Uploaded August 2015 | Updated September 2026, 1 week ago
Aubrey Vincent Beardsley (21 August 1872 – 16 March 1898) was an English illustrator and author. His drawings in black ink, influenced by the style of Japanese woodcuts, emphasized the grotesque, the decadent, and the erotic. He was a leading figure in the Aesthetic movement which also included Oscar Wilde and James A. McNeill Whistler. Beardsley's contribution to the development of the Art Nouveau and poster styles was significant, despite the brevity of his career before his early death from tuberculosis.
Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).
Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists such as Pape and Clarke.
Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps.
In 1897 deteriorating health prompted his move to the French Riviera, where he died a year later on 16 March 1898 at the Cosmopolitan Hotel in Menton, France, attended by his mother and sister. He was 25 years of age and the cause of death was tuberculosis. Following a Requiem Mass in Menton Cathedral the following day, his remains were interred in the adjacent cemetery.
[from Wikipedia]
Music: Vidna Obmana "Gathering In Frozen Beauty"
Aubrey Vincent Beardsley (21 August 1872 – 16 March 1898) was an English illustrator and author. His drawings in black ink, influenced by the style of Japanese woodcuts, emphasized the grotesque, the decadent, and the erotic. He was a leading figure in the Aesthetic movement which also included Oscar Wilde and James A. McNeill Whistler. Beardsley's contribution to the development of the Art Nouveau and poster styles was significant, despite the brevity of his career before his early death from tuberculosis.
Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and grotesque erotica, which were the main themes of his later work. His illustrations were in black and white, against a white background. Some of his drawings, inspired by Japanese shunga artwork, featured enormous genitalia. His most famous erotic illustrations concerned themes of history and mythology; these include his illustrations for a privately printed edition of Aristophanes' Lysistrata, and his drawings for Oscar Wilde's play Salome, which eventually premiered in Paris in 1896. Other major illustration projects included an 1896 edition of The Rape of the Lock by Alexander Pope, and the collection A Book of Fifty Drawings by Aubrey Beardsley (1897).
Beardsley was a caricaturist and did some political cartoons, mirroring Wilde's irreverent wit in art. Beardsley's work reflected the decadence of his era and his influence was enormous, clearly visible in the work of the French Symbolists, the Poster art Movement of the 1890s and the work of many later-period Art Nouveau artists such as Pape and Clarke.
Beardsley was a public as well as private eccentric. He said, "I have one aim—the grotesque. If I am not grotesque I am nothing." Wilde said he had "a face like a silver hatchet, and grass green hair." Beardsley was meticulous about his attire: dove-grey suits, hats, ties; yellow gloves. He would appear at his publisher's in a morning coat and patent leather pumps.
In 1897 deteriorating health prompted his move to the French Riviera, where he died a year later on 16 March 1898 at the Cosmopolitan Hotel in Menton, France, attended by his mother and sister. He was 25 years of age and the cause of death was tuberculosis. Following a Requiem Mass in Menton Cathedral the following day, his remains were interred in the adjacent cemetery.
[from Wikipedia]
Music: Vidna Obmana "Gathering In Frozen Beauty"
![Mike Worrall
The enigmatic, dreamlike paintings of Mike Worrall are often inspired by historical themes. Informed by his work in film, Worrall deals with the sublime in his hyperreal depictions of the mysterious. As in a dream, the quiet façade and the beauty of the large scale oil paintings masks the intriguing content and enormous energy underpinning the works.
[from http://www.mikeworrall.com/]
Music by Gustav Mahler Mike Worrall](https://i.ytimg.com/vi/TYuRoebZhic/mqdefault.jpg)
![Yoshitaka Amano (Part 2)
Yoshitaka Amano (born July 28, 1952) is a Japanese artist known for his illustrations for Vampire Hunter D and for his character designs, image illustrations and title logo designs for the Final Fantasy video game series developed by Square Enix (formerly Square).
Amano was born in Shizuoka, Japan; as a young adolescent, he was fascinated with drawing. In 1967, he began working for Tatsunoko Productions in the animation department, where he was introduced to the early Japanese anime movement.His first paid project was for the Speed Racer anime franchise (also known as Mach GoGoGo). He worked in character design for anime shows such as the Time Bokan series, the Gatchaman series, Tekkaman and the Honey Bee.
In the 1960s, Amano was exposed to Western art styles through comic books and their Japanese Western-influenced counter parts, and believes Western comics to be his artistic roots. He has cited Neal Adams as his favorite comic book artist, noting that he would often purchase used comics based on his cover artwork, only to be disappointed that the interior artist was different. Amano was also fascinated by the art styles of psychedelic art and pop art of the West, particularly the work of American Pop artist Peter Max.In the 1970s, Amanos intrigue led him to the study of the artworks of the late 19th century and early 20th century European movement of Art Nouveau, as well as the ancient Japanese hand woodblock printing work of Ukiyo-e. While concentrating on illustration, he was still at Tatsunoko Productions until he left in 1982.
In the early 1980s, he concentrated on illustrations for Science Fiction and Fantasy, while still keeping the influence of his animation and other illustration works from the 1960s and 1970s.[4] This in turn created a unique personal style, which was influenced by both modern surrealism as well as realism fluent in many classic and modern techniques.
In 1983, he was behind the illustrations for the novel Demon City Shinjuku and the first of Hideyuki Kikuchis novel series Vampire Hunter D.This was adapted to a movie in 1985 for which Amano worked as character designer. The film was one of the first anime movies to be released outside of Japan. In interviews, however, Amano has stated that he was not pleased with the final product of the movie. More involvement in illustration had led to the creation of collections of his artwork being published, such as Maten in 1984.
n 1989, he had his first exhibition called Hiten at Yurakucho Mullion in Tokyo, Japan.He continued to work with Square and their Final Fantasy series, and in 1990 he started to work as an artist for stage theater. His first work for theater was Tamasaburo Bandos Nayotake, which was in the same year.During this time while working as illustrator, character designer and set designer, he had exhibitions of his becoming well-known for his printing works.
In 1994, after Final Fantasy VI, he was no longer the main character, image and graphic designer of the series (he started to provide promotional and character artwork for the next games, as well as working on the title logo designs for most of the games), but in 1995 he started to become better known world wide with his work at the Biennale dOrléans in France, and then in his newly established workshop and exhibition Think Like Amano in New York in 1997, which followed another exhibition in New York at the Angel Orensanz Foundation entitled Hero. Amano also appeared in the 1998 movie New Rose Hotel which is loosely based on the William Gibson short story with the same name, in which he played the character Hiroshi.
[from Wikipedia]
Music: Alio Die Ancient Foresight Yoshitaka Amano (Part 2)](https://i.ytimg.com/vi/Uma1luw05C0/mqdefault.jpg)
![Dani Soon
Dani Soon was born in a small remote town in Korea in 1991. Living in such a remote town meant there was not much to do, so books and drawing became her biggest pastime enjoyment. Being at one with Mother Nature also allowed her imagination to run wild and the rustic environment had a critical impact on her decision to be an artist. Even though she now lives in a hectic city, she still draws inspiration from reading books and working outside which allows her to absorb her natural surroundings.
[More at: https://www.soonillustration.com/about]
Music: Vidna Obmana Streamers of Stillness Dani Soon](https://i.ytimg.com/vi/V5PdTEVJTGI/mqdefault.jpg)

![Edmund Dulac
Edmund Dulac (born Edmond Dulac; October 22, 1882 – May 25, 1953) was a French-born, British naturalised magazine illustrator, book illustrator and stamp designer. Born in Toulouse he studied law but later turned to the study of art the École des Beaux-Arts. He moved to London early in the 20th century and in 1905 received his first commission to illustrate the novels of the Brontë Sisters. During World War I, Dulac produced relief books and when after the war the deluxe childrens book market shrank he turned to magazine illustrations among other ventures. He designed banknotes during World War II and postage stamps, most notably those that heralded the beginning of Queen Elizabeth IIs reign.
Born in Toulouse, France, he began his career by studying law at the University of Toulouse. He also studied art, switching to it full-time after he became bored with law, and having won prizes at the Ecole des Beaux Arts. He spent a very brief period at the Académie Julian in Paris in 1904 before moving to London.
Settling in Londons Holland Park, the 22-year-old Frenchman was commissioned by the publisher J.M. Dent to illustrate Jane Eyre. and 9 other volumes of works by the Brontë sisters. He then became a regular contributor to the Pall Mall magazine, and joined the London Sketch Club, which introduced him to the foremost book and magazine illustrators of the day. Through these he began an association with the Leicester Gallery and Hodder & Stoughton; the gallery commissioned illustrations from Dulac which they sold in an annual exhibition, while publishing rights to the paintings were taken up by Hodder & Stoughton for reproduction in illustrated gift books, publishing one book a year. Books produced under this arrangement by Dulac include Stories from The Arabian Nights (1907) with 50 colour images; an edition of William Shakespeares The Tempest (1908) with 40 colour illustrations; The Rubaiyat of Omar Khayyam (1909) with 20 colour images; The Sleeping Beauty and Other Fairy Tales (1910); Stories from Hans Christian Andersen (1911); The Bells and Other Poems by Edgar Allan Poe (1912) with 28 colour images and many monotone illustrations; and Princess Badoura (1913).
After the war, the deluxe edition illustrated book became a rarity and Dulacs career in this field was over. His last such books were Edmund Dulacs Fairy Book (1916), the Tanglewood Tales (1918) (including 14 colour images) and the The Kingdom of the Pearl (1920). His career continued in other areas however, including newspaper caricatures (especially at The Outlook), portraiture, theatre costume and set design, bookplates, chocolate boxes, medals, and various graphics (especially for The Mercury Theatre, Notting Hill Gate).
He also produced illustrations for The American Weekly, a Sunday supplement belonging to the Hearst newspaper chain in America and Britains Country Life. Country Life Limited (London) published Gods and Mortals in Love (1935) (including 9 colour images) based on a number of the contributions made by Dulac to Country Life previously. The Daughter of the Stars (1939) was a further publication to benefit from Dulacs artwork - due to constraints related to the outbreak of World War II, that title included just 2 colour images. He continued to produce books for the rest of his life, more so than any of his contemporaries, although these were less frequent and less lavish than during the Golden Age.
Halfway through his final book commission (Miltons Comus), Dulac died of a heart attack on 25 May 1953 in London.
[from Wikipedia]
Music by Addamz, Goldmund Edmund Dulac](https://i.ytimg.com/vi/V9n4xtAJiuw/mqdefault.jpg)
![Leonor Fini
Leonor Fini (1907–1996) was an Argentinian surrealist painter, designer, illustrator, and author, known for her depictions of powerful women.
Fini had no formal artistic training, yet she was familiar with the traditional Renaissance and Mannerist styles due to her upbringing in Italy. Her first major exhibition was in 1936 in New York at Julian Levy’s Gallery. Fini was considered part of a pre-war generation of Parisian artists, and outlived most of her artist peers. Surrealist artists in France became very interested in her once she began setting herself up as an artist, and came to know her as important in the movement. She is mentioned in most comprehensive works about surrealism, although some leave her out (and she did not consider herself a surrealist). In 1943, Fini was included in Peggy Guggenheims show Exhibition by 31 Women at the Art of This Century gallery in New York. In 1949 Frederick Ashton choreographed a ballet conceptualized by Fini, Le Rêve de Leonor (“Leonors Dream) with music by Benjamin Britten. In London, she exhibited at the Kaplan gallery in 1960 and at the Hanover Gallery in 1967. In the summer of 1986 there was a retrospective at the Musée du Luxembourg in Paris that drew in more than 5,000 people a day. It featured over 260 works in a variety of media. A tribute to the many artistic and creative avenues that her career took throughout her lifetime, there were 100+ watercolors and drawings, around 80 theatre/costume designs, and about 70 paintings, 5 masks, etc. Many of her paintings featured women in positions of power; an example of this is the painting La Bout du Monde where a female figure is submerged in water up to her breasts with human and animal skulls surrounding her. Madonna used the imagery in her video, Bedtime Story in 1994. In the spring of 1987 she had an exhibition at London’s Editions Graphique’s gallery. Fini was also featured in an exhibition entitled “Women, Surrealism, and Self-representation” at the San Francisco Modern Museum of Art in 1999.
She painted portraits of Jean Genet, Anna Magnani, Jacques Audiberti, Alida Valli, Jean Schlumberger (jewelry designer) and Suzanne Flon as well as many other celebrities and wealthy visitors to Paris. While working for Elsa Schiaparelli she designed the flacon for the perfume, Shocking, which became the top selling perfume for the House of Schiaparelli. She designed costumes and decorations for theater, ballet and opera, including the first ballet performed by Roland Petits Ballet de Paris, Les Demoiselles de la nuit, featuring a young Margot Fonteyn. This was a payment of gratitude for Finis having been instrumental in finding the funding for the new ballet company. She also designed the costumes for two films, Renato Castellanis Romeo and Juliet (1954) and John Hustons A Walk with Love and Death (1968), which starred 18-year-old Anjelica Huston and Moshe Dayans son, Assaf.
In the 1970s, she wrote three novels, Rogomelec, Moumour, Contes pour enfants velu and Oneiropompe. Her friends included Jean Cocteau, Giorgio de Chirico, and Alberto Moravia, Fabrizio Clerici and most of the other artists and writers inhabiting or visiting Paris. She illustrated many works by the great authors and poets, including Edgar Allan Poe, Charles Baudelaire and Shakespeare, as well as texts by new writers. She was very generous with her illustrations and donated many drawings to writers to help them get published. She is, perhaps, best known for her graphic illustrations for Histoire dO.
Fini is considered a great contributor to the feminist movement because her paintings often depict impertinent young women in scenes that empower their image.
[from Wikipedia]
Music: Alio Die Honey Mushroom, Part III Leonor Fini](https://i.ytimg.com/vi/VlshNGriEnc/mqdefault.jpg)
![George Barbier
George Barbier (French: [ʒɔʁʒ baʁbje]) (1882–1932) was one of the great French illustrators of the early 20th century. Born in Nantes, France on 16 October 1882, Barbier was 29 years old when he mounted his first exhibition in 1911 and was subsequently swept to the forefront of his profession with commissions to design theatre and ballet costumes, to illustrate books, and to produce haute couture fashion illustrations. For the next 20 years Barbier led a group from the Ecole des Beaux Arts who were nicknamed by Vogue The Knights of the Bracelet—a tribute to their fashionable and flamboyant mannerisms and style of dress. Included in this élite circle were Bernard Boutet de Monvel and Pierre Brissaud (both of whom were Barbiers first cousins), Paul Iribe, Georges Lepape, and Charles Martin. During his career Barbier also turned his hand to jewellery, glass and wallpaper design, wrote essays and many articles for the prestigious Gazette du bon ton. In the mid-1920s he worked with Erté to design sets and costumes for the Folies Bergère and in 1929 he wrote the introduction for Ertés acclaimed exhibition and achieved mainstream popularity through his regular appearances in LIllustration magazine. Barbier died in 1932 at the very pinnacle of his success. He is buried in Nantes.
[from Wikipedia]
Music: Vidna Obmana A Scenic Fall George Barbier](https://i.ytimg.com/vi/WJwtbE59zmw/mqdefault.jpg)
![Denis Forkas
Denis Forkas Kostromitin (1977, Russia) explores mythology and religious symbolism through the ancient Mediterranean tradition of conveying images. Denis’s work is firmly rooted in the aesthetics of antiquity and he seeks to restore the interrupted artistic legacy of nameless masters by introducing contemporary techniques – notably acrylics, – in his process. The synthesis of tradition and innovation forms a framework for the artist’s studies of dreams and philosophy. Forkas’s works have been exhibited around the globe and featured in numerous international music releases as album covers. The artist currently resides in Moscow.
[from:https://fulgur.co.uk/artists-and-writers/denis-forkas-kostromitin/]
Music: Oöphoi A Slow Beating of Wings Denis Forkas](https://i.ytimg.com/vi/WjbyMGOxm_g/mqdefault.jpg)
![Jungho Lee
These whimsical illustrations will appeal to bibliophiles thanks to their surreal use of books. Created by Korean artist and illustrator Jungho Lee, the images incorporate the beauty of books into everyday environments, creating thoughtful, dream-like scenes. As an open door, a star-filled lake, a morning slice of pie or an airplane’s wing, books take on new forms in Lee’s pieces without ever being read.
Inspired by the surrealists Rene Magritte and Quint Buchholz, Lee – the winner of the 2016 World Illustration Awards – hand draws his images with charcoal and watercolors before scanning and digitally layering them to reach the desired illusory effect. Wondrous and whimsical, the pictures are the next best thing to getting lost in a book.
[from:https://plainmagazine.com/korean-illustrator-jungho-lee-book/]
Music: Hakobune Love Knows Where Jungho Lee](https://i.ytimg.com/vi/XVid7dhBIS4/mqdefault.jpg)
![Peter Birkhäuser
The son of an oculist, Birkhäuser was born and raised in Basel. His mother died early and he was brought up by his father in a rationalistic, agnostic environment. He wanted to be a painter from an early age, and left grammar school to study at an art school under Basel artist Niklaus Stoecklin.
In his early career as an artist, he produced still-life and landscape paintings, ex libris plates, stamps, cartoons for the satirical magazine Nebelspalter, posters, and portraits. He met his future wife Sibylle Oeri in the early 30s, and they married in 1939.
One evening, while working in his studio, he was struck by the image of a moth fluttering against the window. He painted this image in 1944, and later interpreted it as symbolic of his own state of mind: the moth, representing his soul, was struggling against the glass to reach the light, representing consciousness. This image precipitated a crisis in his career, resulting in a period of stagnation and depression.
During this period, he encountered works of C.G. Jung, and began to analyze his dreams. He and his wife entered Jungian analysis with Marie-Louise von Franz. Over the next 35 years, he collected and worked on over 3,400 of his dreams, discussing them with von Franz and corresponding with Jung himself.
As he interpreted them, his dreams often reflected images of himself as stultified by artistic tradition, and urged him to break with his previous stylistic constraints. In 1956, he achieved an artistic breakthrough with his painting The Worlds Wound, the first of a long series of works painted directly from unconscious dream images.
His new works were not well received by the Swiss art community, and it took several years before they would achieve sufficient recognition to provide Birkhäuser and his wife with a satisfactory income. Most of the initial support for his new work came from a younger audience, largely based in the U.S.
In 1971, his wife of 32 years died, and he developed a serious lung complaint. Nevertheless, he produced a number of his most significant paintings in the last five years of his life.
Birkhäuser died in Binningen in 1976.
In 1980, a selection of his later works was published in the book Light from the Darkness: The Paintings of Peter Birkhäuser, edited and introduced by his daughter and son, Eva Wertanschlag and Kaspar Birkhäuser, with commentary on the paintings by Marie-Louise von Franz. In addition to his paintings, the book also includes a 1970 lecture by Birkhäuser titled Analytical Psychology and the Problems of Art.
I experience a power within myself which is not the same as my conscious ego. It has forced me to adopt a path quite foreign to my conscious attitude, a path which totally contradicted my will and everything I considered important. Before I was able to obey this power, I first needed to be crushed and almost destroyed. I often felt it was a pity this process had taken so long, but now, looking back over thousands of dreams and the sacrifices of a long, hard development, I can see how valuable the experience has been.
— in conversation with Dean Franz, ca. 1975
[from Wikipedia]
Music: Alio Die Underwater Fields Peter Birkhäuser](https://i.ytimg.com/vi/XnDmBApbiyk/mqdefault.jpg)
![Martin Lewis
Martin Lewis (7 June 1881 – 1962) was an Australian-born American etcher.
Lewis was born in Castlemaine, Victoria, Australia on 7 June 1881. He was the second of eight children and had a passion for drawing. At the age of 15, he left home and traveled in New South Wales, Australia, and in New Zealand, working as a post hole digger and a merchant seaman. He returned to Sydney and settled into a Bohemian community outside Sydney. Two of his drawings were published in the radical Sydney newspaper, The Bulletin. He studied with Julian Ashton at the Art Societys School in Sydney. Ashton, a famous painter, was also one of the first Australian artists to take up printmaking.
In 1900, Lewis left Australia for the United States. His first job was in San Francisco, painting stage decorations for William McKinleys presidential campaign of 1900. By 1909, Lewis was living in New York, where he found work in commercial illustration. His earliest known etching is dated 1915. However, the level of skill in this piece suggests he had been working in the medium for some time previously. It was during this period that he helped Edward Hopper learn the basics of etching. In 1920, after the breakup of a romance, Lewis traveled to Japan, where for two years he drew and painted and studied Japanese art. The influence of Japanese prints is very evident in Lewiss prints after that period. In 1925, he returned to etching and produced most of his well-known works between 1925 and 1935 Lewiss first solo exhibition in 1929 was successful enough for him to give up commercial work and concentrate entirely on printmaking.
Lewis is most famous for his black and white prints, mostly of night scenes of non-tourist, real life street scenes of New York City. During the Depression, however, he was forced to leave the city for four years between 1932 and 1936 and move to Newtown, Connecticut. His work from this period includes a number of rural, night-time and winter scenes in this area and nearby Sandy Hook. When Lewis was able to return to the New York City in 1936, there was no longer a market interested in his work. He taught printmaking at the Art Students League of New York from 1944 until his retirement in 1952. Lewis died largely forgotten in 1962.
Lewiss print, Shadow Dance, sold for $50,400 at the Scenes of the City: Prints, Drawings & Paintings of New York 1900–2000 auction in New York on October 2010, setting a record price for the artist at auction.
The Bruce Museum in Greenwich, Connecticut, staged an exhibition of Martin Lewis prints in October 2011 drawn from the collection of Dr. Dorrance Kelly. The Bruce Museum said of Lewis: Recognized as one of the premier American printmakers of the first half of the 20th century, Martin Lewis left an indelible mark on the landscape of the art world. Lewis was an acknowledged master of the intaglio techniques of printmaking, experimenting with multiple processes including etching, aquatint, engraving and drypoint. A highly skilled printer, Lewis created magnificent impressions that captured the energy, bustle and occasional solitude of all aspects of city life in New York. With his remove to Connecticut in 1932, Lewis instigated another topic through his printmaking: country life. This firmly entrenched Lewis as a prominent America scene artist, who captured the intersection between the urban and rural environments and shed light on the slowly emerging suburban culture.
Institutions holding Lewis work include the Brooklyn Museum, the Smithsonian American Art Museum, The Philadelphia Museum of Art and others.
[from Wikipedia]
Music: Alio Die Intramundia Martin Lewis](https://i.ytimg.com/vi/XvEzE1R87Vo/mqdefault.jpg)