2018/10/01 by Koenraad Claes · 1 citation
Arts and Humanities · #French Literature and Poetry #Literature and Culture Studies #Historical Studies and Socio-cultural Analysis
paper · doi:10.3366/edinburgh/9781474426213.003.0004
openalex publication_date 2018/10/01 · openalex created_date 2025/10/10 · openalex updated_date 2026/05/21
This chapter proves that even some the smallest little magazines can be read as portfolios for the artists and authors who produced them. The critical success of the <italic>Hobby Horse</italic> (see Chapter 2) encouraged the foundation of the coterie publication the <italic>Dial</italic> (1889–97) by Charles Ricketts and Charles Shannon, struggling artists who used this periodical to obtain publicity for themselves and a select set of participating friends (incl. ‘Michael Field’, John Gray, Thomas Sturge Moore, Lucien Pissarro). Intriguingly theorized along the lines of the Mallarméan <italic>Livre</italic>, the <italic>Dial</italic> also functioned as a means of promoting the artistic crafts of engraving and typography. The single issue of the <italic>Pagan Review</italic> (1892) was written entirely by William Sharp under various pseudonyms, corresponding to different personae that presented different facets of the magazine’s titular ‘paganism’ and allowed the author to test out different styles and themes for possible future writing projects. The whimsical <italic>Page</italic> (1898–1901) of Edward Gordon Craig, who would become a leading designer for the modernist stage, was another (nearly) single-authored publication. Craig primarily used it to advertise his services as a designer of bookplates, dinner menus and other forms of artistic printing.