ellauri067.html on line 467: Franz von Bayros (28 May 1866 – 3 April 1924) was an Austrian commercial artist, illustrator, and painter, best known for his controversial Tales at the Dressing Table portfolio. He belonged to the Decadent movement in art, often utilizing erotic themes and phantasmagoric imagery. His work can be found at the Metropolitan Museum of Art in New York. He drew over 2000 illustrations in total. Bayros piirsi eri paljon porsliinipilluja. Sanalla sanoen, pornokuvia.
ellauri069.html on line 142: An English illustrator, Beardsley is known for his (often erotically charged) illustrations for Oscar Wilde's Salome, Alexander Pope's Rape of the Lock and other black-and-white works. Along with Oscar Wilde, he was considered a leader of "The Decadents" of the 1890s; 71; 634; Wikipedia entry.
ellauri171.html on line 216: Jacques Joseph Tissot (French: [tiso]; 15 October 1836 – 8 August 1902), Anglicized as James Tissot (/ˈtɪsoʊ/), was a French painter and illustrator. He was a successful painter of Paris society before moving to London in 1871. He became famous as a genre painter of fashionably dressed women shown in various scenes of everyday life. He also painted scenes and figures from the Bible.
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16. Aubrey Beardsley (illustrator)
    ellauri219.html on line 236: Born in 1938, American painter and illustrator Richard Merkin was enamored with the early jazz period that flourished in the years before his birth. His modernist style matched the abstraction of jazz music, and also inspired Peter Blake’s tribute artwork, Souvenirs For Richard Merkin, created in 1966.
    ellauri219.html on line 270: The influence of Aubrey Beardsley’s pen-and-ink line drawings had already made itself felt on Klaus Voormann’s artwork for Revolver, and here the 19th-century illustrator, whose own style was influenced by Japanese woodcutting, takes a position not too far away from Oscar Wilde (No.41), Beardsley’s contemporary in the Aesthetic movement.
    ellauri393.html on line 297: By now he had been an illustrator for four decades, and he continued to favor scenes culled from everyday life. In Stockbridge, he found his younger models at the school near his house. Escorted by the principal, he would peer into classrooms, in search of boys with the right allotment of freckles, the right expression of openness. Before the Shot takes us into a doctor’s office as a boy stands on a wooden chair, his belt unfastened, his corduroy trousers lowered to reveal his pale backside. Rockwell kävi kouluissa kazastamassa pikkupoikien pikku perseitä. Hmm tässä ei ole tarpeexi pisamia. Vitun peeping Tom of Finland.
    xxx/ellauri295.html on line 690: Increasingly disillusioned by his close observation of communism in practice, Muggeridge decided to investigate reports of the famine in Ukraine by travelling there and to the Caucasus without first obtaining the permission of the Soviet authorities. His accounts helped to confirm the extent of a forced famine, which was politically unmotivated at the time. Muggeridge sacked The Pooh illustrator Shepard from Punch. Pooh was not Christopher Robin's Teddy but his own son's bear Growler. Eventually Shepard came to resent "that silly old bear" as he felt that the Pooh illustrations overshadowed his other work.
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