Between 1903 and 1905 reviews of Aubrey Beardsley's art -and body- appeared throughout the contemporary press in "fin-de-siecle Vienna". Within this critical reception, Beardsley's 'wretched hand' was posthumously viewed as the literal instrument of his grotesque drawings, as well as a synecdoque for his 'destroyed' body. Through an examination of the contemporary literature, this essay investigates the extent to which Beardsley's repertoire of erotic and grotesque figures was in dialogue with similarly 'grotesque' images created by the Austrian artists Gustav Klimt and Julius Klinger. This study additionally builds upon the current scholarship examining the proliferation of the pathological body in turn-of-the-century Viennese art. The fact that critics were responding to Breadsley's body and oeuvre at precisely the same moment that detractors were disparaging the 'diseased' and pornographic figures in Klimt's "Faculty Paintings" suggests that the grotesque body had become synonymous with modernism in Vienna by 1905.

中文翻译：

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“他可怜的手”：奥布里·比尔兹利、怪诞的身体和维也纳现代艺术

1903 年至 1905 年间，对奥布里·比尔兹利 (Aubrey Beardsley) 的艺术和身体的评论出现在“世纪末维也纳”的当代媒体中。在这次批评中，比尔兹利的“可怜的手”在死后被视为他怪诞绘画的文字工具，以及他“被毁”的身体的比喻。通过对当代文学的考察，这篇文章调查了比尔兹利的色情和怪诞形象与奥地利艺术家古斯塔夫·克里姆特和朱利叶斯·克林格创作的类似“怪诞”形象的对话程度。这项研究还建立在当前研究世纪之交维也纳艺术中病态身体扩散的学术研究的基础上。评论家对 Breadsley 做出回应的事实