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Cover Design for The Savoy No. I, 1895. Creator: Aubrey Beardsley
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Cover Design for The Savoy No. I, 1895. Creator: Aubrey Beardsley
Cover Design for The Savoy No. I, 1895. As originally drawn the amour is making free with a copy of The Yellow Book at his feet, a reference to Beardsleys parting with [publisher] John Lane, but this was later altered. Lane dispensed with Beardleys services as art editor of the magazine in the wake of the Oscar Wilde scandal. From " The Best of Beardsley" edited by R. A. Walker, [The Bodley Head, London, 1948]
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Media ID 24364826
© Shirley Markham Collection/Heritage Images
Amorini Angelic Aubrey Beardsley Aubrey Vincent Beardsley Beardsley Aubrey Beardsley Aubrey Vincent Bodley Head Cherubim Cherubs Classical Cover Decadent Movement Folly Iris Irises John Lane Lane John Leonard Charles Smithers Leonard Smithers Periodical Publishing Publishing House R A Walker Rainforth Armitage Walker Shirley Markham Smithers Leonard Smithers Leonard Charles Sundial The Savoy The Yellow Book Walker Walker R A Walker Rainforth Armitage Whip Cherub Graphic Design Nakedness Nudity Putti
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EDITORS COMMENTS
This print showcases the intricate cover design created by Aubrey Beardsley for The Savoy No. I in 1895. Known for his association with the art nouveau movement, Beardsley's work exudes a sense of decadence and classical beauty. Originally, this striking piece depicted an amorini playfully interacting with a copy of The Yellow Book at his feet, symbolizing Beardsley's departure from publisher John Lane after the scandal surrounding Oscar Wilde. However, this reference was later altered to suit Lane's decision to dismiss Beardsley as the magazine's art editor. The image features an angelic cherubim surrounded by architectural elements and lush foliage in a garden setting. The delicate lettering adds to its overall aesthetic appeal while showcasing Beardsley's mastery of graphic design. Beardsley's attention to detail is evident in every aspect of this artwork, from the intricate floral patterns on the amour’s wings to the graceful pose and expression captured on their face. This composition seamlessly combines elements of nature, literature, religion, and human form into one harmonious whole. As we admire this remarkable piece from "The Best of Beardsley" edited by R. A. Walker in 1948, it serves as a testament to Aubrey Vincent Beardsley’s immense talent and enduring legacy within British art history.
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