1-45. London flat said to be Oscar Wilde’s pied-à-terre is for sale, Rankin photographs children with 'real' version of imaginary friends, Marc Almond gig review: Eighties star still living life in his own way, A Life on Screen: Stephen Fry, BBC2 - TV review, Speak My Language and Other Stories, edited by Torsten Højer, review, Cafe Royal brings its boxing ring back in aid of veterans, Wilde's Women by Eleanor Fitzsimons, book review, How We Met: Chilly Gonzales & Jarvis Cocker, Historical fiction round-up: Spin-offs open a worthy new chapter, Seven quotes from Oscar Wilde to put life into perspective, BOOK REVIEW / The siren of misspent youths: 'Wonderful Sphinx: The, 23 short novels you can read over a weekend. Courtesy of the William Andrews Clark Library, UCLA. I first explore the interpersonal and aesthetic politics that informed the choice of Jacob Epstein as the tomb’s commissioned sculptor, and how that choice must be understood as integral to how we remember Wilde today. London: Fine Art Society Ltd., 1968. “Ah Ross! In 1905 and 1906, Robert Ross had curated two exhibits of Ricketts’s bronzes at London’s avant-garde Carfax Gallery (of which he was part owner). Although their aesthetic styles could not have been more divergent, Charles Ricketts and Jacob Epstein were not adversaries; in fact, Ricketts played a key role in bringing him to the attention of Wilde’s circle. But how might this history have been different had Ross chosen not Epstein, but instead Charles Ricketts, as the sculptor to receive the Père-Lachaise commission? Nor is this question the most important aspect of the draft Requiescat passages; their revelations about Isola’s centrality to Wilde’s emotional and literary life are far more pertinent. Given that the choice of Epstein to carve Wilde’s tomb represented a potentially explosive merger of two artists infamous for pushing the limits of artistic decency, the relative moral merits of Epstein’s monument to Wilde—the naked figure adorning which struck many as uncannily resembling the deceased—prompted surprisingly little negative comment from the press. Giles Robertson, then joint executor of the estate of Robert Ross, offered historian Michael Pennington one rationale for this late act of censorship. Figures 16-18: Charles Ricketts, Silence (full figure and details), 1905 (courtesy of the William Andrews Clark Memorial Library, UCLA; photographs by the author). An undated letter from Ricketts to the great Edwardian actor Sir John Martin Harvey, also at the Clark, is annotated by another hand identifying Harvey as having once owned Silence: “Ricketts designed and made a bronze figure named ‘Silence,’ which he designed and made for his old friend Oscar Wilde, and which was bought by Sir John Martin Harvey, now in the possession of his daughter” (n. The latter phrase is used most famously in The Ballad of Reading Gaol, the poem inspired by Wilde’s prison sentence for gross indecency: Yet each man kills the thing he loves, By each let this be heard, Some do it with a bitter look, Some with a flattering word. For that is what the guardian of the cemetery suggested might be done” (49). Her publications include Aristocratic Drag: The Dandy in Irish and American Southern Fiction (Edinburgh, 2007). Once freed of both butterfly codpiece and tarp, the monument was visited regularly and adored, even after its castration in the early 1960s. Unlike Epstein’s bold sculptural challenge to future generations, this alternative memorial echoes the evasively secretive spirit of Wilde’s queer challenge to the concept of “last judgment.”  Entitled “Silence,” Ricketts’s statue advocates radical reserve as posthumous protection against normative judgment (Figs. The indicators that his sister was a key influence, perhaps even his muse, constitute a discovery of major significance. Ross asked Ricketts to design the cover; Ricketts chose a simple gilt image, stamped on blue cloth boards, of a bird escaping from behind prison bars (Figs. . Crowell, Ellen. On the eve of the volume’s publication, Ricketts paid a visit to Ross, and the two spent the evening reminiscing about Wilde: Figures 14 and 15: Cover design (with detail) for Wilde, _De Profundis_ (London: Methuen, 1905). Wilde’s cause and effect connection, between “we” loving so well and Isola’s death, had not been publicly recorded. Extension of Romanticism and Victorianism on the Net. This name will appear beside any comments you post. Numerous books and articles have been written on Oscar Wilde, reflecting on the life and contributions of this unconventional author since his death over a hundred years ago. has been created in anguish under the driving possession of an idea. He was only 46 years old. 1912. Although we know from a 1906 Carfax Gallery exhibition catalogue that Ricketts authorized the manufacture of up to 25 plaster casts of Silence, Ricketts biographer J. G. P. Delaney is the only scholar to mention the existence of any such cast.

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