Burne-Jones, the Pre-Raphaelite painter and leader of the Aesthetic Movement is celebrated in this biographical, art and reference title that reproduces many of his works. Born in Birmingham, the son of a craftsman, Burne-Jones showed precocious ability at school. At Oxford University he met William Morris where they established a mutual interest in art. Their first important influence was that of one of the founding fathers of Pre-Raphaelitism, Dante Gabriel Rossetti, with whom in 1857 they painted murals at the Oxford Union. After Oxford his painting career developed and he rapidly established his position as the leader of the Aesthetic Movement. Burne-Jones also worked for Morris's firm, supplying designs for stained glass, tapestries, tiles and other products, including his own illustrations for the celebrated Kelmscott Chaucer.

In Fiona MacCarthy’s riveting account, Burne-Jones’s exchange of faith for art places him at the intersection of the nineteenth century and the Modern, as he leads us forward from Victorian mores and attitudes to the psychological, sexual, and artistic audacity that would characterize the early twentieth century.

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.

Finest drawings (1865–1895) by brilliant 19th-century English artist. 44 drawings.

A chance encounter at a summer party sent writer Josceline Dimbleby on a quest to uncover a mystery in her family’s past. After talking with Andrew Lloyd Webber about a beautiful, dark portrait in his art collection, she decided to find out more about the subject of the painting: her great-aunt Amy Gaskell. Dimbleby had always known her great-aunt’s face from this haunted portrait by the well-known Pre-Raphaelite painter Sir Edward Burne-Jones, but beyond that and a family rumor that Amy had died young “of a broken heart,” Dimbleby knew little of her female forebears. At the start of her search, Josceline came across a cache of unpublished letters from Burne-Jones to her great-grandmother May Gaskell, Amy’s mother. These letters turned out to be part of a passionate correspondence—adoring, intimate, sometimes up to five letters a day—which continued throughout the last six years of the painter’s life. As she read, more and more questions arose: Why did Burne-Jones feel he had to protect May from an overwhelming sadness? What was the deep secret she had confided to him? And what was the tragic truth behind Amy’s wayward, wandering life, her strange marriage, and her unexplained early death? In piecing together the eventful life of her grandmother, Dimbleby takes us through a turbulent period in history that includes the Boer War, the Great War, and the Second World War and visits the most far-flung corners of the British Empire. The Souls—William Morris, Rudyard Kipling, and William Gladstone—all play a part in this sweeping, often funny, and sometimes tragic story. Above all, it is her infectious enthusiasm for a subject so close to home that makes May and Amy such a compelling and richly entertaining read.

This publication is issued in conjunction with the 1998 exhibition of the same name held at The Metropolitan Museum of Art in New York and scheduled for venues in England and France. Burnes-Jones (1833-1898) created a style that had widespread influence on both British and European art--a narrative style derived from medieval legend and fused with the influence of Italian Renaissance masters, a style that ceded popularity to a growing taste for abstraction at the end of the 19th century. Now Burne-Jones's star has risen again, and this catalogue contains full discussion of his life and work and representation of his prodigious output of drawings and paintings. 9.5x12.5"Annotation copyrighted by Book News, Inc., Portland, OR

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