Edward Burne-Jones

Sir Edward Coley Burne -Jones, 1st Baronet (born 28 August 1833 in Birmingham, † June 17, 1898 in London) was a British painter and one of the leading representatives of the Pre-Raphaelites. He worked closely with William Morris together in the field of book decoration and textile design, and stained glass.

Life

Edward Burne -Jones attended the grammar school, where he made first caricatures of his teachers. In addition, he visited with 15 years on three evenings a week, the state school for design. From 1853 he studied theology at Exeter College, Oxford, where he became friends with William Morris, and the first time a work of Pre-Raphaelite, John Everett Millais 's The Return of the Dove to the Ark saw. He did not complete his studies, he decided, under the influence of Morris after the joint visit to the Louvre, to become an artist.

In 1856 he met John Ruskin and Dante Gabriel Rossetti know. In the same year he became engaged to Georgiana MacDonald, a painter and wood seamstress; they married in 1860. In 1857 he undertook experiments in oil painting, dealt with stained glass and created first significant drawings in pencil and ink.

From 1860, he moved to watercolors. Among the first results are inspired by the novel of the same Pomeranian pastor and writer Johann Wilhelm Meinhold images Sidonia von Bork and Clara, which are now exhibited in the Tate Gallery, London.

About his wife Burne -Jones was related to both the later Prime Minister Stanley Baldwin, as well as with the writer Rudyard Kipling, both of whom were his nephews.

In 1867 Burne -Jones and his wife moved in Fulham, London. For many years, did not arise from Burne-Jones. His breakthrough he experienced in 1877, when several oil paintings were shown by him in the Grosvenor Gallery. Then, his works were shown at the Glasgow Institute of the Fine Arts. In 1885 he became president of the Artists' Association of Birmingham. In 1894 he was raised to the baronet.

Work

In addition to painting, Burne -Jones worked with handicrafts such as glass painting, pottery, tapestry and book decoration. His paintings and illustrations influenced the French Symbolism and Art Nouveau. Soon after his death became Burne -Jones ' work in oblivion, as it with its ornamental jewelry contradicted the principles of classical modernism in his objectivity. It was not until the 1970s it was rediscovered. Today Burne -Jones is considered one of the most important British artists of the 19th century.

  • Chronological Catalogue of finished pictures - Appendix I: Malcolm Bell: Sir Edward Burne -Jones; a record and review. Publisher: . G. Bell & Son Ltd, London ( First ed 1892) 1910
  • List of the Unfinished Pictures sold at Christie's July 16th and 18th 1898 - Appendix II: Malcolm Bell: Sir Edward Burne -Jones; a record and review. Publisher: . G. Bell & Son Ltd, London ( First ed 1892) 1910
  • List of cartoons for Stained Glass Windows - Appendix III. : Malcolm Bell: Sir Edward Burne -Jones; a record and review. Publisher: . G. Bell & Son Ltd, London ( First ed 1892) 1910

Gallery

Glass window (detail) by Burne -Jones and Morris ' Adoration of the Shepherds. Trinity Church, Boston, 1882

Love in Ruins, 1884

The Angel, 1881; Oil on the board; Glasgow Art Gallery and Museum

Tapestry ' The Adoration of the Magi ". Design: Burne- Jones 1888 Execution:. Morris & Company, Merton Abbey

Painting

  • Sidonia von Bork 1560, 1860, watercolor and body color, 33 × 17 cm, Tate Gallery, London
  • Clara von Bork 1560, 1860, watercolor and body color, 34 × 18 cm, Tate Gallery, London
  • Clerk Saunders, 1861, watercolor, 69 x 42 cm, Tate Gallery, London
  • The garden of the Hesperides, 1873, oil on canvas, 119 × 98 cm, Hamburger Kunsthalle
  • Chant d' Amour, 1878, canvas, 112 × 153 cm
  • The Wheel of Fortune, 1883, canvas, 151 × 72 cm
  • The Garden of Pan, 1887, canvas, 152 × 186 cm
  • The Mirror of Venus, 1877, canvas, 122 × 201 cm
  • The story of Perseus, 1875-76, canvas, 152 × 127 cm
  • The Golden Stairs, 1880, canvas, 227 × 117 cm
  • The Mill, 1870-72, canvas, 91 × 198 cm
  • The Days of Creation, 1877, watercolor, 119 x 102 cm
  • The depths of the sea, 1886, canvas, 196 × 76 cm
  • The enchantment of Merlin, 1877, canvas
  • The Clemens- Sels-Museum Neuss gives one of his masterpieces, the portrait of Maria Theresa Zambaco by Edvard Burne -Jones, at the Tate Britain in London Portrait of Maria Theresa Zambaco, 1870, gouache on cardboard, 76.3 x 55 cm, Clemens - Sels-Museum, Neuss
  • The King's Wedding, 1870, gouache, 32 x 26 cm, Clemens- Sels-Museum, Neuss
Philip Burne-Jones August 28 London Borough of Hammersmith and Fulham Royal Glasgow Institute of the Fine Arts Ceramic Symbolism (arts) Zeno.org Integrated Authority File
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