Herzog, a friend, cast him as a fly-eating secretary in his ‘Nosferatu.’ Arrabal joined him in the so-called anarcho-surrealist movement ‘Panic’ (after the god Pan). Spoerri was a close friend and collaborator — Topor did drawings for his ‘Anecdoted Topography of Chance.’ He designed a sequence for Fellini’s ‘Casanova’, and Calle invited him (and 23 others) to sleep in her bed.
Richter studied in Rome with Koch (concentrating on landscape) and Scnorr von Carolsfeld (concentrating on the figure.)
Audubon met Henslow, Sedgwick, Whewell, Buckland, Swainson, Lawrence and the aged Bewick on a visit to England; the last two helped him find subscribers for his folios of bird prints. Cuvier, met in Paris, described his work as magnificent. Humboldt had been met in America: they corresponded for over 60 years. The 17-year-old Baird wrote describing two birds new to science; Audubon gave him part of his collection of stuffed birds, assisting a hugely influential scientist’s development. D’Orbigny was a childhood friend in France. It is however a myth spread by Audubon that he studied with Jacques-Louis David.
François studied with Cassandre and then worked in his studio. He was a close friend of Searle’s, as well as collaborating with him. When working with Prévert, they used to meet in a café to discuss the text and images for a children’s book that at the same time referred subversively to the then German occupation of France.
The 19-year-old Beardsley famously visited Burne-Jones uninvited and became his protégé. He also took his drawings to Morris who (perhaps unsurprisingly, given his beliefs) was not impressed. Valéry met him while visiting his aunt in London. Wilde became a close friend, Beardsley providing erotic illustrations for his Salomé, though Wilde’s notoriety rebounded on Beardsley. He told Yeats that beauty was the most difficult of things. Whistler, a strong stylistic influence, refused an invitation to dine, though they did later meet, Beardsley subsequently caricaturing the older aesthete.