Search results for ""Author Matthew Sturgis""

Emma Haworth is a painter of the urban scene. Her art is built upon meticulous observation of the ebb and flow of modern metropolitan life in the streets, the parks, the squares of London, New York, Paris and other great cities: it is a constantly shifting drama of moving people and changing light, played out in a great arena that is both architectural and natural. In To Everything There is a Season, Emma shows us an overview of her oeuvre and working practices.

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The 1890s have become legendary: the period of Wilde, Beardsley and the Yellow Book; a decadent twilight at the close of the Victorian century, when young poets weary of life sat about drinking absinthe and talking of strange sins. The provenance of this beguiling picture is peculiar, for the myth of the Decadent Nineties was created during the period itself. It was an age of artistic self-consciousness, during which writers and painters believed that they had to create not only their works but also their personalities. In Passionate Attitudes, Matthew Sturgis examines the varying extents to which ambitious poets, penurious painters, canny publishers and a controversialist press all conspired to promote the notion of decadence. He explores in detail the cataclysmic effect upon English decadence of the spectacular trial and subsequent conviction of Wilde in 1895, a fall which was to cast a blight over the whole generation. As well as the luminaries Wilde, Beardsley and Beerbohm, Sturgis portrays Arthur Symons, the poet of the music halls, who divided his energies between promoting Verlaine and chasing after chorus girls; Ernest Dowson, the demoralised romantic of the Rhymers Club; Count Erik Stenbock, who kept a snake up his sleeve and went mad; and John Gray, who may have been the model for Wilde's Dorian. John Lane published most of their books; Owen Seaman and Ada Leverson parodied their manners. Elegantly written, Passionate Attitudes provides a hugely informative and richly entertaining account of the zeitgeist behind the glorious decade of excess.

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The first major biography of Oscar Wilde in thirty years, and the most complete telling of his life and times to date. NOMINATED FOR THE WOLFSON HISTORY PRIZE 2019 'The Book of the Year, perhaps of the decade' TLS 'Simply the best modern biography of Wilde... A terrific achievement' Evening Standard 'Page-turning... Vivid and desperately moving. However much you think you know Wilde, this book will absorb and entertain you' The Sunday TimesBooks of the Year Oscar Wilde's life – like his wit – was alive with paradox. He was both an early exponent and a victim of 'celebrity culture': famous for being famous, he was lauded and ridiculed in equal measure. His achievements were frequently downplayed, his successes resented. He had a genius for comedy but strove to write tragedies. He was an unabashed snob who nevertheless delighted in exposing the faults of society. He affected a dandified disdain but was prone to great acts of kindness. Although happily married, he became a passionate lover of men and – at the very peak of his success – brought disaster upon himself. He disparaged authority, yet went to the law to defend his love for Lord Alfred Douglas. Having delighted in fashionable throngs, Wilde died almost alone. Above all, his flamboyant refusal to conform to the social and sexual orthodoxies of his day make him a hero and an inspiration to all who seek to challenge convention. Matthew Sturgis draws on a wealth of new material and fresh research, bringing alive the distinctive mood and characters of the fin de siècle in the richest and most compelling portrait of Wilde to date.

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Oscar Wilde's early fame ensured that throughout his short life he was written about by many of those he met. He was celebrated - or mocked - as the master of the ingenious epigram, the provocative paradox, the witty aside or the extravagant conceit. In researching his monumental biography of Wilde Matthew Sturgis found, in every major archive, sheets of foolscap in Wilde's distinctive handwriting, setting down a series of unfamiliar epigrams - unpublished try-outs. There were fascinating new discoveries. He uncovered dozens of unfamiliar and previously ungathered anecdotes about Wilde: sidelights on his days in Oxford, London, America and Paris and beyond, by society hostesses, men-about-town, actors, lawyers, minor litterateurs, artists and politicians, diligently setting down his actions, his mannerisms and above all his sayings.The items in this volume are all small additions to the Wilde story: some unfamiliar, others unexpected, they enrich and alter the picture of his life.

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'To critics who said that the full-lipped so-called 'Beardsley mouth', which adorned many of his women, was 'inexpressive and ugly', the artist countered, 'Well, let them criticise. It's my mouth and not theirs. I like big mouths. People like the little mouth - the "Dolly Varden" mouth, if that describes it better. A big mouth is the sign of character and strength. Look at Ellen Terry with her great, strong mouth. In fact, I haven't any patience with small-mouthed people.' 'The popular idea of a picture is something told in oil or writ in water to be hung on a room's wall or in a picture gallery to perplex an artless public.' 'To my mind, there is nothing so depressing as a Gothic cathedral. I hate to have the sun shut out by the saints.' 'What a nice ample creature George Sand is: like a wonderful old cow with all her calves.' And other witty, urbane insights on life, art, and culture, illustrated with selected drawings from his Grotesques series.

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