The prototypical Pre-Raphaelite artist, Edward Burne-Jones (1833-1898) embodied in his art the glamours of Victorian Romantic painting, harking back to an Arthurian Medieval England of chivalry, virtue, Arcadian delight and dreamy sensuality. "I mean by a picture a beautiful, romantic dream of something that never was, never will be," he once wrote, "in a light better than any light that ever shone--in a land no one can define or remember, only desire." Burne-Jones' fantasies of an ideal Albion offered solace against the onset of the Industrial Revolution, which had increasingly come to determine urban life in Victorian Britain, and which his close friend William Morris had also critiqued in his bestselling poetry book The Earthly Paradise (1868). This volume explores Burne-Jones' vision of an "Earthly Paradise" as expressed in painting cycles such as Perseus, Amor and Psyche, St George and Briar Rose, and his wonderful Arthurian tapestry sequences and book illustrations. It also opens up the artist's more practical efforts to secure this earthly paradise through the domestic crafts, rejuvenating the Victorian interior through Medieval precedents: carpets, textiles, stained glass windows, furniture and other Arts and Crafts objects. In emphasizing the conceptual unity of Burne-Jones' painting cycles and domestic designs, this monograph reveals his vision to be a coherent expression and longing for a finer world.Edward Burne-Jones was educated at Exeter College, Oxford, where he met his future collaborators, the artist-poets William Morris and Dante Gabriel Rossetti, under whose influence he left Oxford without graduating. From his first major exhibition in 1877, Burne-Jones was a hit with the English public; his 1884 painting "King Cophetua and the Beggar Maid" remains a classic expression of the Pre-Raphaelite Brotherhood sensibility. After his death in 1898, Burne-Jones' legacy became most apparent in the decorative arts.
Highlights of a unique community-building and socially healing project that brought diverse families together from four Oakland neighborhoods to create art.
"By engaging historians of art, architecture, performance, and photography alongside practicing artists in a collaborative project, this book both facilitates the study of collaboration and promotes it as a scholarly approach.
Essays cover the sculpture's integration into its architectural environment, its role in incorporating the theme of reconciliation into the Sydney story, and the steps involved in the creation of the sculpture.
This book suggests that our grasp of creativity is impoverished because we fail to recognise the vital roles that partnerships, collaborations friendships, and communities play in our thinking, learning, and understanding.
Ladislas Kijno (1921-2012) est considéré comme l'un des maîtres de l'abstraction, spécialiste de la technique du froissage et de la vaporisation sur toile.
The book functions as a groundbreaking exemplar for how research can occur in a fully creative arena and capacity. This work is new take on writing and photography and what kind of narrative/creative possibilities they deliver.
In Eric Gill and David Jones at Capel-y-ffin Jonathan Miles explores the four years which Gill and Jones spent in Gill's religious and artistic community in the Black Mountains of Wales and discovers that it was hugely significant time for ...
Since their first meeting Olia Lialina, one of the best known participants in the 1990s net.art scene, and artist Cory Arcangel have been united by an abiding preoccupation with the relationship between people and the internet.
Maybe it Would be Better If We Worked in Groups of Three?
This volume presents recent works from 2003-2007.