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template for future visions of paradise. Chubb's books become progressively more self-involved and paranoid. Seeking to articulate his pederastic desires, he created a personal mythology which explained everything in terms only he could understand. Nonetheless, Chubb's work is of fascinating psychological significance; each of the various angels, knights, seers, and boy-gods in his dream world represents an aspect of his introspective and persecuted self.
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522:(published posthumously) are devoid of the usual profusion of naked, lissome youths, but instead offer a glimpse into his youthful imagination, and some of his most charming poetry. In the final years of his life he donated his remaining volumes to the national libraries of Britain. He died peacefully at Fair Oak Cottage in
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Other themes run through all of Chubb's work. He was forever haunted by the memory of a young chorister at St Albans who disappeared from Chubb's life just as he had summoned up the courage to speak to him. Similarly, a brief sexual relationship with another boy when Ralph was 19 seemed to serve as a
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I announce a secret event as tremendous and mysterious as any that has occurred in the spiritual history of the world. I announce the inauguration of a Third
Dispensation, the dispensation of the Holy Ghost on earth, and the visible advent thereof on earth in the form of a Young Boy of thirteen years
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His books were created in several chief phases. His typeset books of the twenties were a humble offering, exhibiting Chubb's talent for woodcutting and his quaint, visually inspired poetry. Even at this early stage, Chubb's lifelong obsession with adolescent males was beginning to become apparent. He
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The green green hills, the blue blue sky, blue sea, great golden SUN, yellow dandelions, the pink naked beauty of ripe boyhood, deathless free and happy, brimming with health. This I must have. Nothing less than this can ever satisfy me! GIVE ME MY HEAVEN! GIVE ME MY HEAVEN!
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Chubb, like many other artists of his generation, resented science for its intrusion into his imagination. He disparaged the scientists, orthodox theologians, and politicians of world, accusing them of squelching his personal thirst for liberty. In 1927 he wrote:
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None of the editions of Chubb's books exceed more than 200 copies, and some of his lithographed masterworks exist in only 30 or 40 copies, of which a mere six or seven are meticulously hand-coloured by Chubb.
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Failing in health and facing continuing legal and financial difficulties, Chubb abandoned his controversial works in the mid-fifties, and began to collect and reprint his early poems and childhood memories.
406:(1920) is in Wakefield; Southampton has bathers with boys wrestling, and there are nudes at Leamington, all illustrated in the Public Art Foundation catalogues. He moved with his family to the village of
462:. Each page of these two volumes is crowded with obscure digressions on Chubb's mythology and drawings of symbolic significance. Briefly summarised, Chubb's vision was a prophecy of the redemption of '
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of the verity of his solipsism by illustrating some examples of serendipitous events from his life. His aim is more on the mark when he excoriates the taboos and frustrations of modern life.
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I do not necessarily claim to be a great artist or writer; but I claim to be a true spirit – this is a subtler test. Seek me out; but you may not find me. (
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Existence, besides being a miracle, is a symbol. Albeit here for inscrutable purposes the spirit is only to be discerned as it were in a distorting-glass. (
466:', or England, by the boy-god Ra-el-phaos, of whom Ralph claimed himself to be the prophet and herald. This echoes an earlier announcement to be found in
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in
Hampshire. Chubb's printing press was interrupted by the war, but in 1948 he entered into the third period of career with two massive volumes:
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in
Berkshire. He began to devote his artistic talents to the printed works which would remain his chief labour in life.
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was the first of his printed works to be printed in his own hand; he soon followed this with the first of his opulent
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Rahman, Tariq (1991), 'Ephebophilia and the
Creation of a Spiritual Myth in the Works of Ralph Nicholas Chubb',
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and other influential artists. He went on to contribute several articles and poems for
Underwood's magazine,
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of Art, his paintings did not sell. There are several in public collections in
Britain. His major painting
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unfolds like an illuminated manuscript, recounting stories of Chubb's family and his journeys among the
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Chubb's own assessment of his work conforms to the general critical reaction:
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Cave, Roderick (1960), 'In Blake's
Tradition: the Press of Ralph Chubb',
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196:. Statements consisting only of original research should be removed.
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Cave, Roderick (1960). 'Blake's Mantle', a Memoir of Ralph Chubb',
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The dates and titles of Chubb's printed works are given below.
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crystallises Chubb's aesthetic of the youthful male form, and
359:, Hertfordshire. His family moved to the historic town of
327:(8 February 1892 – 14 January 1960) was an English poet,
635:(illustrated by Vincent Stuart; script by Helen Hinkley)
394:. Although his work was displayed at such venues as the
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90:. Unsourced material may be challenged and removed.
886:People educated at St Albans School, Hertfordshire
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426:manifesto duplicated from a cursive manuscript.
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418:expands upon this theme more explicitly in
375:. He served with distinction but developed
53:Learn how and when to remove these messages
526:and was buried next to his parents at the
363:before his first birthday. Chubb attended
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230:Learn how and when to remove this message
212:Learn how and when to remove this message
150:Learn how and when to remove this message
496:Chubb sought to persuade his readers in
382:From 1919 to 1922 Chubb studied at the
866:Alumni of the Slade School of Fine Art
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841:British Army personnel of World War I
826:Military personnel from Hertfordshire
732:. London: Routledge & Kegan Paul.
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386:in London. It was there that he met
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836:Alumni of Selwyn College, Cambridge
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475:old, naked perfect and unblemished.
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331:and artist. Heavily influenced by
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34:This article has multiple issues.
901:20th-century British printmakers
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16:English poet, printer and artist
75:needs additional citations for
42:or discuss these issues on the
728:D'Arch Smith, Timothy (1970).
709:References and further reading
603:(duplicated hand-written text)
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856:20th-century English painters
671:Juvenilia and early romances
633:Songs Pastoral and Paradisal
528:Kingsclere Woodland Cemetery
347:and sexually revolutionary.
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911:People from Stratfield Saye
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739:, 20 (1–2), pp. 103–27
716:The American Book Collector
192:the claims made and adding
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896:20th-century English poets
723:Book Design and Production
309:Kingsclere Woodland Church
595:The Book of God's Madness
583:The Cloud & the Voice
577:A Fable of Love & War
490:The Book of God's Madness
369:Selwyn College, Cambridge
318:Poet, printer, and artist
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744:Ralph Chubb: The Unknown
737:Journal of Homosexuality
652:Post-war prophetic texts
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355:Ralph Chubb was born in
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725:. 3 (2), pp. 24–28
718:, 11 (2), pp. 8–17
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742:Reid, Anthony (1970).
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876:English printmakers
748:The Private Library
697:The Day of St Alban
558:Early typeset works
422:, a pederastic and
384:Slade School of Art
260:Ralph Chubb in 1912
891:English male poets
646:The Secret Country
627:The Heavenly Cupid
614:Lithographed texts
468:The Heavenly Cupid
444:The Secret Country
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659:The Child of Dawn
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82:Please help
77:verification
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821:1960 deaths
816:1892 births
601:An Appendix
539:An Appendix
498:An Appendix
428:An Appendix
420:An Appendix
345:materialist
248:Ralph Chubb
810:Categories
750:. 3 (3–4).
452:New Forest
392:The Island
339:, and the
315:Occupation
274:1892-02-08
186:improve it
110:newspapers
39:improve it
524:Hampshire
361:St Albans
357:Harpenden
341:Romantics
281:Harpenden
190:verifying
45:talk page
791:Uranians
755:See also
589:Woodcuts
408:Curridge
404:The Well
398:and the
565:Manhood
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434:books,
412:Newbury
410:, near
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