Aubrey Beardsley was unquestionably one of the greatest of the Decadents of the nineties. His exquisite parodies of Victorian prudery, brilliantly drawn and lavishly sexual, disrupted the establishment of his day, and delighted his esthetic peers. In his scant five years of creative life he produced a substantial volume of work that has attracted successive generations. Currently there is an enthusiastic revival of interest of his art. An exhibition of his drawings in the summer of 1966 at the Victoria and Albert Museum in London followed his already established vogue as the stylistic source of the London "Mods." The New York Beardsley show at the Gallery of Modern Art in February, 1967, marked his contemporary influence on this side of the Atlantic. A master of line, a prodigy of draftsmanship, in his short life he etched his dark, satirical, erotic mark on his time, and on ours as well. Commenting on the New York Beardsley show, Hilton Kramer, art critic of The New York Times, stated, "Nowhere in the annals of modern art is there a body of work more thoroughly imbued with erotic feeling than Beardsley's ... This alliance of the erotic and the exquisite has always been one of the attractions of Art Nouveau ... and in Beardsley we confront it in its most brilliant form ... He was a powerful draftsman - indeed a genius of a kind, whose vision flourished in a realm of sheer artifice. The wonder is, not that he was banished by the respectable elements of the society of his time, but that they failed to recognize at the start that they were in thrall to a brilliantly perverse imagination ... His entire work is suffused with an unmistakable erotic glow."--Jacket.