The friendship between William Morris and Edward Burne-Jones began when they met as undergraduates in 1853 and—despite their differences in temperament and in attitudes to political engagement—lasted until Morris’s death in 1896. This friendship was one of the defining features of both their lives, and yet the overlap in their artistic projects has not previously been considered in detail. In this deeply thoughtful book, Caroline Arscott explores particular aspects of the paintings of Burne-Jones and the designs of Morris and concludes that there are close interconnections in theme, allusion, and formal strategy between the works of the two men. She suggests that themes of bodily pain, desire and appetite are central to their vision. Through careful readings of Burne-Jones’s painting and Morris’s designs for printed wallpapers and textiles, she shows that it is possible to bring together fine art and design in a linked discussion that illuminates the projects of both artists.
This colouring book's images are from a copy of the Kelmscott Chaucer in the collection of The British Library, which houses more than 150 million items representing every age of written civilization.
"The Kelmscott Chaucer is widely held to be one of the most magnificent printed books ever produced. For forty years Morris and Burne-Jones had worked together on a variety of...
In this superb hardcover volume, each artist receives a separate section featuring more than 30 pages of art and text. Explorations of work methods and artistic directions include direct input from the individuals.
Edward Burne-Jones and William Morris: A Great Victorian Friendship
These books were designed to be read slowly, to be appreciated and treasured. The Kelmscott Press was the most famous of the private presses of the Arts and Crafts Movement, and inspired what became known as the "Private Press Movement.
This letter was intended to be passed on to Sir Coutts Lindsay. Burne-Jones's anxiety was all the more intense since he was, as he put it, 'so wrapped up in the place' that his own reputation would inevitably suffer as a result of the ...
The Book That Never Was: William Morris Edward Burne-Jones and "The Earthly Paradise"
This volume studies some of Edward Burne-Jones’s paintings, focusing specifically on his approach to nature, both through his observations about the real, physical world and through his symbolic interpretations of earthly and celestial ...
Splendid hardcover facsimile edition reproduces the 1869 Kelmscott Press masterpiece, which combined the talents of Morris, the great typographer and printer, and those of Burne-Jones, who created the 87 full-page woodcut illustrations.
Miss Wolfe, who knew the incumbent, Dr. Robert]. Nevin (r839—r9o6), was one of those who helped to finance the project. Burne-Jones also had American buyers for his pictures.The earliest, apart from Norton, seems to have been William ...