither the frown of William Morris, nor the icy aloofness of
Watts, nor the indifference of John Lane, could chill the ardour of the
young Aubrey Beardsley. He was free. He had two big commissions. His
health greatly improved. He was happy in his work. Having mastered the
possibilities and the limitations of the Kelmscott book decoration,
he concentrated on surpassing it. At once his line began to put on
strength. And the Japanese convention tickled him hugely--here he could
use his line without troubling about floor or ceiling or perspective in
which to place his figures. He could relieve the monotony of the heavy
_Morte d’Arthur_ convention by drawing fantasies in this Japanesque
vein for _Bon Mots_, both conventions rooted whimsically enough in
Burne-Jonesesques. And so it came that his first half-year as an artist
saw him pouring out work of a quality never before even hinted at as
being latent in him.
* * * * *
Such then was the state of affairs when, with the inevitable black
portfolio containing work really worth looking at under his arm, the
young fellow in his twenty-first year was to be led by Vallance into
the inestimable good fortune of meeting a man who was to bring his
achievement into the public eye and champion his interests at every
hand his life long.
Public-domain text, read in full here on John Shaqi.
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