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| 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:
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| 1870 Head of a young woman graphite on paper Harvard Art Museums, Cambridge, MA |
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| 1870-75 Roundel with the Head of a Warrior graphite on paper 22.4 cm diameter Tate, London |
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| 1870-75 Roundel with the Head of a Woman graphite on paper 22.3 diameter Tate, London |
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| 1870-75 Roundel with the Head of a Woman graphite on paper 22.5 diameter Tate, London |
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| c1870 Ananias oil on canvas 155 x 50 cm Lady Lever Art Gallery, Wirral, UK |
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| 1870c Azarias oil on canvas 155 x 50 cm Lady Lever Art Gallery, Wirral, UK |
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| c1870 Flying Figure oil on canvas 50.8 x 34.4 cm Cecil French Bequest, London |
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| c1870 Sisyphus tempera on paper 26.2 x 25.8 cm Tate, London |
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| c1870 Tantalus tempera on panel 25.8 x 25.7 cm Tate, London |
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| c1870 The March Marigold oil on canvas |
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| 1870s Head of a Girl study graphite on paper 25.4 x 20.3 cm Victoria & Albert Museum, London |
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| 1870s Study for The Wheel of Fortune graphite on paper 26 x 17.2 cm National Gallery of Victoria, Melbourne, Australia |
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| 1870s-80s Adam and Eve graphite and pen and ink 70 x 22 cm Victoria & Albert Museum, London |
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| 1871 Dorigen of Bretagne longing for the safe return of her husband gouache 52.2 x 63 cm Victoria & Albert Museum, London |
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| 1871 Fides tempera on canvas Vancouver Art Gallery, Canada |
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| 1871 Maria Zambaco graphite on paper |
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| 1871 Maria Zambaco graphite on paper |
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| 1871 The Sleeping Beauty gold paint, watercolour & bodycolour on vellum 25.9 x 56 cm Manchester Art Gallery, UK |
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| 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 |
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| 1871-73 Study of a Sleeping Woman’s Head graphite on paper 27.4 x 22.2 cm Tate, London |
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| 1872 Danaë and the brazen Tower oil on panel 17.8 x 26 cm Harvard Art Museums © President and Fellows of Harvard College |
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| 1872 Danaë and the brazen Tower oil on panel 38 x 19 cm The Ashmolean Museum of Art and Archaeology, Oxford, UK |
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| 1872 designed, 1897 published 'Love is Enough' published version with borders by William Morris |
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| 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).
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| 1870 Phyllis and Demophoon gouache on paper 93.8 x 47.5 cm Birmingham Museum and Art Gallery, UK |
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| 1882 The Tree of Forgiveness oil on canvas 196 x 106.8 cm Lady Lever Art Gallery, Wirral, UK |
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| 1882 The Mill oil on canvas 91 x 19.7 cm Victoria & Albert Museum, London |
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| Study for The Mill A Minstrel |
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| Study for The Mill graphite on paper 21 x 19.2 cm Tate, London |
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| Study for The Mill graphite on paper 33.5 x 25.2 cm Tate, London |
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| 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 |
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| 1871-85 The Wheel of Fortune oil o canvas 151.4 x 72.5 cm National Gallery of Victoria, Melbourne, Australia |
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| 1875-1883 The Wheel of Fortune oil on canvas 200 x 100 cm Musée d'Orsay, Paris |
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| c1882 The Wheel of Fortune (unfinished) gouache and oil on canvas 152.3 x 73.7 cm National Museum Wales, Cardiff, UK |
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.
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| 1870-90 The Briar Rose: The Prince enters the Briar Wood oil on canvas Faringdon Collection, Buscot Park, Oxfordshire, UK |
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| 1875-85c Study for The Briar Wood gouache and metallic paint 36.7 x 82.1 cm National Gallery of Victoria, Melbourne, Australia |
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| 1872-92 The Council Chamber oil on canvas? 105.6 x 49.5 cm © Delaware Art Museum |
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| 1890 The Council Chamber |
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| 1885-90 The Garden Court The Faringdon Collection Trust |
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| 1894 The Garden Court oil on canvas 126.3 x 237.4 cm Bristol Museum & Art Gallery, UK |
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| c1889 Study for the Garden Court Bristol Museum and Art Gallery |
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| c1889 Study for the Garden Court Bristol Museum and Art Gallery |
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| c1889 Study for the Garden Court Bristol Museum and Art Gallery |
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| c1889 Study for the Garden Court Bristol Museum and Art Gallery |
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| 1870-90 The Rose Bower oil on canvas |
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| 1874 The Sleeping Princess: Briar-Rose Series oil on canvas 126 x 237 cm Dublin City Art Gallery, The Hugh Lane |
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| c1870 Study for 'The Sleeping Knights' oil on canvas 58.8 x 81.3 cm Walker Art Galley, Liverpool, UK |
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| 1881-86 Head of Sleeping Attendant from Briar Rose oil on canvas 42 x 42 cm Victoria & Albert Museum, London |
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| 1892 The Prince Enters the Briar Wood photogravure 41.5 x 82.7 cm (image) The Metropolitan Museum of Art, New York |
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| 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 |
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| c1893-98 The Pilgrim outside the Garden of Idleness oil on canvas 155.8 x 305.4 cm Victoria & Albert Museum, London |
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| The Pilgrim in the Garden or The Heart of the Rose (details not found) |
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| The Pilgrim in the Garden or The Heart of the Rose detail |
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| 1871 The Triumph of Love (Fortuna, Fama, Oblivio, & Amor) watercolour & bodycolour 30.5 x 15.2 cm each |
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| Fortuna |
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| Fama |
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| Oblivio |
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| 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.
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| 1871 Hope (Latin: Spes) watercolour and gouache on paper 178 x 63 cm Dunedin Public Art Gallery, UK |
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| 1896 Hope (Latin: Spes) oil on canvas 179 x 63.5 cm |
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