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On Lear and Nonsense
- A Very Good Children’s Book (1865)
- Nonsense Verse, &c. (1880)
- Word-Twisting Versus Nonsense (1887)
- Concerning Nonsense (1889)
- Delightful Nonsense (1890)
- G.K. Chesterton, A Defence of Nonsense (1902)
- The Poems in Alice in Wonderland (1903)
- Limericks (1903)
- Ian Malcolm on Edward Lear (1908)
- G.K. Chesterton, Two Kinds of Paradox (1911)
- H. Jackson, Masters of Nonsense (1912)
- H. Hawthorne, Edward Lear (1916)
- G.K. Chesterton, Child Psychology and Nonsense (1921)
- How Pleasant to Know Mr Lear (1932)
- G.K. Chesterton, Both Sides of the Looking-Glass (1933)
- G.K. Chesterton, Humour (1938)
- G. Orwell, Nonsense Poetry (1945)
- George Orwell, Funny, But Not Vulgar (1945)
- Michele Sala, Lear’s Nonsense: Beyond Children’s Literature
- Edward Lear, Selmun Palace,@Malta nonsenselit.wordpress.com/2015/11/27/edw… https://t.co/ctE54izbCS 7 hours ago
- Guardian | Book of limericks transforms struggling author Ranjit Bolt into literary lion gu.com/p/4edt5/stw 5 days ago
- Antoine Sausvert, Benjamin Rabier sous influence allemande sur Cases d’Histoire, casesdhistoire.com/benjamin-rabie… https://t.co/es6GdDrhcb 1 week ago
Tag Archives: Edward Lear
Edward Lear, Selmun Palace, Malta. Pen and brown ink, watercolour. 103mm x 203mm. On Lear in Malta. The Fitzwilliam Museum.
In his Course in Nonsense Tom Swifty comments on the feud between Learians and Carrollians: The nonsense of these two could not have been more different. We can make fun of rules by blithely ignoring them, like Lear, but also by … Continue reading
Swifty, Tom. A Course in Nonsense: Your Pea-Green Guide to Nonsense Literature. Rotterdam: Brave New Books, 2015. Tom Swifty’s book is exactly what it purports to be, a quick introduction to nonsense literature from ancient Greece to modern times. As … Continue reading
Edward Lear, A view of Mendrisio, Switzerland. Inscribed and dated ‘Mendrisio/6 AM, July 3, 1878’ (lower right). Watercolour and ink, unframed. 9 x 15cm (3 9/16 x 5 7/8in). Bonhams.
Edward Lear, Study of figures and foliage at Frascati. Inscribed and dated ‘Frascati./June 8.1839’ (centre right) and inscribed with colour notes (variously throughout). Pencil. 12.4 x 17.2cm (4 7/8 x 6 3/4in). Bonhams.
This one is a very unusual picture for Edward Lear, and I think it shows clearly why he avoided placing large human figures in the foreground of his paintings. Here the two boys are drawn in a stiff pose and appear completely separated from … Continue reading
Edward Lear, The entrance to the Grand Canal, Venice. Inscribed ‘Venice. Nov. 12. [1865?] 7.20.am. (11)’ (lower right). Pencil and watercolour on paper. 6 1/8 x 10 in. (15.5 x 25.4 cm.) Christie’s.