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Author: Oscar Wilde Blog
John Cooper is a researcher, author, and documentary historian who has spent 30 years in the study of Oscar Wilde. He is a long-standing member of the Oscar Wilde Society and a former manager of the Victorian Society In America.
For the last 25 years John has specialized in Wilde’s 1882 U.S. lecture tour becoming a consultant on Wilde’s American experience to biographers and the wider media.
John also lectures on Wilde and has conducted new and unique research into Oscar Wilde visits to New York, and rediscovered Wilde's essay The Philosophy Of Dress that forms the centerpiece to his book Oscar Wilde On Dress (2013).
Gyles Brandreth’s Podcast Episode with Rupert Everett
A podcast worth noting for Wildeans is Rosebud—a series of interviews conducted by the estimable Gyles Brandreth. Notable not because Gyles is now a podcaster—surely a part preordained for a journalist, novelist, non-fiction writer, publisher, television presenter, after-dinner speaker, theatre producer, university chancellor, former politician, and perennial novelty knitwear model.
No—it is more pertinently notable because Gyles is also the Honorary President of the Oscar Wilde Society. And it’s more recently notable because on March 21, 2024 his guest on the podcast was Rupert Everett, an actor who also has strong connections to Oscar Wilde.
The irresistible force of the industrial revolution meets the immovable objection of the aesthetic movement.
The reasons for Oscar Wilde’s much-heralded lecture tour of America seemed clear enough: to promote Gilbert & Sullivan’s latest operetta, Patience, while conducting a series of lectures on subjects of his own choosing.
At least that was the undertaking devised by the theatrical impresario Richard D’Oyly Carte.
Any suggestion that Oscar might, meanwhile, attempt to inculcate the American masses with what he perceived as much-needed ideas about art and aesthetics, would be entirely ulterior.
But Oscar made it his self-imposed mission to do just that.
The Oscar Wilde family home, built in 1760 at 1 Merrion Square North, Dublin, has embarked on a much-needed restoration to the annex that houses Sir William’s former consultation room, a gallery, and the balconied first floor orangery.
Here is an opportunity to support the project and in the process win an original artwork by one of Ireland’s leading contemporary artists, and artist-in-residence, Gerard Byrne—the painting was made in the Speranza lounge of the house during the recent Oscariana festival.
Artist Gerard Byrne with Oscar Wilde’s grandson, Merlin Holland, who visited the house recently and lent his support to the project.
If you are about to start reading hundreds of biographies, memoirs, and diaries in search of informative or amusing (and preferably salacious) anecdotes about the Victorians in general, and Oscar Wilde in particular, then Stop!—you don’t have to. Neil Titley has done that for you.
The Oscar Wilde family home, built in 1760 at 1 Merrion Square North, Dublin, has embarked on a much-needed restoration to its annex that houses Sir William’s former consultation room, a gallery, and the balconied first floor orangery.
Here is an opportunity to support the project and in the process win an original artwork by one of Ireland’s leading contemporary artists, and artist-in-residence, Gerard Byrne—the painting was made in the Speranza lounge of the house during the recent Oscariana festival.
Artist Gerard Byrne with Oscar Wilde’s grandson, Merlin Holland, who visited the house recently and lent his support to the project.
Having begun a personal resurgence of interest in Max Beerbohm (exhibition, article) it would be remiss not to also allude to the special role he had with regard to Oscar Wilde.
Max Beerbohm first met Oscar in 1888 while a student at Charterhouse School, but it was not a moment likely to engender an immediate affinity. For Max it was just a brief campus introduction. Whereas Oscar, now a decade removed from the callowness of college days, was about to seriously decamp for a term of decadent Bunburying.
If you have the opportunity to study Max Beerbohm’s satirical sketches in the current exhibitionMax Beerbohm: The Price of Celebrity (NY Public Library), it will not escape your notice how the writer and cartoonist ‘Max’, as he was familiarly known, was himself a consummate subject for caricature.
As we shall see, the idea of a Beerbohm burlesque was not lost on contemporary artists, nor, indeed, on Max either, for he caricatured himself more than any other subject.
Exhibition at the New York Public Library Through January 28, 2024
Celebrity became an international industry in the late nineteenth century, and the English artist, author, and dandy Max Beerbohm (1872–1956) was at the center of it.
From the 1890s through the 1920s, to be a celebrity meant the hope—and fear—of turning up in a drawing or a parody by “Max,” as he was known in both Britain and the U.S. His brilliant skewering of famous people in his visual caricatures and of their writing styles in his satirical works made him a celebrity himself. This was an idtity he enjoyed, but later shrank from. In essays and fiction, he explored the price in human terms of achieving and maintaining celebrity status in ways that still resonate with us now.
Max Beerbohm: The Price of Celebrity maps Beerbohm’s career in relation to the idea of celebrity, following him from his early days in the social and artistic circles of Oscar Wilde and Aubrey Beardsley through his late career as a radio performer on BBC broadcasts during World War II.
Drawn from across the Library’s collections, as well as loans from private and institutional collections, the exhibition includes rare original caricature drawings, manuscripts, photographs, books from Beerbohm’s library, and personal items, most on public display for the first time.
The exhibition is organized by The New York Public Library and curated by Margaret D. Stetz, Mae and Robert Carter Professor of Women’s Studies and Professor of Humanities, University of Delaware, and by Mark Samuels Lasner, Senior Research Fellow, University of Delaware Library, Museums and Press, with the assistance of Julie Carlsen, Assistant Curator, Henry W. and Albert A. Berg Collection of English and American Literature, The New York Public Library.