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 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.
No comments:
Post a Comment