Volpone

Volpone

Volpone is one of the last illustrations Beardsley creates; originally said to be part of a series of illustrations. What can be seen in this illustration is Beardsley's attention to detail once again; his use of black and white. Although the image is not the flatness we have seen of past illustrations produced by Aubrey. The elephants shape is more pronounced due to the shading and lines at the legs to indicate weight and volume; including the tapestry that the elephant is wearing. The V that seems almost intrusive to
the illustration is to indicate the word Volpone, which is the title to a dark comedy playwright. It seems this illustration is without Beardsley known decadence, but that his detail is still implemented. The whole Volpone project suggests a young man's anxiety to achieve respectability by the canons of traditional art-a loss of faith in his earlier work, both in its technique and subject matter.* Volpone was created at the time Beardsley health had worsen; tuberculous' taking his energy to complete the series and further works. Although his death at the age of twenty-six ended his work it also was the time that decadence and art nouveau seem to fade from France.

*Fletcher, Ian. Aubrey Beardsley. Boston: Twayne Publisher, 1987.

The Coiffing

In Beardsley's The Coiffing the presence of art nouveau's stylized lines return with what looks like a labor of love. The wonderful draftsmanship that Beardsley is praised for returns within the furniture lines, behind the drapery shows a window in great linear lines and immense detail of either crown molding or valances. Even geese are in flight are being shown through the window as an added detail, giving a further representation to background, mid-ground and foreground. Beardsley has brought out all the loathsomeness of the details which New York has declined to consider within the province of art with a sureness of line and instinctive feeling of the plot which, is safe to say, no other draughtsman of his day could have attained.* 

The Coiffing

The two figure's shown give the impression of high class; the younger female with elegant material, which Beardsley represents by lace, ribbons and voluminous layers. The lady standing behind the main figure looks as though she is a personal servant, which then circles back to the high class representation within the illustration. Behind the servant is beautiful drawn mantle holding many objects, such as, a religious statue, ornate mirror with an attached candelabra, embroidered artwork, and an elegant candle holder. The mantle and the objects placed upon it further defines the high class position of the young female giving the idea she may be of royalty. The viewer is given a mass amount of information in Beardsley's illustration; status of the figures by dress, objects, and detail lines within the background. Although the image may seem busy with stylized lines

it is very organized and representational of what Beardsley is trying to convey.

*Gillie, Rev. R.C. "Anent the Art of Beardsley." Brush and Pencil 19, No.4 (Apr., 1907): 142-145.

The Yellow Book

The Yellow Book

The first published Yellow Book was in April of 1894. The cover shows a full figured masked woman who seems to be laughing at either the viewer of the publication or what the masked male figure is whispering to her. There is a curious feeling when looking at the front cover of the Yellow Book; you want to know what is being said between both parties. Could it be that the figures are discussing censored secrets or rude yet humorous commentaries of the play they are viewing. The persons behind that masks tend to be unnerving always; their identity being equivocal they can behave with an entire impunity.* In this illustration there is less of art nouveau style and more rounded lined drawings. Black is more present in this illustration giving the figures a background that represents aYellow Book typically found the cover an exceedingly 'vulgar' and ' wondrously ugly' example of the 'New Art'. ** This could be due to the facial expression on the male figure that overlooks the woman; an alluring gaze.
private area or a theatrical box. Reviewers of the

*Fletcher, Ian. Aubrey Beardsley. Boston: Twayne Publisher, 1987.
** Elliot, Bridget J. "Covent Garden Follies: Beardsley's Masquerade Images of Posers and Voyeurs." Oxford Art Journal 9, No. 1 (1986): 38-48.

The Works of Edgar Allan Poe

Aubrey in 1892 is asked to draw four illustrations from parts of Edgar Allan Poe's poems. This commission was given by the Chicago publisher Herbert S. Stone.* Beardsley was only given parts of each poem and asked to interpret these short stories to an illustration. The titles of each illustration are, The Murders of the Rue Morgue, The Black Cat, The Fall of the House of Usher and The Mask of the Red Death. The illustration for Poe's "The Mask of the Red Death" is curious.

Mask of the Red Death

There are five figures within the artwork; three of the figures which are shown more prominent and at the center. Beardsley shows this by implementing his black and white style. The figure shown at the forefront of the five figures give the impression of importance and signifies the balance of the illustration. The female figure at the center is directing the viewer to look the the left of the image by the way her head is directed to see a very partial drawing of another figure protruding from the edge of the canvas. The partial figure to the right of the image shows an importance for the remaining four figures are directing their attention to it visually. It is not apparent if the figure is female or male or what its role is exactly.
The background is plain except for the tassel that hangs just above the jester clothed figured below, however you will see that the line stops at the figure instead of continuing like the line parallel to it. The black figure standing to the right of the female figure dressed in black gives a dark contrast to a very high contrasted illustration. The illustration has a balance to it in black to white ratio. The two figures to the left of the image are of mostly white clothing, whereas the figures on the opposite are in mostly black. The female figure in the center gives a balance to the illustration in weight, and black to white contrast. The female figure is described to have horns with bare breasts, loose ruffled and billowing sleeves, full pantaloons, and leaning on a stick.* This image is very curious as to what could be going on, why the bare breasts? and how the figures surrounding the female figure in the center are not at all acknowledging her bare top. It seems as though Beardsley's intentions was the bare breasts are to distract the viewer instead.

*Fletcher, Ian. Aubrey Beardsley. Boston: Twayne Publishers, 1987.