Ana Leorne reviews the Aubrey Beardsley exhibition at Musée d’Orsay in Paris while also offering an informed and exciting discussion of Beardsley’s influence on the Sixties’ counterculture and psychedelic design – which ‘often felt like Victoriana on acid’.
Emily Kinder reviews the Aubrey Beardsley show at Tate with a special interest in Beardsley’s literary contexts and references – which appear somewhat downplayed by the visual emphasis of the exhibition.
In her fresh review of the Aubrey Beardsley exhibition at Tate Britain, Nic Stringer draws surprising parallels between the eclectic art of the turn-of-the-century graphic designer and progressive rock.
The Aubrey Beardsley exhibition at Tate Britain is framed as an ultimate and comprehensive account of the artist’s life, work, and legacy. Miriam Al Jamil approaches the show with a series of questions: what conclusions might the visitor draw and would these be fair and accurate reflections of Beardsley’s short but intense career?
Vanessa Heron offers a fascinating personal response to the Aubrey Beardsley exhibition at Tate Britain encouraging us to look closely at Beardsley’s originals and to pay attention to the tiniest but nonetheless telling details of his drawings.
Dr Emmeline Burdett applies Disability Studies approaches to look at the Aubrey Beardsley exhibition at Tate and discusses the ways in which the artist’s illness and early death from tuberculosis, as well as the representation of ‘impairments’ in his drawings, are framed by the show.
As befits a researcher working at the intersection of art history and medical humanities, Christine Slobogin applies an enchantingly morbid lens to review the Aubrey Beardsley show at Tate Britain.
Dr Sasha Dovzhyk reviews the Aubrey Beardsley exhibition at Tate Britain (4 March–25 May 2020) for the journal 19: Interdisciplinary Studies in the Long Nineteenth Century.