Edward Burne-Jones
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Sir Edward Coley Burne-Jones, 1st Baronet, ARA (/bɜːrnˈdʒoʊnz/;[1] 28 August, 1833 – 17 June, 1898) was an English painter and designer associated with the Pre-Raphaelite Brotherhood's style and subject matter.
Burne-Jones worked with William Morris as a founding partner in Morris, Marshall, Faulkner & Co in the design of decorative arts.[2]
Burne-Jones's early paintings show the influence of
In the studio of Morris and Co. Burne-Jones worked as a designer of a wide range of crafts including ceramic tiles, jewellery,
Early life
Born Edward Coley Burne Jones (the hyphenation of his last names was introduced later) was born in Birmingham, the son of a Welshman, Edward Richard Jones, a frame-maker at Bennetts Hill, where a blue plaque commemorates the painter's childhood. A pub on the site of the house is called the Briar Rose in honour of Burne-Jones' work.[2] His mother Elizabeth Jones (née Coley) died within six days of his birth, and Edward was raised by his father, and the family housekeeper, Ann Sampson, an obsessively affectionate but humourless, and unintellectual local girl.[3][4] He attended Birmingham's King Edward VI grammar school in 1844 and the Birmingham School of Art from 1848 to 1852, before studying theology at Exeter College, Oxford.[5] At Oxford, he became a friend of William Morris as a consequence of a mutual interest in poetry. The two Exeter undergraduates, together with a group of Jones' friends from Birmingham known as the Birmingham Set,[6] formed a society, which they called "The Brotherhood". The members of the brotherhood read the works of John Ruskin and Tennyson, visited churches, and idealised aspects of the aesthetics and social structure of the Middle Ages.[2] At this time, Burne-Jones discovered Thomas Malory's Le Morte d'Arthur which would become a substantial influential in his life. At that time, neither Burne-Jones nor Morris knew Dante Gabriel Rossetti personally, but both were much influenced by his works, and later met him by recruiting him as a contributor to their Oxford and Cambridge Magazine, founded by Morris in 1856 to promote the Brotherhood’s ideas.[7][8]
Burne-Jones had intended to become a church minister, but under Rossetti's influence both he and Morris decided to become artists, and Burne-Jones left college before taking a degree to pursue a career in art. In February 1857, Rossetti wrote to William Bell Scott:
Two young men, projectors of the Oxford and Cambridge Magazine, have recently come up to town from Oxford, and are now very intimate friends of mine. Their names are Morris and Jones. They have turned artists instead of taking up any other career to which the university generally leads, and both are men of real genius. Jones's designs are marvels of finish and imaginative detail, unequalled by anything unless perhaps
Albert Dürer's finest works.[7]
Marriage and family
In 1856 Burne-Jones became engaged to Georgiana "Georgie" MacDonald (1840–1920), one of the MacDonald sisters. She was training to be a painter, and was the sister of Burne-Jones's old school friend. The couple married on 9 June 1860, after which she made her own work in woodcuts, and became a close friend of George Eliot. (Another MacDonald sister married the artist Sir Edward Poynter, a further sister married the ironmaster Alfred Baldwin and was the mother of the Prime Minister Stanley Baldwin, and yet another sister was the mother of Rudyard Kipling. Kipling and Baldwin were thus Burne-Jones's nephews by marriage).
Georgiana gave birth to a son, Philip, in 1861. In the winter of 1864, she became gravely ill with scarlet fever and gave birth to a second son, Christopher, who died soon thereafter. The family then moved to 41 Kensington Square, and their daughter Margaret was born there in 1866.[9]
In 1867 Burne-Jones and his family settled at the Grange, an 18th-century house set in a garden in North End, Fulham, London. For the 1870s Burne-Jones did not exhibit, following a number of bitterly hostile attacks in the press, and a passionate affair (described as the "emotional climax of his life")[10] with his Greek model Maria Zambaco, which ended with her trying to commit suicide by throwing herself into Regent's Canal.[10][11]
During these difficult years Georgiana developed a friendship with Morris, whose wife Jane had fallen in love with Rossetti. Morris and Georgie may have been in love, but if he asked her to leave her husband, she refused. In the end, the Burne-Joneses remained together, as did the Morrises, but Morris and Georgiana were close for the rest of their lives.[12]
In 1880, the Burne-Joneses bought
His troubled son Philip, who became a successful portrait painter, died in 1926. His adored daughter Margaret (died 1953) married John William Mackail (1850–1945), the friend and biographer of Morris, and Professor of Poetry at Oxford from 1911 to 1916. Their children were the novelists Angela Thirkell and Denis Mackail, and the youngest, Clare Mackail.
In an edition of the boys' magazine, Chums (No. 227, Vol. V, 13 January 1897), an article on Burne-Jones stated that "....his pet grandson used to be punished by being sent to stand in a corner with his face to the wall. One day on being sent there, he was delighted to find the wall prettily decorated with fairies, flowers, birds, and bunnies. His indulgent grandfather had utilised his talent to alleviate the tedium of his favourite's period of penance."
Artistic career
Early years: Rossetti and Morris
Burne-Jones once admitted that after leaving Oxford he "found himself at five-and-twenty what he ought to have been at fifteen". He had had no regular training as a draughtsman, and lacked the confidence of science. But his extraordinary faculty of invention as a designer was already ripening; his mind, rich in knowledge of classical story and medieval romance, teemed with pictorial subjects, and he set himself to complete his set of skills by resolute labour, witnessed by his drawings. The works of this first period are all more or less tinged by the influence of Rossetti; but they are already differentiated from the elder master's style by their more facile though less intensely felt elaboration of imaginative detail. Many are pen-and-ink drawings on vellum, exquisitely finished, of which his Waxen Image (1856) is one of the earliest and best examples. Although the subject, medium and manner derive from Rossetti's inspiration, it is not the hand of a pupil merely, but of a potential master. This was recognised by Rossetti himself, who before long avowed that he had nothing more to teach him.[13]
Burne-Jones's first sketch in oils dates from this same year, 1856, and during 1857 he made for
In the autumn of 1857 Burne-Jones joined Morris,
Painting
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In 1864, Burne-Jones was elected an associate of the Society of Painters in Water-Colours—which is known as the Old Water-Colour Society—and exhibited, among other works, The Merciful Knight, the first picture which fully revealed his ripened personality as an artist. The next six years saw a series of fine watercolours at the same gallery.[13]
In 1866, Mrs. Cassavetti commissioned Burne-Jones to paint her daughter,
Hitherto, Burne-Jones had worked almost entirely in water-colours. He now began pictures in oils, working at them in turn, and having them on hand. The first Briar Rose series, Laus Veneris, the Golden Stairs, the Pygmalion series, and The Mirror of Venus are among the works planned and completed, or carried far towards completion, during these years.[13]
The beginnings of Burne-Jones' partnership with the fine-art photographer Frederick Hollyer, whose reproductions of paintings and—especially—drawings would expose an audience to Burne-Jones's works in the coming decades, began during this period.[18]
At last, in May 1877, the day of recognition came with the opening of the first exhibition of the Grosvenor Gallery, when the Days of Creation, The Beguiling of Merlin, and the Mirror of Venus were all shown. Burne-Jones followed up the signal success of these pictures with Laus Veneris, the Chant d'Amour, Pan and Psyche, and other works, exhibited in 1878. Most of these pictures are painted in brilliant colours.[citation needed]
A change is noticeable in 1879 in the Annunciation and in the four pictures making up the second series of Pygmalion and the Image; the former of these, one of the simplest and most perfect of the artist's works, is subdued and sober; in the latter a scheme of soft and delicate tints was attempted, not with entire success. A similar temperance of colours marks The Golden Stairs, first exhibited in 1880.[citation needed]
The almost sombre Wheel of Fortune was shown in 1883, followed in 1884 by King Cophetua and the Beggar Maid, in which Burne-Jones once more indulged his love of gorgeous colour, refined by the period of self-restraint. He next turned to two important sets of pictures, The Briar Rose and The Story of Perseus, although these were not completed.[13]
Decorative arts
In 1861, William Morris founded the
In 1871 Morris & Co. were responsible for the windows at
Stanmore Hall was the last major decorating commission executed by Morris & Co. before Morris's death in 1896. It was the most extensive commission undertaken by the firm, and included a series of tapestries based on the story of the Holy Grail for the dining room, with figures by Burne-Jones.[24]
In 1891 Jones was elected a member of the
Illustration
Although known primarily as a painter, Burne-Jones was active as an illustrator, helping the Pre-Raphaelite aesthetic to enter mainstream awareness. He designed books for the Kelmscott Press between 1892 and 1898. His illustrations appeared in the following books, among others:[25]
- The Fairy Family by Archibald Maclaren (1857)
- The Rubaiyat of Omar Khayyamby William Morris (1872)
- The Earthly Paradise by William Morris (not completed)
- The Works of Geoffrey Chaucer by Geoffrey Chaucer (1896)
- Bible Gallery by Dalziel(1881)
Design for the theatre
In 1894, theatrical manager and actor Henry Irving commissioned Burne-Jones to design sets and costumes for the Lyceum Theatre production of King Arthur by J. Comyns Carr, who was Burne-Jones's patron and the director of the New Gallery as well as a playwright. The play starred Irving as King Arthur and Ellen Terry as Guinevere, and toured America following its London run.[26][27][28] Burne-Jones accepted the commission with enthusiasm, but was disappointed with much of the final result. He wrote confidentially to his friend Helen Mary Gaskell (known as May), "The armour is good—they have taken pains with it ... Perceval looked the one romantic thing in it ... I hate the stage, don't tell—but I do."[29]
Aesthetics
Burne-Jones's paintings were one strand in the evolving tapestry of Aestheticism from the 1860s through the 1880s, which considered that art should be valued as an object of beauty engendering a sensual response, rather than for the story or moral implicit in the subject matter. In many ways this was antithetical to the ideals of Ruskin and the early Pre-Raphaelites.[30] Burne-Jones's aim in art is best given in his own words, written to a friend:
I mean by a picture a beautiful, romantic dream of something that never was, never will be – in a light better than any light that ever shone – in a land no one can define or remember, only desire – and the forms divinely beautiful – and then I wake up, with the waking of Brynhild. No artist was ever more true to his aim. Ideals resolutely pursued are apt to provoke the resentment of the world, and Burne-Jones encountered, endured and conquered an extraordinary amount of angry criticism. Insofar as this was directed against the lack of realism in his pictures, it was beside the point. The earth, the sky, the rocks, the trees, the men and women of Burne-Jones are not those of this world; but they are themselves a world, consistent with itself, and having therefore its own reality. Charged with the beauty and with the strangeness of dreams, it has nothing of a dream's incoherence. Yet it is a dreamer always whose nature penetrates these works, a nature out of sympathy with struggle and strenuous action. Burne-Jones's men and women are dreamers too. It was this which, more than anything else, estranged him from the age into which he was born. But he had an inbred "revolt from fact" which would have estranged him from the actualities of any age. That criticism seems to be more justified which has found in him a lack of such victorious energy and mastery over his materials as would have enabled him to carry out his conceptions in their original intensity. Yet Burne-Jones was singularly strenuous in production. His industry was inexhaustible, and needed to be, if it was to keep pace with the constant pressure of his ideas. Whatever faults his paintings may have, they have always the fundamental virtue of design; they are always pictures. His designs were informed with a mind of romantic temper, apt in the discovery of beautiful subjects, and impassioned with a delight in pure and variegated colour.[13]
Final years
This section needs additional citations for verification. (August 2022) |
Burne-Jones was elected an Associate of the
One of the Perseus series was exhibited in 1887 and two more in 1888, with The Brazen Tower, inspired by the same legend. In 1890 the second series of The Legend of Briar Rose were exhibited by themselves and won admiration. The huge watercolour, The Star of Bethlehem, painted for the corporation of Birmingham, was exhibited in 1891.
A long illness for a time checked the painter's activity, which, when resumed, was much occupied with decorative schemes. An exhibition of his work was held at the New Gallery in the winter of 1892–1893. To this period belong his comparatively few portraits.
In 1894, Burne-Jones was made a baronet. Ill-health again interrupted the progress of his works, chief among which was the vast Arthur in Avalon. William Morris died in 1896, and the health of Burne-Jones declined substantially after. In 1898 he suffered an attack of influenza, and had apparently recovered when he was again taken suddenly ill, and died on 17 June 1898.[13][31] His memorial service was held six days later, at Westminster Abbey. His ashes were interred in the churchyard at St Margaret's Church, Rottingdean,[32] a place he knew through summer family holidays. In the winter following his death, a second exhibition of his works was held at the New Gallery, and an exhibition of his drawings at the Burlington Fine Arts Club.[13]
Honours
In 1881 Burne-Jones received an honorary degree from
Following Burne-Jones' death, and at the intervention of the Prince of Wales, his memorial service was held at Westminster Abbey. It was the first time an artist had been so honoured.
Influence
Burne-Jones exerted a considerable influence on French painting. He was influential among French
Three of Burne-Jones's studio assistants,
Burne-Jones was also a very strong influence on the Birmingham Group of artists, from the 1890s onwards.
Neglect and rediscovery
On 16 June 1933, Prime Minister Stanley Baldwin, a nephew of Burne-Jones, officially opened the centenary exhibition featuring Burne-Jones's drawings and paintings at the Tate Gallery in London. In his opening speech at the exhibition, Baldwin expressed what the art of Burne-Jones stood for:
In my view, what he did for us common people was to open, as never had been opened before, magic casements of a land of faery in which he lived throughout his life ... It is in that inner world we can cherish in peace, beauty which he has left us and in which there is peace at least for ourselves. The few of us who knew him and loved him well, always keep him in our hearts, but his work will go on long after we have passed away. It may give its message in one generation to a few or in other to many more, but there it will be for ever for those who seek in their generation, for beauty and for those who can recognise and reverence a great man, and a great artist.[39]
But, in fact, long before 1933, Burne-Jones had fallen out of fashion in the art world, much of which soon preferred the major trends in
A second, lavish centenary exhibit – this time marking the 100th anniversary of Burne-Jones's death – was held at the Metropolitan Museum of Art in New York in 1998, before travelling to the Birmingham Museum and Art Gallery and the Musée d'Orsay, Paris.[42]
Fiona MacCarthy, in a review of Burne-Jones's legacy, notes that he was "a painter who, while quintessentially Victorian, leads us forward to the psychological and sexual introspection of the early twentieth century".[43]
Gallery
Stained and painted glass
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Cartoon for Daniel window, St. Martin's-on-the-Hill, Scarborough, 1873
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Edward Burne-Jones andTrinity Church, Boston
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The Worship of the Magi window, 1882, Trinity Church, Boston
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The Worship of the Shepherds window, 1882, Trinity Church, Boston
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Nativity scene in St Mary's Church, Huish Episcopi, Somerset
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David, 1872, in St Michael and All Angels, Waterford, Hertfordshire
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Miriam, 1872, in St Michael and All Angels, Waterford, Hertfordshire
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Justice, Church of St. Andrew and St. Paul, Montreal
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Miriam, 1886, in St Giles' Cathedral, Edinburgh
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Christ as Salvator Mundi, 1896, in St Michael and All Angels, Waterford, Hertfordshire
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St. Cecilia window, Second Presbyterian Church, Chicago, Illinois
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Crucifixion window in St James's Church, Staveley, Cumbria
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Angel window in St. James's Church, Staveley, Cumbria
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Faith in the Old West Kirk, Greenock
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Music in the Old West Kirk, Greenock
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St Agnes of Rome and Catherine of Alexandria, St Paul, Irton
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The Ascension, 1898, Jesus Church, Troutbeck, Cumbria
Drawings
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The Knight's Farewell, pen-and-ink on vellum, 1858
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Going to the Battle, pen-and-ink with gray wash on vellum, 1858
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King Sigurd, wood-engraving by the Dalziel Bros. after a pen-and-ink drawing, 1862
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Portrait of Ignacy Jan Paderewski, 1892
Paintings
Early works
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The Merciful Knight, 1863
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The Princess Sabra Led to the Dragon, 1866
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Portrait of Maria Zambaco, 1870
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Phyllis and Demophoön, 1870
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Temperantia, 1872
Pygmalion (first series)
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The Heart Desires, 1868–1870
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The Hand Refrains, 1868–1870
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The Godhead Fires, 1868–1870
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The Soul Attains, 1868–1870
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The Heart Desires, 1878
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The Hand Refrains, 1878
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The Godhead Fires, 1878
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The Soul Attains, 1878
The Grosvenor Gallery years
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Pan and Psyche, 1874
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An Angel Playing a Flageolet, 1878
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The Annunciation, 1879
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The Angel, 1881
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The Mill, 1882
The Legend of Briar Rose (second series)
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The Briar Wood, completed 1890
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The Council Chamber, 1890
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The Garden Court, 1890
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The Rose Bower, 1890
Later works
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The Garden of Pan, 1886-87, National Gallery of Victoria, Melbourne
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The Doom Fulfilled, 1888 (Perseus Cycle 7)
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The Baleful Head, 1887 (Perseus Cycle 8)
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The Star of Bethlehem, 1890
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Vespertina Quies, 1893
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Love Among the Ruins, 1873
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The Last Sleep of Arthur in Avalon 1881–1898
Decorative arts
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Illuminated manuscript of the Rubaiyat of Omar Khayyam by William Morris, illustrated by Burne-Jones with a variant of Love Among the Ruins, 1870s
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The Arming and Departure of the Knights, one of the Holy Grail tapestries, 1890s, figures by Burne-Jones.
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A page from the Kelmscott Chaucer, decoration by Morris and illustration by Burne-Jones, 1896
Theatre
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Scene from King Arthur, sets by Burne-Jones, 1895
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Ellen Terry as Guinevere, costume by Burne-Jones, 1894
Photographs
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The Burne-Jones and Morris families in the garden at the Grange, 1874, photograph by Frederick Hollyer
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Edward Burne-Jones, c. 1882 (Hollyer)
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Georgiana Burne-Jones, c. 1882 (Hollyer)
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Burne-Jones's garden studio at the Grange, 1887 (Hollyer)
External videos | |
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Burne-Jones' King Cophetua and the Beggar Maid | |
Burne Jones's The Golden Stairs | |
Burne-Jones's Hope, All at Smarthistory[44] |
See also
- List of paintings by Edward Burne-Jones
- The Flower Book
- Stained Glass Designs for the Vinland House, 1881
References
- Notes
- Citations
- ^ "Burne-Jones". Collins English Dictionary.
- ^ a b c Millington, Ruth. "Edward Burne-Jones and The Legend of the Briar Rose". Birmingham Museums. Retrieved 29 January 2023.
- ^ Wildman 1998, pp. 42–43.
- ^ Daly 1989, pp. 249–251.
- doi:10.1093/ref:odnb/4051. (Subscription or UK public library membershiprequired.)
- ^ Rose 1981, p. 78.
- ^ a b c Ward, Thomas Humphry (1901). Lee, Sidney (ed.). Dictionary of National Biography (1st supplement). London: Smith, Elder & Co. . In
- ^ a b Mackail, John William (1901). Lee, Sidney (ed.). Dictionary of National Biography (1st supplement). London: Smith, Elder & Co. . In
- ^ Wildman 1998, p. 107.
- ^ a b Wildman 1998, p. 114.
- ^ Flanders 2001, pp. 118–120.
- ^ Flanders 2001, p. 136.
- ^ a b c d e f g h i j Chisholm, Hugh, ed. (1911). "Burne-Jones, Sir Edward Burne". Encyclopædia Britannica. Vol. 4 (11th ed.). Cambridge University Press. pp. 848–850.
- ^ Marsh 1996, p. 110.
- ^ Wildman 1998, p. 66.
- ^ Roget 1891, p. 116.
- ^ Wildman 1998, p. 138.
- ^ Wildman 1998, pp. 197–198.
- ^ "Saint Cecilia (y1974–84)". Princeton University Art Museum. Princeton University.
- ^ Parry 1996, pp. 139–140, Domestic Decoration.
- ^ "Burne-Jones Windows – Holy Trinity Frome". Retrieved 2 June 2019.
- ^ Edward Burne-Jones Archived 24 July 2006 at the Wayback Machine Southgate Green Association "His work included both stained-glass windows for Christ Church in Oxford and the stained glass windows for Christ Church on Southgate Green."
- ^ PreRaphaelite Painting and Design Archived 14 October 2008 at the Wayback Machine University of Texas
- ^ Parry 1996, pp. 146–147, Domestic Decoration.
- ^ Souter & Souter 2012, p. 19.
- ^ Wildman 1998, p. 315.
- ^ Wood 1999, p. 119.
- ^ "Miss Terry as Guinevere; In a Play by Comyns Carr, Dressed by Sir Edward Burne-Jones". The New York Times. 5 November 1895. Retrieved 8 August 2008.
- ^ Wood 1999, p. 120.
- ^ Wildman 1998, pp. 112–113.
- ^ "No. 26988". The London Gazette. 19 July 1898. p. 4396.
- ^ Dale 1989, p. 212.
- ^ a b Taylor 1987, pp. 150–151.
- ^ a b c Flanders 2001, p. 258.
- ^ "No. 26509". The London Gazette. 4 May 1894. p. 2613.
- ^ Index biographique des membres et associés de l'Académie royale de Belgique (1769–2005). p 44
- ^ a b "The Age of Rossetti, Burne-Jones and Watts: Symbolism in Britain 1860–1910". Archived from the original on 28 March 2006. Retrieved 12 September 2008.
- ^ Bracken, Pamela (4 March 2006). "Echoes of Fellowship: The PRB and the Inklings". Conference paper, C. S. Lewis & the Inklings. Retrieved 23 June 2014.
- ^ "Centenary exhibition of Sir Edward Burne-Jones at London Tate Gallery". The Straits Times. 24 July 1933. p. 6.
- ^ Wildman 1998, p. 1.
- ^ Fitzgerald 1975.
- ^ Wildman 1998, Front matter.
- ^ Tate: "A Visionary Oddity: Fiona MacCarthy on Edward Burne-Jones"
- ^ "Burne-Jones's Hope". Smarthistory at Khan Academy. Archived from the original on 11 October 2014. Retrieved 22 December 2013.
Bibliography
- Dale, Antony (1989). Brighton churches. London: Routledge. ISBN 0-415-00863-8.
- Daly, Gay (1989). Pre-Raphaelites in Love. Ticknor & Fields. ISBN 978-0-89919-450-9.
- OCLC 2006197.
- Flanders, Judith (2001). A Circle of Sisters: Alice Kipling, Georgiana Burne-Jones, Agnes Poynter and Louisa Baldwin. W.W. Norton. ISBN 978-0-393-05210-7.
- Marsh, Jan (1996). The Pre-Raphaelites: their lives in letters and diaries. Collins & Brown. ISBN 978-1-85585-246-4.
- Parry, Linda, ed. (1996). William Morris. Abrams. ISBN 0-8109-4282-8.
- Roget, John Lewis (1891). A History of the "Old Water-Colour" Society, Now the Royal Society of Painters in Water Colours. Vol. 2. Longmans Green.
- Rose, Andrea (1981). Pre-Raphaelite portraits. Oxford: Oxford Illustrated Press. ISBN 0-902280-82-1.
- Taylor, Ina (1987). Victorian Sisters. Weidenfeld & Nicolson. ISBN 978-0-297-79065-5.
- Wildman, Stephen (1998). Edward Burne-Jones: Victorian Artist-Dreamer. Metropolitan Museum of Art. ISBN 0-87099-859-5.
- Wood, Christopher (1999). Burne-Jones : the life and works of Sir Edward Burne-Jones (1833–1898). London: Phoenix Illustrated. ISBN 0-7538-0727-0.
- Souter, Tessa; Souter, Nick (2012). The Illustration Handbook: A guide to the world's greatest illustrators. Oceana. ISBN 9781845734732.
Further reading
- ISBN 978-0-571-22861-4.
- ISBN 978-0-9568762-1-8
- Arscott, Caroline. William Morris and Edward Burne-Jones: Interlacings, (New Haven and London: Yale University Press (Published for the Paul Mellon Centre for Studies in British Art), 2008). ISBN 978-0-300-14093-4.
- Mackail, J. W. (1899). The Life of William Morris in two volumes. London, New York and Bombay: Longmans, Green and Co. Volume I and Volume II (1911 reprint)
- Mackail, J. W. (1901). Lee, Sidney (ed.). Dictionary of National Biography (1st supplement). Vol. 3. London: Smith, Elder & Co. pp. 197–203. . In
- Marsh, Jan, Jane and May Morris: A Biographical Story 1839–1938, London, Pandora Press, 1986 ISBN 0-86358-026-2.
- Marsh, Jan, Jane and May Morris: A Biographical Story 1839–1938 (updated edition, privately published by author), London, 2000.
- Marsh, Jan (2018). The Illustrated Letters and Diaries of the Pre-Raphaelites (Illustrated ed.). Batsford. ISBN 978-1849944960.
- Robinson, Duncan (1982). William Morris, Edward Burne-Jones and the Kelmscott Chaucer. London: Gordon Fraser.
- ISBN 0-7148-1827-5.
- Todd, Pamela (2001). Pre-Raphaelites at Home. New York: Watson-Guptill. ISBN 0-8230-4285-5.
External links
- Online Burne-Jones Catalogue Raisonné
- Works by Edward Burne-Jones at Faded Page (Canada)
- 84 artworks by or after Edward Burne-Jones at the Art UK site
- Profile on Royal Academy of Arts Collections
- The Age of Rossetti, Burne-Jones and Watts: Symbolism in Britain 1860–1910 Online version of exhibit at the Tate Britain 16 October 1997 – 4 January 1998, with 100 works by Burne-Jones, at Art Magick
- Birmingham Museums and Art Gallery's Pre-Raphaelite Online Resource Archived 22 April 2017 at the Wayback Machine Large online collection of the works of Edward Burne Jones
- Lady Lever Art Gallery
- The Last Sleep of Arthur in Avalon (1881) in the Museo de Arte de Ponce
- Pre-Raphaelite online resource project website Archived 29 May 2009 at the Birmingham Museums & Art Gallery, with about a thousand paintings on canvas and works on paper by Edward Burne-Jones
- Burne-Jones Stained Glass Windows in Cumbria
- The Pre-Raphaelite Church – Brampton
- Some Burne-Jones stained glass designs
- Stained Glass Window Designs for the Vinland Estate, Newport, Rhode Island, 1881.
- Speldhurst Church
- Phryne's list of pictures in public galleries in the UK
- Mary Lago Collection Archived 19 July 2013 at the Wayback Machine at the University of Missouri Libraries. Personal papers of a Burne-Jones scholar.