Beatles Illustrated Lyrics 1st Edition

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He enjoyed perhaps his single greatest success with The Butterfly Ball and the Grasshopper’s Feast (1973). Inspired by a William Roscoe poem from 1802, the book combined Aldridge’s fantastical anthropomorphic illustrations of insects with William Plomer’s verses, and won the Whitbread children’s book award. Aldridge’s illustrations provided the basis for an animated short film the following year and he provided the sleeve artwork for Roger Glover’s concept album of the same name. Alan Aldridge in the early 1970s. He was once called ‘Beardsley in blue jeans’. Photograph: Rolls Press/Popperfoto/Getty Images In interpreting the lyrics, the illustrators breathe new life into the words and flesh out basic love songs such as "Love Me Do" and "She Loves You" with their surreal and psychedelic images. Similarly, the more mature lyrics of later songs such as "Eleanor Rigby" and "Norwegian Wood", which are effective as words alone, also profit from visual enhancement. The diverse material on offer encompasses a broad spectrum of styles that range from the nursery rhyme-like "Yellow Submarine" through the hallucinogenic "Strawberry Fields Forever" and the abstract "I Am The Walrus" to the reflective beauty of "Across the Universe". As with poems, lyrics will always be open to interpretation and the Beatles songs have suffered more dissection than most. However, the illustrations not only successfully capture the essence of the songs but also provide a fascinating reflection of 1960s culture, perhaps most notably by the frequent use of sexist imagery. There is some very '60s-style nudity, including nude children and Victorian nudie pictures; we're not talking Playboy here. A set of Brighton "saucy postcard" images are also included. His most memorable contribution was his transformation of a Mini into a four-wheeled work of art, handpainted by Aldridge in a hectic 24-hour session. It was the magazine’s cover image in October 1965, with the title Automania. Meanwhile he had still been creating covers for Penguin, and was lured away from the Sunday Times to become Penguin’s fiction art director. Aldridge set about creating a radical, freewheeling new look for Penguin’s catalogue.

Aldridge provided a number of works. These are mostly airbrush pieces in a bulbous-marquee style reminiscent of Monty Python artist Terry Gilliam - they tend to be more song-oriented than many of the other pieces. Aldridge is survived by two sons, Miles and Marc, and a daughter, Saffron, from his first marriage, to Rita Farthing; two sons, Pim and Toby, from a relationship with Andrea Gayler; two daughters, Ruby and Lily, and a son, James, from his second marriage to Laura Lyons, which also ended in divorce, and 11 grandchildren. urn:lcp:beatlesillustrat0000aldr:lcpdf:788c8cd7-60ed-4052-bb24-d79f1e483913 Foldoutcount 0 Identifier beatlesillustrat0000aldr Identifier-ark ark:/13960/s2ddq9wxnp6 Invoice 1652 Isbn 9781780388250 Ocr tesseract 5.0.0-1-g862e Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 0.8036 Ocr_module_version 0.0.15 Ocr_parameters -l eng Old_pallet IA-NS-2000576 Openlibrary_editionHe is possibly best known, however, for the picture book The Butterfly Ball and the Grasshopper Feast (1973), a series of illustrations of anthropomorphic insects and other creatures, which he created in collaboration with William Plomer, who wrote the accompanying verses. This was based on William Roscoe's poem of the same name, but was inspired when Aldridge read that John Tenniel had told Lewis Carroll it was impossible to draw a wasp in a wig. Access-restricted-item true Addeddate 2022-03-28 23:57:20 Associated-names Beatles, author Bookplateleaf 0002 Boxid IA40413515 Camera USB PTP Class Camera Collection_set printdisabled External-identifier He drew portraits in his spare time, and as news of his abilities spread, he was recruited as a trainee by Germano Facetti, the art director at Penguin Books. Aldridge worked his way up to designing book covers, then was offered a job as a junior visualiser at the Sunday Times. The paper had the UK’s first colour supplement, offering new opportunities in design and photography that Aldridge was keen to exploit. His career began in 1965 when he happened to meet the art director of Penguin Books, and began producing illustrations for book covers. Over the next two years he took over as art director, and introduced his style which resonated with the mood of the time. In 1968 he moved to his own graphic-design firm, INK, which became closely involved with graphic images for the Beatles and Apple Corps.[1]