Aubrey Beardsley quotes
Aubrey Beardsley was an influential English illustrator and author, best known for his distinctive black-and-white Art Nouveau illustrations. His provocative and imaginative style made a lasting impact on the world of art and literature. He remains a key figure of the Aesthetic movement and a symbol of fin-de-siècle decadence. Here are 24 of his quotes:
What is a portrait good for, unless it shows just how the subject was seen by the painter? In the old days before photography came in a sitter had a perfect right to say to the artist: "Paint me just as I am." Now if he wishes absolute fidelity he can go to the photographer and get it.
Aubrey Beardsley
One's ears are weary of the voice of the art teacher who sits like the parrot on his perch, learning the jargon of the studios, making but poor copy and calling it criticism. We have had enough of their omniscience, their parade of technical knowledge, and their predilection for the wrong end of the stick.
Aubrey Beardsley
The general opinion appears to be that it is very funny to make yourself out as fast or as foolish as possible; though even worse than this is the painful orthodoxy of those individuals who claim Shakespeare for their favourite poet, Beethoven for their favourite composer, and Raphael for their favourite painter.
Aubrey Beardsley
The poster first of all justified its existence on the grounds of utility, and should it further aspire to beauty of line and colour, may not our hoardings claim kinship with the galleries, and the designers of affiches pose proudly in the public eye as the masters of Holland Road or Bond Street Barbizon.
Aubrey Beardsley
I see everything in a grotesque way. When I go to the theatre, for example, things shape themselves before my eyes just as a I draw them - the people on the stage, the footlights, the queer faces and garb of the audience in the boxes and stalls. They all seem weird and strange to me. Things have always impressed me in this way.
Aubrey Beardsley
The poster first of all justified its existence on the grounds of utility, and should it further aspire to beauty of line and colour, may not our hoardings claim kinship with the galleries, and the designers of affiches pose proudly in the public eye as the masters of Holland Road or Bond Street Barbizon (and, recollect, no gate money, no catalogue)?
Aubrey Beardsley