Burne-Jones Edward. Pictures and biography. Burne-Jones Edward. Edward Burne-Jones: the last Pre-Raphaelite Paintings painting illustrations Burne Jones

The beginning of the way

English painter and master of decorative and applied arts Edward Coley Burne-Jones (1833-1898) was born in Birmingham into a poor family of a frame carpenter. Initially, Burne-John intends to devote his life to God: for this purpose, he enters Exiter College, Oxford, and there he meets William Morris, a poet and artist. New friendship turns his life around. A common passion for art, a fascination with medieval history and legends, which one of the oldest cities in England was so rich in, would subsequently affect Burne-Jones’s work. The ornamentation of his paintings, their carefully adjusted composition and elongated, elongated, almost Gothic vertical perspective bear the stamp of the medieval spirit.

From the articles of the authoritative critic of the era, John Ruskin, Burne-Jones learns about the Pre-Raphaelite Brotherhood - a group of young artists who proclaimed the simplicity and sincerity of the early Italian masters as their ideal. In their opinion, art was “ideal” only before Raphael: after that it fell into mannerisms and languished under the weight of stereotypes and unviable “exemplary” clichés. The models of the Pre-Raphaelites were not antique statues and casts, but friends, relatives, and neighbors. The coloring of their paintings is not colored brown tones, as required by the Academy, but sparkles with bright, clean, fresh colors.

"Psyche's Wedding"

Burne-Jones and the Brotherhood

Burne-Jones is imbued with the ideas of the Brotherhood. Together with Morris, they decide to leave theology for painting. In 1856, young people met Dante Gabriel Rossetti, one of the leaders of the Brotherhood, and in the same year Burne-Jones entered his workshop to study, where he disappeared for days on end. The Pre-Raphaelite movement begins with the acquaintance of Burne-Jones and Rossetti. new stage. At first, Rossetti still plays first fiddle in the Brotherhood, but his health gradually deteriorates, and leadership goes to Burne-Jones.

From now on, the emphasis is on aestheticism and eroticism, stylization of forms. Beauty and artistic genius are elevated to cult, and the circle of themes revolves around the New Testament and medieval legends. John Keats' formula - "beauty is the only truth" - becomes a new manifesto of the Pre-Raphaelites.

In his artistic searches, Burne-Jones turns simultaneously to religion (he is attracted to biblical subjects) and to literature. Dante, Malory, Shakespeare, medieval legends and knightly ballads - this is the “key” to the works of Burne-Jones. He writes many compositions on religious and mythological themes, interpreting them in his own special way.

"Arthur on Avalon"

Burne-Jones's compositions, in addition to the decorative sophistication and romantic excitement typical of the Pre-Raphaelites, are distinguished by the flatness of the image, more typical of medieval icons and tapestries. Burne-Jones favors static rather than dynamic; contemplation, not movement. Burne-Jones's canvases are characterized by idealization and aestheticization of images, detachment of faces and ossification of statue-like figures.

Development of the artist's style

In the Victorian era, the art of the United Kingdom faces the need to comprehend the imperial role of its country. Associated with this is a growing interest in the heritage of antiquity, in the literature and history of Britain, as well as in its legends. Edward Burne-Jones also appears in the galaxy of masters of ancient and medieval scenes: in his “Pygmalion” and “King Cophetua” the didactics of the superiority of the virtues of the soul over earthly riches is clearly visible.

"Heart of a Rose"

Burne-Jones makes several trips to Italy, where he becomes more familiar with the work of artists of the Italian High Renaissance: Mantegna, Botticelli and Michelangelo make an indelible impression on him. Under the influence of Ruskin, he begins to make copies from the paintings of the great masters of the past (Burne-Jones is especially attracted to the Venetian school with its close attention to color and light). Burne-Jones's style and writing are modified by these travels.

Over time, Burne-Jones showed increasing interest in watercolors (in 1864 he was even elected a member of the Old Society of Watercolorists). Among the works of this period one can name two portraits of Sidonia von Bock and her cousin Clara von Dewitz (both Renaissance features and the influence of Rossetti are noticeable in the portraits), as well as compositions based on the ballad of the Beautiful Rosamund and Queen Eleanor (the same subjects were also addressed Burne-Jones' teacher, Rossetti, and another member of the Pre-Raphaelite Brotherhood, Arthur Hughes).

"Love Among the Ruins"

Years of collaboration with William Morris; applied arts

The Pre-Raphaelites preached a new look not only at painting, but also at decorative and applied arts. They contrasted standard and soulless industrial products with skillfully and creatively created handmade things. In 1861, with the support of Burne-Jones, William Morris opened an art and industrial company in London. The firm of Morris, Marshall, Faulkner and Co. largely stays afloat thanks to the designs and drawings of Burne-Jones (his work contributed to the revival of English artistic crafts). Together with Morris, he designs stained glass and ceramics, tapestries and tapestries, with Burne-John usually responsible for the human figures and Morris for the ornaments. In the interpretation of faces and figures, Burne-Jones strives for completeness and emotionality, and in this he differs from Morris, who advocates strengthening the decorative principle.

The name Burne-Jones also means a lot to the Kelmscott Press, another brainchild of William Morris. Burne-Jones made drawings and sketches for books (Morris was responsible for the ornaments, fonts and title pages), in particular for the publishing house's most famous project: Geoffrey Chaucer's The Canterbury Tales.

World recognition

In 1877, Burne-Jones had his first exhibition, to which he presented seven paintings. The works were exhibited at London's Grosvenor Gallery. Until 1887 Burne-Jones regularly took part in her salons.

At the very beginning of the activity of the Pre-Raphaelites, critics reacted more than coolly to their work. They did not like the deliberate realism of the paintings, often unsightly, and the denial of pictorial canons. However, the intercession of John Ruskin saved the innovators, and soon the association of artists already gained well-deserved fame. Over time, Burne-Jones gained extraordinary popularity even outside of England: in 1882, at the World Exhibition in Paris, he had the honor of representing his own country together with Frederic Leighton.

"Rose hip. Sleeping Princess"

The compositions, in which the precise grace of poses were combined with the detached gaze of self-absorbed characters, were both an expression of the original English spirit and artistic innovation. Burne-Jones's work greatly influenced painters such as William Waterhouse, Byam Shaw and Cadogan Cooper. His influence on the work of Aubrey Beardsley and other illustrators of the 1890s is noticeable. The name of Edward Coley Burne-Jones was the last significant milestone in the transition from Romanticism to Symbolism in the early 1900s.

Text: Ekaterina Mayorova

English artist and illustrator, representative of the Pre-Raphaelite movement.

He spent his childhood and youth in the town of Birmingham. An impressionable boy with a vivid imagination was bored in the provinces and found solace in books and his own fantasy world. From the age of 15 he attended drawing school and subsequently entered Oxford, where he studied theology. There he became friends with William Morris, who shared his love of painting and medieval literature.

Soon young people heard about the Pre-Raphaelite movement, and the work of Dante Rossetti made a strong impression on them. The friends decided to leave theology and Oxford to devote their lives to art, and went to London.

In 1856, Burne-Jones became a student and assistant to his idol Rossetti, who was teaching at the Workers' College at that time. Soon, together with Morris and with the support of Ruskin, Burne-Jones launched a new wave of the Pre-Raphaelite movement, with Rossetti at its head.

The following years were devoted to hard work - without receiving a classical education, the young man reached the pinnacle of excellence thanks to his exceptional hard work. Rossetti's work undoubtedly had a significant influence on his writing style and subjects, but from the very beginning his individuality was clearly evident.

Burne-Jones's works were distinguished by their decorativeness and graphic quality, with line predominant over color. The figures are most often static and full of symbolism, and the rhythm of the composition creates a feeling of smoothness and detachment from reality, as if what is depicted is happening in a dream. The artist preferred fiction to reality; his subjects were based on medieval legends or ancient myths.

From the age of 27, the artist was happily married to Georgina MacDonald; subsequently, many of his canvases embodied her features, endowing them with sublime beauty, which made her one of the famous Pre-Raphaelite muses.

Closed and insecure, Burne-Jones worked in obscurity for a long time, without participating in exhibitions. Finally, in 1877, his friends forced him to exhibit seven paintings, which were highly praised by critics and the public. Burne-Jones gained fame - in 1880 he surpassed even Millais and Leighton in popularity. Orders poured in. In 1885, Burne-Jones was accepted as a member of the Royal Academy, but he only took part in its exhibitions once. The official atmosphere and universal recognition were alien to the artist and he refused membership.

Throughout his life, Burne-Jones continued to work hard; he created entire series of paintings that revealed a certain plot or theme. The most famous of them: the Perseus cycle, the Briar Rose series, illustrations for Chaucer's Canterbury Tales, and tapestries depicting the legend of the Holy Grail. Also until the end of his life, he, along with his constant friend Morris, was engaged in the manufacture of stained glass and tapestries as part of the Pre-Raphaelite Arts and Crafts movement.

Burne-Jones died in 1898 - exhausting work undermined his health. He went down in history as one of the most prominent representatives English painting and the Pre-Raphaelite movement. His work influenced entire generations of young artists, and his paintings to this day delight in the elaboration of details, the poetic beauty of the images and the special atmosphere of another world.

I really love the paintings and stained glass windows of this artist, but I don’t know the biography very well. Therefore, the text telling about his life, with some abbreviations, will be taken from the Internet, and the illustrations will be from my collection. I warn you in advance that I don’t know the names of some of the paintings.

Sir Edward Coley Burne-Jones was born on August 28, 1833 into a modest family of a framer and gilder in Birmingham. He received his primary education at King Edward's School in Birmingham. A gifted draftsman, Edward had been attending evening courses at the government school of design since 1848. In 1853, having decided to become a priest, he entered Exiter College, Oxford, one of the oldest university cities England (founded in the 12th century). There he meets William Morris - the students share a close friendship and a common passion for art. There they absorb the spirit of the Middle Ages and see in it a source of creative inspiration.
Having learned about the Pre-Raphaelite Brotherhood from the articles of critic John Ruskin, in the house of one of their friends they saw Dante Gabriel Rossetti’s watercolor “Dante Painting an Angel” (1853), which made such a strong impression on young people that the Pre-Raphaelites became their ideal in painting , and Dante Gabriel Rossetti is an idol.
William Morris and Edward Burne-Jones decide to abandon theology for painting. In 1855, the young people left Oxford, finally deciding to devote themselves to art, turning to Rossetti for permission to participate in their magazine. Rossetti's acquaintance with these two Oxford University students began a new stage in the Pre-Raphaelite movement. At this time, a group of Pre-Raphaelites developed a range of themes in their work based on the New Testament and medieval legends. Burne-Jones met Ruskin and Rossetti at the beginning of 1856, and in May of the same year he was already accepted as a student in Rossetti's studio. The following year he is involved in a teacher's large mural project in the hall of Oxford's Union Hall. Apart from this work, his attention is almost entirely absorbed by pen or watercolor drawings, which are very carefully worked out.
In 1860, Burne-Jones married. At this time, he began to paint watercolors with the addition of gouache with ox bile on a brown base. From this period belong two portraits of the charming Sidonia von Bock and her cousin Clara von Dewitz, inspired by the Italian Renaissance and marked by the influence of Rossetti.
Passion for the Middle Ages forced the Pre-Raphaelites to change their attitude towards decorative and applied art, opposing soulless products industrial production high quality handmade items. In 1861, William Morris opened the firm of Morris, Marshall, Faulkner and Co. in London. This arts and crafts store sells everything you need to create home interior: furniture, stained glass, ceramics, upholstery fabrics, art objects. Morris is joined by his trusted friends Philip Webb, Rossetti and Burne-Jones.
Burne-Jones worked in the arts and crafts in the so-called "Red House" workshop of William Morris in Kent, designed in 1859 by Philip Speakman Webb in the style of an English country cottage made of red brick with windows of various shapes (square, rectangular, round), in some there were stained glass windows, entangling the walls of the home, the climbing plants so beloved by the Pre-Raphaelites. Artists made furniture, carpets, curtains, stained glass and even door handles with their own hands. Dante Gabriel Rossetti painted a triptych for Morris's office on themes from the poems of Dante Alighieri. They learned to weave, make dishes, and print designs on fabric. The new way of life attracted people to Morris's workshop. Visitors felt as if they were in the thick of the creative process. The call “Do not have anything in your home that is not useful to you or does not seem beautiful” found many followers. Illustrations, sketches of tapestries, mosaics, stained glass windows, and objects of decorative and applied art were created for Morisse's workshop. In many ways, it was Burne-Jones's designs and drawings that underpinned the activities of William Morris and Co. and Kelmscott Press. In tapestries and stained glass, he, as a rule, painted human figures, and Morris, ornaments. Here Burne-Jones strove for completeness and emotionality in the interpretation of faces, despite the protests of Morris, who wanted to enhance the decorative principle in this kind of things. Books are being created uniform style design of the book page, its title page and binding. "The Canterbury Tales" English poet Geoffrey Chaucer is decorated with climbing floral ornaments of the Middle Ages, the text is enlivened by miniature headpieces and ornamented capital letters.
In 1861, the artist traveled to Italy with Brown and Rossetti, and upon his return actively helped Morris in creating his artistic and industrial company, for which he produced many sketches of stained glass windows, ceramic cladding, tapestries and other applied items.
Between 1859 and 1873 Burne-Jones made several trips to Italy, which allowed him to better understand the work of Mantegna, Botticelli and Michelangelo. Traveling with Ruskin, who convinced the painter to start copying the masters of the Venetian school, Burne-Jones updates his technique. From then on, his style showed signs of new influences, which ultimately brought him fame and the knighthood granted to the artist as a discoverer new era in art.
In 1864 he was elected a member of the Old Watercolor Society; participates in the Society's exhibition in 1870. In 1877, the artist presents seven of his works for the first exhibition at the Grosvenor Gallery; becomes a permanent participant in her salons until 1887. Burne-Jones's fame grows, going far beyond the borders of England.
As Queen Victoria's reign continued, the British began to think more and more about the imperial role of their country. There is growing interest in ancient literature and to the history of Ancient Greece and Rome, as well as to the legendary past of Britain itself. Burne-Jones becomes a master of both ancient and medieval scenes, creating works like the series “Pygmalion” or “King Cophetua and the Beggar Woman,” in which the educational motive of the superiority of the nobility of the soul over earthly riches comes through.
In 1882, at the World Exhibition in Paris, he, along with Frederic Leighton, represented England. In 1885, Burne-Jones was elected an associate member of the Royal Academy of Arts, but in 1893 he refused this title.
In 1894 he received the title of baronet; glory comes, crowning him with awards. Last years his life is dedicated to large compositions on literary themes. The artist died on June 17, 1898.

There is a beautiful legend about the young king Cofetua. He never knew women and avoided them. Everywhere he looked for the ideal of female beauty. And only when he met a young beggar woman, being amazed not only by her beauty, but also by her virtues, he felt the awakening of love.
In art, this legend is reflected in both literature and painting.
The popularity of this legend was brought by a poem by Alfred Tennyson.

Her arms across her breast she laid;
She was more fair than words can say:
Bare-footed came the beggar maid
Before the king Cophetua.
In robe and crown the king steps down,
To meet and greet her on her way;
"It is no wonder," said the lords,
"She is more beautiful than day."

As shines the moon in clouded skies,
She in her poor attire was seen:
One praised her ancles, one her eyes,
One her dark hair and lovesome mien.
So sweet a face, such angel grace,
In all that land had never been:
Cophetua sware a royal oath:
"This beggar maid shall be my queen!"
(1833)

This plot has received more than one embodiment in painting. What I like best is how Burne-Jones interprets it. The king sits, taking off his crown, and looks up at the girl, who is painted in light colors and seems to radiate radiance. In my opinion, this is an amazingly poetic picture!.. Here are the artist’s own words: “In the picture I see a beautiful romantic dream, about something that has never happened and will never be, which is illuminated by an unearthly light and it takes place in lands to which no one will not identify and will not remember. My only wish is for the shapes to be beautiful."

"King Cofetua and the Beggar Woman" (1884)

Golden Staircase (1880)

In Burne-Jones's paintings, contemporaries were attracted by the grace of pensive figures with their ideal beauty, adding a nostalgic touch. The huge canvas radiates a mysterious and attractive force, captivating with the endless stream of girls descending in a spiral of steps. They are surprisingly similar to each other: slender, graceful, in white tunics, each with musical instrument in hand. They could be mistaken for angels, if not for the small window in the roof at the top of the picture, where white doves are visible against the sky.

Merlin under the spell (1870-74)

The image of Merlin has come to us from the depths of centuries of Celtic culture as the image of a teacher, faithful adviser and spiritual protector of King Arthur. The seer Merlin always gave wise advice to the young king as wishes or orders. Merlin is the most famous character in the mytho-poetic tradition of the Celts and medieval stories about King Arthur. Arthur's mentor was a talented scientist; he is credited with creating the brotherhood of the Round Table, building the city of Camelot, the capital of the kingdom, and the stone ring at Stonehenge. Foreseeing that Arthur was the future mighty king who would unite Britain and give it peace, Merlin took Arthur into his care as a boy. Legend has it that Merlin made a huge sword, Excalibur, and by the power of his magic he enclosed it inside a large stone, on which was inscribed: “Whoever draws this sword from the stone is by right of birth king over all Britain.” Arthur was the only one who was able to do this and rightfully became the ruler of the country. Merlin's story comes to an end in an unusual way. The sorcerer knew his future and revealed to Arthur that he did not have long to stay on earth, begging the king to take care of the magic sword Excalibur more than his eyes. In Burne-Jones's painting, Merlin is bewitched by his beloved. According to one legend, he does not die, but is imprisoned by the magical spell of the lake fairy Viviana. The beauty “hopelessly bewitched him; in order to maintain her power over him, she extracted from him the secret of a magical tomb carved into the rock, lured him there and locked him there forever, so that Merlin was alive, but completely cut off from the world. The story of Merlin and King Arthur does not end here, for somewhere else lives the great wizard imprisoned by Viviana...

Mirror of Venus (1870-76)

Maria Zambaco (1870)

Katie Lewis

Danaë and the Brass Castle (1888)

Cycle of paintings "Sleeping Beauty" (6 paintings; 1871-90)

Wheel of Fortune (1875-83)

Tree of Forgiveness (1881-82)

Depth of the sea

Annunciation (1879)

Psyche's Wedding (1895)

Lovers among the ruins

Death's Head of Medusa

The Prioress's Tale (1898)

Song of Love (1868-77)

Lament (1865-66)

Rose Heart

Garden of the Hesperides (1887)

King Arthur's Last Dream in Avalon

Perseus' weapons

Perseus's Battle with the Dragon (1878)

Chained Andromeda (1885-88)

Pygmalion and the Statue: The Hand Dare Not (1878)

Pygmalion and the Statue: The Gods Bless (1878)

Pygmalion and the Statue: Insight into the Soul (1879)

Love Leading the Pilgrim

Wizard

Baronne Deslandes

Lady Francis Balfour

Geirgiana Burn-Jones

Margaret Burn-Jones

Lady Burn-Jones, her son Philip and her daughter Margaret

Burne-Jones Edward Paintings and biography of Edward Burne-Jones Burne-Jones Edward Coley (1833-1898), English painter, draftsman, master of decorative and applied arts. Born in Birmingham on August 28, 1833, into a modest family of a frame joiner. He belonged to the younger generation of Pre-Raphaelites. Striving to revive the spirituality and naive poetry of medieval and early Renaissance art, Burne-Jones stylized the forms of his works in the spirit of 15th-century Italian painting. Decorative and sophisticated compositions by Burne-Jones on religious and mythological subjects ("The Story of Pygmalion", 1869-1879, Birmingham, Art Gallery and City Museum; "The Mirror of Venus" 1872-1877, Lisbon, National Museum of Ancient Art; "The Story of Perseus" after 1875, Stuttgart, City Assembly; “The Golden Staircase”, 1876–1880, “King Cofetua and the Beggar Woman”, 1880–1884, “Love Among the Ruins”, 1893 - all paintings in the Tate Gallery, London) are distinguished by features of romantic excitement and idealization. features of romantic emotion and idealization, flexible linear rhythm, and a tendency toward ornamentation. Since 1853, Burne-Jones has been studying at the Faculty of Theology at Exiter College, Oxford, but the craving for art turned out to be stronger, and from the age of 18 he attended the painting studio of Dante Gabriel Rossetti.

Between 1859 and 1873 Burne-Jones made several trips to Italy, which allowed him to better understand the work of Mantegna, Botticelli and Michelangelo. Traveling with John Ruskin, who convinced the painter to start copying old masters of the Venetian school, Edward Burne-Jones updates his technique. From then on, the artist’s style showed signs of new influences, which ultimately brought him fame and a knighthood, bestowed on the artist as the discoverer of a new era in art.

In 1864 he was elected a member of the Old Watercolor Society. In 1877, the artist presented his works for the first exhibition at the Grosvenor Gallery and became a regular participant in its salons until 1887.

Burne-Jones's fame is growing, reaching far beyond England. During the reign of Queen Victoria, the British began to think more and more about the imperial role of their country.

Edward Burne-Jones The Equipment of Perseus 1885 National Gallery, London Edward Burne-Jones Love Among the Ruins 1893 Tate Gallery, London Edward Burne-Jones Bound Andromeda 1885-1888, Private collectionEdward Burne-Jones Pan and Psyche 1870-1872 Edward Burne-Jones The Battle of Perseus with the Dragon 1878, Museum of Art, Stuttgart Edward Burne-Jones The Ominous Head of the Gorgon Medusa, 1885 There is a growing interest in ancient literature and the history of Ancient Greece and Rome, as well as in the legendary past of Britain itself. Edward Burne-Jones becomes a master of both ancient and medieval scenes, creating works like the series “Pygmalion” or “King Cophetua and the Beggar Girl,” in which the educational motive of the superiority of the nobility of the soul over earthly riches comes through. In 1882, at the World Exhibition in Paris, Burne-Jones, together with Frederic Leighton, represented England. In 1885 Edward Burne-Jones was elected an associate member of the Royal Academy of Arts.

Cupid's Hunting Grounds, 1885 King Arthur's Last Dream, 1881-1898 The Mirror of Venus 1870-1876 The Wheel of Fortune 1875-1883 King Cophetua and the Beggar Woman, 1880-18844 The Tree of Forgiveness 1881-1882 The Annunciation 1876-1879 Beth Lehem star 1887-1890Danae and the copper castle 1888Maria Zembeko 1870 Rose hip. The Sleeping Princess 1870-1890Aphrodite and Galatea 1868-1878Rose Hip.

The Enchanted Forest 1870-1890 In 1894, Burne-Jones received the title of baronet; glory comes, crowning him with awards. The last years of his life were devoted to large compositions on literary themes. The history of the Pre-Raphaelite movement ended with the work of Burne-Jones, leaving a great legacy to the masters of the 20th century thanks to a sublime belief in art and creative achievements that changed the attitude of society and artists to painting, book design and decorative arts. The painting of the Pre-Raphaelites represents a transition from romanticism to the symbolism of the early twentieth century, which, perhaps, would be more correctly called neo-romanticism: it again opened up the scope of fantasy, aspirations beyond the limits of everyday life. Burne-Jones's illustrations, sketches of tapestries, mosaics, stained glass, and decorative and applied arts contributed to the revival of English artistic crafts for the workshops of W. Morris. Burne-Jones died in London on June 17, 1898.

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Edward Coley Burne-Jones(English) Edward Coley Burne-Jones; August 28, Birmingham, UK - June 17, London, UK) - an English painter and illustrator close in spirit to the Pre-Raphaelites, one of the most prominent representatives of the Arts and Crafts movement. Widely known for its stained glass windows.

early years

Burne-Jones received his early education at King Edward's School in Birmingham. Since a year he has been attending evening courses at the government school of design. During the year he studied theology at Exeter College (Oxford University). Here he meets William Morris, and both, impressed by the paintings of the Pre-Raphaelites, decide to abandon theology for the sake of painting. When Dante Gabriel Rossetti met William Morris and Edward Burne-Jones in 1856, this meeting marked the beginning of a new stage in the development of the Pre-Raphaelite movement.

Marriage and family

In 1856, Burne-Jones became engaged to Georgiana (Georgie) MacDonald (1840-1920), one of the MacDonald sisters. She was studying to be an artist, and was the sister of an old school friend, Burne-Jones. In 1860 the couple married. Georgiana took up making woodcuts and became friends with George Eliot. (Another MacDonald sister married the artist Edward Poynter, a second married ironworks owner Alfred Baldwin and became the mother of Prime Minister Stanley Baldwin, and a third was the mother of Rudyard Kipling. Kipling and Baldwin were thus Burne-Jones' nephews).

In 1867 Burne-Jones and his family moved to Grange, an 18th-century house with big garden in Fulham. During the 1870s, Burne-Jones exhibited little of his work, enduring intensely hostile press attacks and a passionate affair (described as "the emotional climax of his life") with the Greek model Maria Zambaco, which ended with her attempting to commit suicide by throwing herself into the Regent's Canal. In these difficult years Georgiana became a close friend of Morris, whose wife Jane was in love with Rossetti. Georgie and Morris may have been in love, but if he asked her to leave her husband, she refused. In the end, the Burne-Joneses, like the Morrises, remained together, but Georgie and Morris remained close until the end of their lives.

Their son Philip became a famous portrait painter and died in 1926. Their beloved daughter Margaret (died 1953) married John William Mackale (1850-1945), Morris's friend and biographer, professor of poetry at Oxford 1911-1916. Their children Angela Firkel and Denis Makeil became writers.

Awards

Painting

At the age of twenty-two, Burne-Jones discovered Le Morte d'Arthur by Thomas Malory, and for the rest of his life he created paintings dedicated to these legends. The beauty and mystery of ancient legends captivated Burne-Jones also because they were Christian legends, built on the theme of the battle of good and evil, sin and salvation. Like many other contemporaries who lost their faith in God, Burne-Jones retained faith in Christian virtues, romantic love, and nobility. Two years before his death, he wrote: “It is amazing that this story of the Holy Grail has always been in my thoughts... Is there anything so beautiful in the world?”

Burne-Jones paints a lot of nudes male body. His paintings are almost flat, there is no pronounced play of chiaroscuro. He focuses on line, and the color of his work is often golden-orange. The detail and excessive realism of the Pre-Raphaelites are uncharacteristic of Burne-Jones. His characters are very static, their faces are detached, and their poses are more reminiscent of graceful poses of statues. There is almost no dynamics in the paintings, only contemplation.

List of paintings

• - - “Enchanted Merlin” / The Beguiling of Merlin. The painting was commissioned by philanthropist and art collector Frederick Richards Leyland
• - “Annunciation” / The Annunciation
• - “Golden Staircase” / The Golden Stairs
• - “King Cofetua and the Beggar Woman” / King Cophetua and the Beggar Maid
• - - “Head of the Gorgon” / The Baleful Head
• - “Love Among the Ruins” / Love Among the Ruins
• - - “Book of Flowers” ​​/ The Flower Book

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Notes

Literature

• Burne-Jones, Edward // Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
• Laurence de Car. Pre-Raphaelites: Modernism in English - M.: Astrel, 2002, p. 128 ISBN 5-271-02251-1.
• Beaudry L. Burne-Jones / Trans. E. Boratynskaya. M., 1910.

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