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 realms. Burne-Jones’s appreciation for natural formations grew from his interests in astronomy and geography, and was expanded by his aesthetic sensibility for physical and metaphysical beauty. His drawings and watercolors carefully recorded the physical world he saw around him. These studies provided the background for a collection of paintings about landscapes with flora and fauna, and ignited an artistic furor that inspired the imagery he used in his allegorical, fantasy, and dream cycles about forests, winding paths, and sweet briar roses. This study focuses on two main ideas: Burne-Jones’s concept of ideal and artificial or magical nature expressed and represented in his drawings and paintings, and the way in which he fused his scientific knowledge about nature with some of the symbolism in his paintings.
The revolution in the depiction of landscape brought about by the Pre-Raphaelites was arguably as radical as anything achieved by their near contemporaries, the Impressionists. Deeply rooted as they were...
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.
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 ...
Burne-Jones
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 ...
"When Burne-Jones' mural sized canvas of 'King Cophetua and the beggar maid' was exhibited in the shadow of the newly constructed Eiffel Tower at the Paris Exposition universelle in 1889, it caused a sensation scarcely less extraordinary ...
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.
Accompanying a major exhibition of Burne-Jones's work at Tate Britain, this book looks at what was distinctive about Burne-Jones's art, and charts the course through which he emerged from being an outsider, to being revered as one of the ...
... nature” to which all life must bend. Rather, we must ask how, within the general constraints of the laws of nature, organisms have constructed environments that are ... Edward Burne-Jones, 1882. Sarah C. Garver 616 ETHIcs, PHILOSOPHY, GENDER.
Pre-Raphaelite Sculpture: Nature and Imagination in British Sculpture, 1848-1914