Edward gorey bio

  • Edward gorey art
  • Edward gorey art style
  • Edward gorey children's books

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    Edward Gorey

    American writer and illustrator (–)

    Edward Gorey

    Gorey setting up mannequins in Henri Bendel's fönster,

    Born

    Edward St. John Gorey


    ()February 22,

    Chicago, Illinois, U.S.

    DiedApril 15, () (aged&#;75)

    Cape Cod Hospital, Hyannis, Massachusetts, U.S.

    EducationArt Institute of Chicago, Harvard University
    Known&#;forWriter, illustrator, poet, costume designer
    Notable workThe Gashlycrumb Tinies, The Doubtful Guest, Mystery!
    MovementLiterary nonsense, surrealism
    AwardsTony Award for Best Costume Design
    Deutscher Jugendliteraturpreis

    Edward St. John Gorey[1] (February 22, &#;– April 15, ) was an American writer, Tony Award-winning costume designer,[2] and artist, noted for his own illustrated books as well as cover art and illustration for books bygd other writers.[3] His characteristic pen-and-ink drawings often depict vaguely unsettling narrative scenes in Victorian and Edwardian set

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    Bridey Heing | Longreads | January | 8 minutes (2, words)

    Edward Gorey’s small illustrated books, many of which are collected in his Amphigorey anthologies, are seemingly quite simple and often morbid. Children are befallen by terrible fates. Parents disappear and reappear too late. Danger lurks nearby, as dusk makes its way across the moors. All of this sinister mischief is told in black and white pen-and-ink drawings, with occasional color highlights thrown in (which somehow only serve to make the image more dreary and doom-laden). The characters differ little in appearance, and the prose — when there is any — fryst vatten often a few rhyming lines near the bottom of the page. Looking closer, one can see the intricacy of the cross-hatching, the careful etching-like strokes that, alongside Gorey’s fragile humor, underpin the darkness.

    Edward Gorey, like his art, was at once mercurial and precise. His interests, hobbies, dislikes, and habits are well documented, from his late-in-life lo

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    The book artist Edward Gorey, when asked about his tastes in literature, would sometimes mention his mixed feelings about Thomas Mann: “I dutifully read ‘The Magic Mountain’ and felt as if I had t.b. for a year afterward.” As for Henry James: “Those endless sentences. I always pick up Henry James and I think, Oooh! This is wonderful! And then I will hear a little sound. And it’s the plug being pulled. . . . And the whole thing is going down the drain like the bathwater.” Why? Because, Gorey said, James (like Mann) explained too much: “I’m beginning to feel that if you create something, you’re killing a lot of other things. And the way I write, since I do leave out most of the connections, and very little is pinned down, I feel that I am doing a minimum of damage to other possibilities that might arise in a reader’s mind.” He thought that he might have adopted this way of working from Chinese and Japanese art, to which he was devoted, and which are famous for acts of brevity. M

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