Without Edward Gorey, many modern classics wouldn’t exist. Edward Scissorhands, for example: The aesthetic of the movie is unmistakably influenced by the distinctive mood of Gorey’s art. In ...

Horror master Eli Roth has traded gore for Gorey. The director of frightful flicks such as “Hostel” and “Death Wish” has his first family film, “The House With a Clock in Its Walls ...

Gorey’s aesthetic idiosyncrasies blossomed when he finally arrived at Harvard in 1946. It was during this period that he adopted the extravagant costume he would later be famous for: ...

Gorey was one of those artists who was fully formed at an early age, and didn’t evolve; Gorey at 30 was the same artist he was at 75. The lack of any kind of alteration wrought by life ...

If you love the spooky aesthetic of Tim Burton at all, then you can draw a direct line between his work and the artwork of illustrator and author Edward Gorey. For much of the mid-2oth century ...

Françoise Mouly writes about the cover for the December 10, 2018, issue of The New Yorker, which was submitted by the artist Edward Gorey more than twenty-five years ago.

Gorey was born on this day in 1925 and died of a heart attack in his adopted home of Cape Cod in 2000, but his legacy — both literary and aesthetic — lives on today.

Edward Gorey’s Letter Three (1974). ... meticulously rendered in black and white, while on the back of the envelope Gorey has drawn a single falling red leaf.