Review of Aubrey Beardsley at Tate Britain

‘The chronological arrangement of his drawings on the wall cannot convey the daring of the marvellous boy who made his figures levitate in the empty space of printed pages, anticipating the experiments of surrealism and non-figurative art’.

Aubrey Beardsley, The Black Cape, 1893, Indian ink on white wove paper, Princeton University Library, Princeton, NJ, Aubrey Beardsley Collection (RS227). Wikimedia Commons.

Read the full article:

‘Review of Aubrey Beardsley at Tate Britain’, 19: Interdisciplinary Studies in the Long Nineteenth Century 2020(30). doi:

Dr Sasha Dovzhyk is an Associate Research Fellow at Birkbeck, University of London, where she completed her PhD on Aubrey Beardsley’s Russian afterlives (2018) and her Wellcome Trust-funded postdoctoral project on Decadence and Disease (2019). Her article ‘Beardsley Men in Early Twentieth-Century Russia: Modernising Decadent Masculinity’ is forthcoming in Modernist Cultures 16:22 (2020), and ‘Aubrey Beardsley in the Russian “World of Art”‘ is due out in British Art Studies in November 2020. You can read her 2020 article ‘The Queer Little Grove: The Adoption of Aubrey Beardsley by Mikhail Kuzmin’ in BRANCH: Britain, Representation and Nineteenth-Century History. She tweets at @sasha_weirdsley / @beardsleyism.