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| c1875 Sir Edward Burne-Jones by George James Howard, 9th Earl of Carlisle pencil 21.6 x 14 cm © National Portrait Gallery, London |
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 - 4 also.
This is part 5 of a 14-part series on the works of Edward Burne-Jones:
1864-68c The Story of Cupid and Psyche:
The Head rising up
graphite on tracing paper 10.3 x 15.8 cm
The Ashmolean Museum, Oxford, UK
The Head Rising Up
wood engraving
Birmingham Museum and Art Gallery, UK
The Oracle
graphite on tracing paper 11.1 x 16.4 cm
The Ashmolean Museum, Oxford, UK
The Oracle
wood engraving 10.5 x 15.6 cm
© William Morris Gallery, London
The Procession to the Hill
graphite, with an ink border, on tracing paper 10.4 x 15.7 cm
The Ashmolean Museum, Oxford, UK
The Procession to the Hill
wood engraving
The Song at her Getting Up
graphite on tracing paper 11.6 x 8 cm
The Ashmolean Museum, Oxford, UK
The Song at her Getting Up
graphite on tracing paper 11.7 x 8 cm
The Ashmolean Museum, Oxford, UK
The Song while She Eats
graphite on tracing paper 10.5 x 7.9 cm
The Ashmolean Museum, Oxford, UK
The Speaking Tower
graphite with an ink border on tracing paper 10.4 x 7.9 cm
The Ashmolean Museum, Oxford, UK
The Speaking Tower
wood engraving 10.8 x 8.2 cm (block)
The Task of the Seeds
graphite on tracing paper 10.5 x 15.5 cm
The Ashmolean Museum, Oxford, UK
The Task of the Seeds
wood engraving 10.8 x 15.9 cm
Venus
graphite on tracing paper 11.7 x 7.8 cm
The Ashmolean Museum, Oxford, UK
Venus sending Cupid to annoy Psyche
graphite on tracing paper 11.4 x 7.9 cm
The Ashmolean Museum, Oxford, UK
Venus sending Cupid to annoy Psyche
wood engraving
William Morris Gallery, London
Venus
wood engraving 36 x 30 cm
Zephyr and Psyche
pen and ink over graphite on tracing paper 10.6 x 8.1 cm T
he Ashmolean Museum, Oxford, UK
Zephyr and Psyche
wood engraving 10.5 x 7.6 cm
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| 1865 Astrologia graphite, watercolour and gouache, heightened with gum arabic on paper laid on canvas 53.5 x 45.8 cm Private Collection |
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| 1865 The Love Song (Le Chant d'Amour) watercolour and gouache on wove paper 54.9 x 109.5 cm Museum of Fine Arts, Boston, MA |
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| 1865-67 The Return of the Princess, (no. 6) from a group of six drawings depicting the legend of 'St George and the Dragon' 35.2 x 42.4 cm The British Museum, London |
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| c1865-70 Kneeling Draped Figure graphite and red crayon on ivory wove paper 27.3 x 26.1 cm Art Institute of Chicago, IL |
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| c1865-80 Album of 60 caricature drawings Burne-Jones working at an easel, a large woman standing behind him pen and brown ink 11.3 x 17.7 cm The British Museum, London |
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| 1865c Study for one of the Fates charcoal on white wove paper 40.2 x 28.8 cm Art Institute of Chicago, IL |
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| c1865 Cartoon for one of three windows in Saint Edbergs, Bicester, Oxfordshire (see below) graphite and charcoal 213.5 x 54.5 cm Princeton University Art Museum, New Jersey |
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| c1865 Stained glass Saint Edbergs, Bicester, UK |
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| 1866 Princess Sabra led to the Dragon oil 108 x 96.6 cm Private Collection |
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| 1866 reworked 1895 Saint George and the Dragon Series No. 7: The Return oil on canvas 104.7 x 134.6 cm Bristol Museum & Art Gallery, UK |
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| 1866 Study of a Girl’s Head graphite on paper 26 x 21.6 cm Tate, London |
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| 1866 The Garland: A Girl Tending Flowers (details not found) |
1865-66 The Lament
Burne-Jones's most considered essay in the prevailing classical style of the later 1860s. The mood of restrained sadness, the chalky colours (characteristic of other paintings of 1866), the simple outlines and low relief of the figures all point to this conclusion. The design owes much to Burne-Jones's study of the Parthenon frieze in the British Museum, The Lament though dated 1866 was largely painted in 1865. There are numerous studies for The Lament and a later oil version was sold at Christie's in 1967, which has a different background. |
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| 1866 The Lament watercolour on paper 47.5 x 79.5 cm William Morris Gallery, Walthamstow, London |
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| 1866-67 (made) Panelling for the Green Dining Room, South Kensington Museum graphite and chalk on paper 29.3 x 17.3 cm Victoria & Albert Museum, London |
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| 1866-67 Winter study of flying drapery chalk on paper Birmingham Museum and Art Gallery, UK |
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| 1866 Adam and Eve stained glass All Saints, Jesus Lane, Cambridge, UK |
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| 1866 David stained glass All Saints, Jesus Lane, Cambridge, UK |
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| 1866 Judas Maccabeus stained glass All Saints, Jesus Lane, Cambridge, UK |
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| 1866 Melchisedec stained glass All Saints, Jesus Lane, Cambridge, UK |
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| 1866 Our Lord Enthroned stained glass All Saints, Jesus Lane, Cambridge, UK |
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| 1866 St Agnes stained glass All Saints, Jesus Lane, Cambridge, UK |
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| 1866 St Barbara stained glass All Saints, Jesus Lane, Cambridge, UK |
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| 1866 St Dorothy stained glass All Saints, Jesus Lane, Cambridge, UK |
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1866-67 Sketchbook
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