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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.

Aubrey Beardsley, c. 1894

Frederick Henry Evans

Aubrey Beardsley, c. 1894

In a short life of intense and fevered activity, Aubrey Beardsley (1872–1898) produced many original and highly finished black-and-white drawings associated with the Decadent movement. The exploration of sexual liberation and gender fluidity in his work has made him an iconic figure within the history of queer identity. Beardsley adopted the pose for this portrait when his friend, Frederick Henry Evans, jested that his face was like a ‘gargoyle’.

Beardsley wrote to Evans on 20 August 1894: ‘I think the photos are splendid; couldn’t be better.’ Evans experimented with the platinum process; matt and dense, it was favoured by members of the leading art photographers’ group, the Linked Ring.

National Portrait Gallery, London Given by Robert R. Steele, 1939
© National Portrait Gallery, London

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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders past and present. We respectfully advise that this site includes works by, images of, names of, voices of and references to deceased people.

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