Word: beardsley
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Dates: during 1950-1959
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Take Me Along could do with more dancing, but a gay Aubrey Beardsley ballet, a sort of absinthe-coated peppermint stick, wickedly whirls all Actor Morse's callow, adolescent sex fantasies-Salome and George Sand, Lysistrata and Camille -into one. As the show proceeds, certain scenes are repeated, certain songs are reprised. But from the outset, Take Me Along puts its trust in mood rather than momentum. Rather than shattering the funny bone, ravishing the ear or dazzling the eye, it just leaves a nice taste in the mouth...
...present show at the Busch-Reisinger, three rooms are devoted to Nouveau objets d'art and the graphics of some artists influenced by the school--Beardsley, Charles Ricketts and, true to recent art scholarship, the masters, Lautrec and Munch...
...eclecticism of Beardsley and his follower, Charles Ricketts, can be seen to derive from the Art Nouveau habit of overstatement and slickness. Likewise, the Nouveau penchant for vegetal forms led to the functionless fantasies in glass of Louis Tiffany, America's gifted designer. The most interesting forms of his stylized works, such as the flower vase in this show, are impractical and, consequently, must be looked at as sculptures in glass. Unfortunately, Tiffany's garish color schemes lessen their value as works...
Along with the poetry, Identity features illustrations by Kaffe Fassett (who, says the accompanying blurb, loathes milk that boils over.) Mr. Fassett's drawings, while sometimes competent, look somewhat like a cross between Aubrey Beardsley and Basil Wolverton, and add little to the total effort...
Included in this well-chosen show of the best of Beardsley's interesting, but unsatisfying, graphics are two paintings, by Burne-Jones and Albert Moore, demonstrating the Pre-Raphaelites' influence on him. When one realizes that these works were done by the leaders of late Victorian art, he can fully appreciate the scope and importance of Beardsley's technical accomplishment. Another artistic force in Beardsley's career, the Japanese eighteenth century print-maker, Utamaro, is likewise represented with two works. However, these subtle, lyrical works tend to point up Beardsley's limited emotional attachment. The conviction which dignifies...