Monday 14 December 2020

Edward Burne-Jones part-7

1874 Edward Burne-Jones
platinum print by Frederick Hollyer

Edward Burne-Jones became a founding member of William Morris’s decorative art firm in 1861, where he produced countless designs and illustrations for books, tapestries, ceramic tiles, mosaics and stained glass. In 1862, he travelled to Italy where he was introduced to Botticelli, whose formal patterning profoundly influenced his subsequent development as a painter. His typical subject matter derived from medieval and classical legends charged with symbolism. In fact, he was pre-eminent in the Aesthetic movement in England and the Symbolist movement in Europe. A defining characteristic of Burne-Jones as an artist was his wilful blurring of the boundaries between his painting and his decorative work.

For more information on Burne-Jones see part 1, and for earlier works see parts 1 - 6 also.

This is part 7 of a 14-part series on the works of Edward Burne-Jones:

1870 Head of a young woman
graphite on paper
Harvard Art Museums, Cambridge, MA

1870-75 Roundel with the Head of a Warrior 
graphite on paper 22.4 cm diameter
Tate, London

1870-75 Roundel with the Head of a Woman
graphite on paper
22.3 diameter Tate, London

1870-75 Roundel with the Head of a Woman
graphite on paper 22.5 diameter
Tate, London

c1870 Ananias
oil on canvas 155 x 50 cm
Lady Lever Art Gallery, Wirral, UK

1870c Azarias
oil on canvas 155 x 50 cm
Lady Lever Art Gallery, Wirral, UK

c1870 Flying Figure
oil on canvas 50.8 x 34.4 cm
Cecil French Bequest, London

c1870 Sisyphus
tempera on paper 26.2 x 25.8 cm
Tate, London

c1870 Tantalus
 tempera on panel 25.8 x 25.7 cm
Tate, London

c1870 The March Marigold
oil on canvas

1870s Head of a Girl study
graphite on paper 25.4 x 20.3 cm
Victoria & Albert Museum, London

1870s Study for The Wheel of Fortune
graphite on paper 26 x 17.2 cm
National Gallery of Victoria, Melbourne, Australia

1870s-80s Adam and Eve
graphite and pen and ink 70 x 22 cm
Victoria & Albert Museum, London

1871 Dorigen of Bretagne longing for the safe return of her husband
gouache 52.2 x 63 cm
Victoria & Albert Museum, London

1871 Fides
tempera on canvas
Vancouver Art Gallery, Canada

1871 Maria Zambaco
graphite on paper

1871 Maria Zambaco
graphite on paper

1871 The Sleeping Beauty
gold paint, watercolour & bodycolour on vellum 25.9 x 56 cm
Manchester Art Gallery, UK

1871 Venus Epithalamia
watercolour and gouache, metallic gold paint, and varnish on linen prepared with Chinese white 37.5 x 26.9 cm
Harvard Art Museums-Fogg Museum, Cambridge, MA
© President and Fellows of Harvard College

1871-73 Study of a Sleeping Woman’s Head
graphite on paper 27.4 x 22.2 cm
Tate, London

1872 Danaë and the brazen Tower
oil on panel 17.8 x 26 cm
Harvard Art Museums
© President and Fellows of Harvard College

1872 Danaë and the brazen Tower
oil on panel 38 x 19 cm
The Ashmolean Museum of Art and Archaeology, Oxford, UK

1872 designed, 1897 published
'Love is Enough'
published version with borders by William Morris


1872 designed 1897, published 'Love is Enough'
wood engraving Kelmscott Press 23 x 11.3 cm
The British Museum, London

1870 Phyllis and Demophoon

In 1870 Burne-Jones exhibited 'Phyllis and Demophoon' at the Old Watercolour Society. The story, treated by Ovid and Chaucer, concerns the love of Phyllis, Queen of Thrace, for Demophoon, one of the Greeks returning home from the Trojan Wars. By the time Demophoon came back to claim his love, Phyllis had been transformed into a barren almond tree. However, the tree burst into blooms of forgiveness when it was embraced. Burne-Jones resigned from the Society after he was asked to remove the watercolour because of the impropriety of its nude depiction of Demophoon. Much later he reworked the subject as an oil painting entitled 'The Tree of Forgiveness' (see below).

1870 Phyllis and Demophoon
gouache on paper 93.8 x 47.5 cm
Birmingham Museum and Art Gallery, UK

1882 The Tree of Forgiveness
oil on canvas 196 x 106.8 cm
Lady Lever Art Gallery, Wirral, UK

1882 The Mill
oil on canvas 91 x 19.7 cm
Victoria & Albert Museum, London

Study for The Mill
A Minstrel

Study for The Mill
graphite on paper 21 x 19.2 cm
Tate, London

Study for The Mill
graphite on paper 33.5 x 25.2 cm
Tate, London

c1870 Study for The Wheel of Fortune
black chalk, heightened with white chalk, gouache and touches of blue oil on brown paper 62.5 x 27.5 cm
 National Gallery of Victoria, Melbourne, Australia

1871-85 The Wheel of Fortune
oil o canvas 151.4 x 72.5 cm
National Gallery of Victoria, Melbourne, Australia

1875-1883 The Wheel of Fortune
oil on canvas 200 x 100 cm
Musée d'Orsay, Paris
c1882 The Wheel of Fortune (unfinished)
gouache and oil on canvas 152.3 x 73.7 cm
National Museum Wales, Cardiff, UK

1870-1895 The Legend of Briar Rose (aka Briar Wood):

The four original paintings – The Briar Wood, The Council Chamber, The Garden Court and The Rose Bower – and an additional ten adjoining panels, are located at Buscot Park in Oxfordshire, England

The four major panels were first exhibited at Agnew's Gallery in Bond Street, London in 1890. They were acquired by Alexander Henderson, later to become the Lord Faringdon, for Buscot Park. When Burne-Jones visited the house and saw the paintings in their new setting he decided to extend the frames of each of the four paintings and fill in the gaps with joining panels which continued the rose motif from the main paintings.


1870-90 The Briar Rose: The Prince enters the Briar Wood
oil on canvas
Faringdon Collection, Buscot Park, Oxfordshire, UK

1875-85c Study for The Briar Wood
gouache and metallic paint 36.7 x 82.1 cm
National Gallery of Victoria, Melbourne, Australia

1872-92 The Council Chamber
oil on canvas? 105.6 x 49.5 cm
© Delaware Art Museum

1890 The Council Chamber

1885-90 The Garden Court
The Faringdon Collection Trust

1894 The Garden Court
oil on canvas 126.3 x 237.4 cm
Bristol Museum & Art Gallery, UK

c1889 Study for the Garden Court
Bristol Museum and Art Gallery

c1889 Study for the Garden Court
Bristol Museum and Art Gallery

c1889 Study for the Garden Court 
Bristol Museum and Art Gallery

c1889 Study for the Garden Court 
Bristol Museum and Art Gallery


c1889 Study for the Garden Court 
Bristol Museum and Art Gallery

1870-90 The Rose Bower
oil on canvas

1874 The Sleeping Princess: Briar-Rose Series
oil on canvas 126 x 237 cm 
Dublin City Art Gallery, The Hugh Lane

c1870 Study for 'The Sleeping Knights'
oil on canvas 58.8 x 81.3 cm
Walker Art Galley, Liverpool, UK

1881-86 Head of Sleeping Attendant from Briar Rose
oil on canvas 42 x 42 cm
Victoria & Albert Museum, London

1892 The Prince Enters the Briar Wood
photogravure 41.5 x 82.7 cm (image)
The Metropolitan Museum of Art, New York

c1892 The Prince Enters the Briar Wood
watercolour and gouache on brown wove paper mounted to board 46.3 x 21.8 cm
Harvard Art Museums, Cambridge, MA 
© President and Fellows of Harvard College

c1893-98 The Pilgrim outside the Garden of Idleness
oil on canvas 155.8 x 305.4 cm
Victoria & Albert Museum, London

The Pilgrim in the Garden or The Heart of the Rose
(details not found)

The Pilgrim in the Garden or The Heart of the Rose
detail

1871 The Triumph of Love:

1871 The Triumph of Love (Fortuna, Fama, Oblivio, & Amor)
watercolour & bodycolour 30.5 x 15.2 cm each

Fortuna

Fama

Oblivio

Amor

1871-96 Hope:

Hope, one of the three theological Virtues, is symbolised here as a prisoner chained indoors, holding a branch of apple blossoms and reaching upward to pull the blue sky down toward her. The slender, vertical format of this painting recalls the fact that many of Burne-Jones's designs were successfully translated into stained-glass windows and textiles. Burne-Jones painted this work for Mrs. Whitin, of Whitinsville, Massachusetts. He had previously worked on a large watercolour version of the same subject.


1871 Hope (Latin: Spes)
watercolour and gouache on paper 178 x 63 cm
Dunedin Public Art Gallery, UK

1896 Hope (Latin: Spes)
oil on canvas 179 x 63.5 cm


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