Sir Edward Coley Burne-Jones, 1st Baronet (28 August 1833 – 17 June 1868)
was an English artist and designer closely associated with the later phase of
the Pre-Raphaelite movement, who worked closely with William Morris on a wide
range of decorative arts as a founding partner in Morris, Marshall, Faulkner,
and Company.
Sir Edward Coley Burne-Jones, 1st Baronet (28 August 1833 – 17 June
1868) was an English artist and designer closely associated with the later phase
of the Pre-Raphaelite movement, who worked closely with William Morris on a wide
range of decorative arts as a founding partner in Morris, Marshall, Faulkner,
and Company. Burne-Jones was closely involved in the rejuvenation of the
tradition of stained glass art in England; his stained glass works include the
windows of St Martin's Church in Brampton, Cumbria, the church designed by
Philip Webb, and in All Saints, Jesus Lane, Cambridge.
Burne-Jones's early paintings show the heavy inspiration of Dante Gabriel
Rossetti, but by the 1860s Burne-Jones was discovering his own artistic "voice".
In 1877, he was persuaded to show eight oil paintings at the Grosvenor Gallery
(a new rival to the Royal Academy). These included The Beguiling of Merlin. The
timing was right, and he was taken up as a herald and star of the new Aesthetic
Movement.
As well as painting and stained glass, he also worked in a variety of crafts;
including designing ceramic tiles, jewellery, tapestries, and illustration, most
famously designing woodcuts for the Kelmscott Press's Chaucer in 1896.
Early life
Burne-Jones with William Morris, 1874, by Frederick Hollyer.
Edward Coley Burne Jones (the hyphen came later) was born in Birmingham, the
son of Edward Jones, a frame-maker at Bennetts Hill, where a blue plaque
commemorates his birth. His mother Elizabeth Coley Jones died within six days of
his birth, and he was raised by his father and an unsympathetic housekeeper. He
attended Birmingham's King Edward VI grammar school from 1844[1] and the
Birmingham School of Art from 1848 to 1852, before studying theology at Exeter
College, Oxford.[2] 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 small group of Birmingham men at Pembroke College and elsewhere,
speedily formed a very close and intimate society, which they called "The
Brotherhood". The members of the Brotherhood read John Ruskin and Tennyson,
visited churches, and worshipped the Middle Ages. At this time Burne-Jones
discovered Thomas Malory's Le Morte d'Arthur which was to be so influential in
his life. At that time neither Burne-Jones nor Morris knew Rossetti personally,
but both were much influenced by his works, and met him by recruiting him as a
contributor to their Oxford and Cambridge Magazine which Morris founded in 1856
to promote their ideas.
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.
Burne-Jones' early work was heavily influenced by his mentor Rossetti, but he
later developed his own style influenced by his travels in Italy with Ruskin
and others.
Marriage
and family
Portrait of Georgiana Burne-Jones, with Philip and Margaret, 1883
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 in 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).
Georgiana bore a son, Philip, in 1861. A second son, born in the winter of 1864
while Georgiana was gravely ill with scarlet fever, died soon after birth. The
family soon moved to 41 Kensington Square, and their daughter Margaret was born
there in 1866.
In 1867 Burne-Jones and his family settled at the Grange, an 18th-century house
set in a large garden in North End Road, Fulham, London. For much of the 1870s
Burne-Jones did not exhibit, following a spate of bitterly hostile attacks in
the press, and an affair with his Greek model Maria Zambaco which ended with her
trying to commit suicide in public when he resolved to break up with her.[5]
During these difficult years Georgiana developed a close 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.[6]
In 1880 the Burne-Joneses bought Prospect House in Rottingdean, near Brighton in
Sussex, as their holiday home, and soon after the next door Aubrey Cottage to
create North End House, reflecting the fact that their Fulham home was in North
End Road. (Years later, in 1923, Sir Roderick Jones, head of Reuters, and his
wife, playwright and novelist Enid Bagnold, were to add the adjacent Gothic
House to the property and which became the inspiration and setting for her play
The Chalk Garden).
His troubled son Philip became a successful portrait painter and 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 1911–1916. Their children were the novelists Angela Thirkell and
Denis Mackail.
Artistic
career
Early
years: Rossetti and Morris
Sidonia Von Bork, 1860
Burne-Jones once admitted that after leaving Oxford he "found himself at
five-and-twenty what he ought to have been at fifteen."[7] 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 equipment by resolute labour,
witnessed by innumerable 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 1856's Waxen Image is one of the earliest and
best examples. Although 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 recognized by Rossetti himself, who before long avowed that he had
nothing more to teach him. Burne-Jones's first sketch in oils dates from this
same year, 1856; and during 1857 he made for Bradfield College the first of what
was to be an immense series of cartoons for stained glass. In 1858 he decorated
a cabinet with the Prioress's Tale from Geoffrey Chaucer's Canterbury Tales, his
first direct illustration of the work of a poet whom he especially loved and who
inspired him with endless subjects. Thus early, therefore, we see the artist
busy in all the various fields in which he was to labour.
In the autumn of 1857 Burne-Jones joined Morris, Valentine Prinsep, J. R.
Spencer Stanhope[8] and others in Rossetti's ill-fated scheme to decorate the
walls of the Oxford Union. None of the painters had mastered the technique of
fresco, and their pictures had begun to peel from the walls before they were
completed. In 1859 Burne-Jones made his first journey to Italy. He saw Florence,
Pisa, Siena, Venice and other places, and appears to have found the gentle and
romantic Sienese more attractive than any other school. Rossetti's influence
still persisted, and is visible, more strongly perhaps than ever before, in the
two watercolours of 1860, Sidonia von Bork and Clara von Bork. Both paintings
illustrate the 1849 gothic novel Sidonia the Sorcess by Lady Wilde, a
translation of Sidonia Von Bork: Die Klosterhexe (1847) by Johann Wilhelm
Meinhold.
Decorative arts: Morris & Co.
"David's Charge to Solomon" (1882), a stained-glass window by
Burne-Jones and Morris in Trinity Church, Boston, Massachusetts.
In 1861, William Morris founded the decorative arts firm of Morris, Marshall,
Faulkner & Co. with Rossetti, Burne-Jones, Ford Madox Brown and Philip Webb as
partners, together with Charles Faulkner and P. P. Marshall, the former of whom
was a member of the Oxford Brotherhood, and the latter a friend of Brown and
Rossetti.[3] The prospectus set forth that the firm would undertake carving,
stained glass, metal-work, paper-hangings, chintzes (printed fabrics), and
carpets.[7] The decoration of churches was from the first an important part of
the business. The work shown by the firm at the 1862 International Exhibition
attracted much notice, and within a few years it was flourishing. Two
significant secular commissions helped establish the firm's reputation in the
late 1860s: a royal project at St. James's Palace and the "green dining room" at
the South Kensington Museum (now the Victoria and Albert) of 1867 which featured
stained glass windows and panel figures by Burne-Jones.
In 1871 Morris & Co. were responsible for the windows at All Saints, designed by
Burne-Jones for Alfred Baldwin, his wife's brother-in-law. The firm was
reorganized as Morris & Co. in 1875, and Burne-Jones continued to contribute
designs for stained glass, and later tapestries until the end of his career.
Stanmore Hall was the last major decorating commission executed by Morris & Co.
before Morris's death in 1896. It was also 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.
Painting
The Beguiling of Merlin, 1874
In 1864 Burne-Jones was elected an associate of the Society of Painters in
Water-Colours (also 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;[
but in 1870, Burne-Jones resigned his membership following a controversy over
his painting Phyllis and Demophoön. The features of Maria Zambaco were
clearly recognizable in the barely-draped Phyllis, and the undraped nakedness of
Demophoön coupled with the suggestion of female sexual assertiveness offended
Victorian sesibilities. Burne-Jones was asked to make a slight alteration, but
instead "withdrew not only the picture from the walls, but himself from the
Society."
During the next seven years, 1870-1877, only two works of the painter's were
exhibited. These were two water-colours, shown at the Dudley Gallery in 1873,
one of them being the beautiful Love among the Ruins, destroyed twenty
years later by a cleaner who supposed it to be an oil painting, but afterwards
reproduced in oils by the painter. This silent period was, however, one of
unremitting production. Hitherto Burne-Jones had worked almost entirely in
water-colours. He now began a number of large pictures in oils, working at them
in turn, and having always several on hand. The 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. These years also mark the beginnings
of Burne-Jones's partnership with the fine-art photographer Frederick Hollyer,
whose reproductions of paintings and—especially—drawings would expose a wider
audience to Burne-Jones's works in the coming decades.
"King Cophetua and the Beggar Maid," 1884, currently in the Tate
Gallery, London.
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. A change is noticeable next year,
1879, in the Annunciation and in the four pictures called 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. 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, though these were not completed for some
years to come.
Burne-Jones was elected an Associate of the Royal Academy in 1885, and the
following year he exhibited (for the only time) at the Academy, showing The
Depths of the Sea, a painting of a mermaid carrying down with her a youth whom
she has unconsciously drowned in the impetuosity of her love. This picture adds
to the habitual haunting charm a tragic irony of conception and a felicity of
execution which give it a place apart among Burne-Jones's works. He formally
resigned his Associateship in 1893. One of the Perseus series was exhibited in
1887, two more in 1888, with The Brazen Tower, inspired by the same legend. In
1890 the four pictures of The Briar Rose were exhibited by themselves, and won
the widest admiration. The huge tempera picture, The Star of Bethlehem, painted
for the corporation of Birmingham, was exhibited in 1891. A long illness for
some 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 several of 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. In the winter following his death a second exhibition of his works was
held at the New Gallery, and an exhibition of his drawings (including some of
the charmingly humorous sketches made for children) at the Burlington Fine Arts
Club
Aesthetics
The Golden Stairs, 1880
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.[14]
Burne-Jones's aim in art is best given in some of 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.
Honours
In 1881 Burne-Jones received an honorary degree from Oxford, and was made an
Honorary Fellow in 1883. In 1885 he became the President of the Birmingham
Society of Artists. On the recommendation of W E Gladstone, he was created a
baronet in the baronetage of the United Kingdom in 1894, but was unhappy about
accepting the honour, and he told friends that the contempt of his wife for it
was "withering". Devastated by the death of his friend Morris in 1896,
Burne-Jones' health declined substantially. In 1898 he had an attack of
influenza, and had apparently recovered, when he was again taken suddenly ill,
and died on 17 June 1898.[7] Six days later, at the intervention of the Prince
of Wales, a memorial service was held at Westminster Abbey. It was the first
time an artist had been so honoured. Burne-Jones was buried in Rottingdean
churchyard, near Brighton, a place he knew through summer family holidays.
Burne-Jones exerted a considerable influence on British painting. Burne-Jones
was also highly influential among French symbolist painters, from 1889. His work
inspired poetry by Swinburne — Swinburne's 1886 Poems & Ballads is dedicated to
Burne-Jones.
Two of Burne-Jones' studio assistants, T.M. Rooke and Charles Fairfax Murray,
went on to a successful art careers as painters in their own right. Murray later
became an important collector and respected art dealer. Between 1903 and 1907 he
sold a great many works by Burne-Jones and the Pre-Raphaelites to the Birmingham
Museum and Art Gallery, at far below their market worth. Birmingham Museum and
Art Gallery now has the largest collection of works by Burne-Jones in the world,
including the massive watercolour Star of Bethlehem, commissioned for the
Gallery in 1897. The paintings are believed by some to have influenced the young
J. R. R. Tolkien, then growing up in Birmingham.
Burne-Jones was also very strong influence on the Birmingham Group of artists,
from the 1890s onwards.
Neglect and
rediscovery
On June 16, 1933, Prime Minister Sir Stanley Baldwin, 1st Earl Baldwin of
Bewdley and the nephew of Burne-Jones, officially opened the centenary exhbition
featuring Burne-Jones' drawings and paintings at the London Tate Gallery. In his
opening speech at the exhibition, Sir Stanley 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.
But in fact, long before 1933, Burne-Jones was hopelessly out-of-fashion in the
art world, much of which soon preferred the major trends in Modern art, and the
exhibit marking the 100th anniversary of his birth was a sad affair, poorly
attended.[17] It was not until the mid-1970s that his work began to be
re-assessed and once again acclaimed. A major exhibit in 1989 at the Barbican
Art Gallery, London (in book form as: John Christian, The Last Romantics, 1989)
traced Burne-Jones' influence on the next generation of artists, and another at
Tate Britain in 1997 explored the links between British Aestheticism and
Symbolism.
A second lavish centenary exhibit–this time marking the 100th anniversary of
Burnes-Jones's death–was held at the Metropolitan Museum of Art in New York in
1998, before traveling to the Birmingham Museum and Art Gallery and the Musée
d'Orsay, Paris.
.
Gallery
Edward Burne-Jones and William Morris' Nativity windows (1882), Trinity
Church, Boston.
Edward Burne-Jones and William Morris' The Worship of the Magi
window (1882), Trinity Church, Boston.
The Worship of the Shepherds window (1882), Trinity Church,
Boston.
Love Among the Ruins, 1894 recreation in oils
The Vision of the Holy Grail, tapestry, 1890, figures by
Burne-Jones.
Burne-Jones's garden studio at the Grange, 1887, photograph by Frederick
Hollyer
A page from the Kelmscott Chaucer, decoration by Morris and
illustration by Burne-Jones, 1896
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