Monster
Beauty and the Beast at supper (illustration for Beauty and the Beast), c. 1875
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes. This illustration is from Boyle’s 1875 retelling of Beauty and the Beast, a fairy tale where a woman is imprisoned by a monster and falls in love with him. Unlike other illustrated versions before or since, Boyle gave her beast walrus-like tusks and flippers. In several of her illustrations, Boyle used shell gold – a mixture of finely ground gold powder and gum arabic (tree sap) that would have been stored in a shallow seashell. In the final publication, the caption for this illustration reads, "After supper, every night, the Beast asked Beauty to be his wife: every night she said him nay."
Illustration for Beauty and the Beast (the Merchant and the Beast), c. 1875
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes. This illustration is from Boyle’s 1875 retelling of Beauty and the Beast, a fairy tale where a woman is imprisoned by a monster and falls in love with him. Unlike other illustrated versions before or since, Boyle gave her beast walrus-like tusks and flippers. In several of her illustrations, Boyle used shell gold – a mixture of finely ground gold powder and gum arabic (tree sap) that would have been stored in a shallow seashell. In the final publication, the caption for this illustration reads, "Upon the strange prickly leaves, some one had curiously carved Beauty's name ......... The Beast came near, and the roses fell from his grasp."
Untitled, 1971
Between the 1960s and 1990s, more than fifty designers worked at OSPAAAL (the Organisation of Solidarity with the People of Africa, Asia and Latin America). Based in Cuba, they made magazines and posters that were sent around the world. Their aim was to promote radical political ideas. Many of their posters celebrate socialist revolutions and liberation movements from the Global South. Olivio Martínez Viera’s design represents the U.S.A. as a monstrous organism extracting resources from Africa for financial gain.
Illustration for Beauty and the Beast (Beauty embracing the dying Beast), c. 1875
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes. This illustration is from Boyle’s 1875 retelling of Beauty and the Beast, a fairy tale where a woman is imprisoned by a monster and falls in love with him. Unlike other illustrated versions before or since, Boyle gave her beast walrus-like tusks and flippers. In several of her illustrations, Boyle used shell gold – a mixture of finely ground gold powder and gum arabic (tree sap) that would have been stored in a shallow seashell. In the final publication, the caption for this illustration reads, "Ah dear Beast, she said: Alas that my unkindness should thus slay thee."
