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A writer named M. was selected by John Lane to present the first But this was not who C. Marillier, collection of Beardsley 's work, ended his introduction with these patronizing words: "Poor Beardsley! " Such, in 1899, was the response of what Bernard Berenson used to the "art-hating Angry-Saxons" to the only English artist of his time call who had the slightest reputation or influence in Europe. " This Beardsley, a sentence as work which, in relation to the past, until we have spoke of Beardsley we understand Bismarck, may be saw in learnt to understand Beardsley shall we reach the slightly obscure, but he adds apropos of which throws light on it.

Is combined with an enough The way austere classical simplicity But the omission of contrasted a serious loss. Curiously . areas of black seems in is to these indecencies lack the erotic impact of his Salome drawings, either because Beardsley suitable to Aristophanes, or because this had gained felt it to some of its be un- force from repression and concealment. In fact the succession of penises in gigantic erection, with which the Lacedaemonian ambassadors seek to influence the followers of Lysistrata is positively boring.

Teresting that this I this Their claim that they Beardsley had no feelings of moral indignation at called The The breath of left. support this classification. In general Hogarth, have a two-faced relationship with are or was insistent than in the illustrations often described as a satirist is drawing could be cited doubt — marvelously suggestive and even, by some miracle, to Salome. Beardsley I is of Beardsley's most enchanting drawings. * same volume of The Yellow Book, But Beardsley adored Wagner, not is least be- cause of the sensual diabolism which he rightly divined in his music and which he has •He so marvelously reflected in the heads retained his admiration, tried to and naked shoulders of buy the Mademoiselle de Maupin drawings and Dieppe.

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