Victorian Values
Normally thought of as a time of strict
morals and harsh realities, creatively the
Victorian era also provides a whole host
of strange and beautiful imagery. Garrick
Webster speaks with four artists who look
back fondly on 19th century artists . . .
The British Empire was at its peak, industry was booming, and scientific
endeavour was changing the way people lived. Yet the Victorians also
cradled many strange superstitions and loved revisiting the myths
and fairytales of Northern Europe. Perhaps it is this backdrop of
contradictions and juxtapositions that fascinates so many illustrators
today when they look at their Victorian counterparts.
“There was a great level of optimism for human potential,
which resulted in the explosion of scientific experimentation and
creativity that was a signature of the time,” says up-and-coming British
illustrator Hannah Magee. “But as a result of this, magic and religion
were suddenly things that you didn’t have to believe in any more. You
had the choice, and this opened up a whole world of macabre fantasy.”
You’ll find Magee’s work is touched by a streak of the macabre,
and the influence of Arthur Rackham is readily identified. She’s one of
many artists who sees Rackham, Kay Nielsen and Aubrey Beardsley
as the pioneers of modern storybook illustration. Another Rackham
admirer is Emily Woodard, who also loves the work of 20th century
artist Edward Gorey.
At a young age, Woodward found herself intrigued by Victorian
curiosities such as the taxidermy done by Walter Potter, and as a child
she visited his Museum of Curiosities. “Exhibits included lambs with
eight legs, kitten weddings, drunken squirrels playing poker, and the
whole set of Who Killed Cock Robin?” she says. “This subject matter
comes through in my work – literally. I like drawing animals dressed up
as people doing everyday tasks, putting them in normal situations. It
adds an element of wit to a story.”
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