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- Herausgeber: Parkstone International
- Sprache: Englisch
Sir Edward Burne-Jones (1833–1898) was a master of drawing, painted glass and ceramic art. Little concerned with the details of daily reality, he probed medieval literature for new themes and produced works that idolize Victorian values and the Englishwoman. Burne-Jones was the epitome of politically correct licentiousness, as a recent London exhibition made delightfully plain to all.
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Seitenzahl: 43
Veröffentlichungsjahr: 2024
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Patrick Bade
Edward
BURNE-JONES
Text: Patrick Bade
Layout: Stéphanie Angoh
© 2024, Confidential Concepts, Worldwide, USA
© 2024, Parkstone Press USA, New York
© Image-Barwww.image-bar.com
All rights reserved. No part of this may be reproduced or adapted without the permission of the copyright holder, throughout the world.
Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification.
ISBN: 978-1-63919-869-6
Contents
1.Burne-Jones working on ‘The Star of Bethlehem’, July 27, 1890.
2.King Cophetua and the Beggar Maid, 1880-1884.
3.The Briar Rose series: The Council Chamber, 1870-1890.
4.The Wheel of Fortune, 1875-1883.
5.A Musical Angel, 1878-1883.
6.Cupid’s Hunting Fields, 1885.
7.Hope, 1896.
8.Self-Caricature as Pavement Artist.
9.Georgiana Burne-Jones, 1883.
10.Georgiana Macdonald at age sixteen. Black-and-white photograph by Walker E. Cockerell. From Georgiana Burne-Jones,Memorials of Edward Burne-Jones(London, 1904).
11.Cupid Finding Psyche, 1865-1887.
12.Drawing of Mary Zambaco, 1871.
13.Desiderium, 1873.
14.The Depths of the Sea, 1886.
15.Mary Zambaco, 1870.
16.Phyllis and Demophoon, 1870.
17.The Car of Love, 1872.
18.Pan and Psyche, circa 1872-1874.
19.The Merciful Knight, 1863.
20.The Beguiling of Merlin, 1874-1876.
21.Going to the Battle, 1858.
22.The Golden Stairs, 1876-1880.
23.Le Chant d’Amour(The Song of Love), 1868-1877.
24.William Holman Hunt,The Awakening Conscience, 1853.
25.The King’s Daughter, 1865-1866.
26.Cupid and Beauty, 1874.
27.The Perseus Series: Perseus and the Sea Nymphs(The Arming of Perseus), 1877.
28.Pygmalion and the Image I: The Heart Desires, 1875-1878.
29.Pygmalion and the Image II: The Hand Refrains, 1875-1878.
30.Pygmalion and the Image III: The Godhead Fires, 1875-1878.
31.Pygmalion and the Image IV: The Soul Attains, 1875-1878.
32.The Perseus Series: The Rock of Doom, circa 1884-1885.
33.The Seasons: Spring, 1869.
34.The Seasons: Summer, 1869.
35.The Seasons: Autumn, 1869.
36.The Seasons: Winter, 1869.
37.Lady Windsor, 1893-1895.
38.The Wedding of Psyche, 1895.
39.Laus Veneris, 1878.
40.The Briar Rose: Study for “The Garden Court”, 1889.
41.The Lament, 1866.
42.Dante Gabriel Rossetti,The Blue Closet, 1857.
43.The Blessed Damozel, 1860.
44.Dante Gabriel Rossetti,The Maids of Elfenmere. Illustration from the poetic suite “Night and Day Songs” in William Allingham,The Music Master(London, 1855).
45.Study of a Woman, 1890.
46.The Mirror of Venus, 1870-1876.
47.An Angel Playing a Flageolet, 1878.
48.Sidona von Bork, 1860.
49.Margaret Burne-Jones, 1885-1886.
50.Georgiana and Children at the Piano, 1879.
51.Portrait of Katie Lewis, 1886.
52.The Challenge in the Wilderness, 1895.
53.The Days of Creation: The Third Day, 1870-1876.
54.The Days of Creation: The Sixth Day, 1870-1876.
55.The Days of Creation: The First Day, 1870-1876.
56.Hill Fairies, 1885.
57.Nude study forSaint Matthew(south transept, Jesus College Chapel, Cambridge), 1873.
58.Sketch-book, 1875.
59.Romaunt of the Rose: The Heart of the Rose, 1901.
60.Poesis, 1880.
61.Study forThe Lament, circa 1865.
1.Burne-Jones working on ‘The Star of Bethlehem’, July 27, 1890. Black-and-white photograph by Barbara Leighton. Courtesy of the National Portrait Gallery, London.
When Burne-Jones’ mural sized canvas of King Cophetua and the Beggar-maid was exhibited in the shadow of the newly constructed Eiffel Tower at the Paris Exposition Universelle in 1889, it caused a sensation scarcely less extraordinary than the tower itself. Burne-Jones was awarded not only a gold medal at the exhibition but also the cross of the Légion d’Honneur. He became one of those rare “Anglo-Saxons” who from Constable in the early nineteenth century to Jerry Lewis in the late twentieth century have been taken into the hearts of the French intelligentsia. For a few years while the Burne-Jones craze lasted, fashionable French women dressed and comported themselves “à la Burne-Jones” and cultivated pale complexions, bruised eyes and an air of unhealthy exhaustion. The two great French Symbolist painters Gustave Moreau and Pierre Puvis de Chavannes immediately recognised Burne-Jones as an artistic fellow traveller. In 1892, the cheer leader of the “Decadence,” “Sâr” Joséphin Péladan, announced that Burne-Jones would be exhibiting at his newly launched Symbolist “Salon de la Rose-Croix” alongside Puvis de Chavannes and other leading French Symbolist and English Pre-Raphaelites.
Burne-Jones wrote to his fellow artist George Frederick Watts “I don’t know about the Salon of the Rose-Cross — a funny high-fallutin’ sort of pamphlet has reached me — a letter asking me to exhibit there, but I feel suspicious of it.” Like Puvis de Chavannes (who went so far as to write to Le Figaro denying any connection with the new Salon), Burne-Jones turned down the invitation.
