By Liana De Girolami Cheney
This e-book specializes in Sir Edward Burne-Jones’ legendary work from 1868 to 1886. His creative education and touring reports, his love for the Greek-sculptress, Maria Zambaco, and his aesthetic sensibility supplied the heritage for those legendary work. This e-book analyzes major options: Burne-Jones’ assimilation of Neoplatonic perfect attractiveness as depicted in his solo and narrative work, and Burne-Jones’ fusion of the classical and emblematic traditions in his imagery.
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Extra info for Edward Burne-Jones' Mythical Paintings: The Pygmalion of the Pre-Raphaelite Painters
Sample text
13 and 14). The kneeling pose of the female figure recalls the kneeling pose of Pygmalion in the Pygmalion series (Fig. 15) and in Chapter Three 13 the Cupid and Psyche series of 1865–72 (Fig. 16). The depiction of the briar-rose recalls the Briar Rose cycle of 1864–90 (Buscot Park in Orxfordshire, England, Fig. 17) and the Legend of the Pilgrim and Love of 1877–87 (various collections in England and America, Fig 18). In Love Among the Ruins, the architectural reference to Renaissance buildings confirms Burne-Jones’ consultation of Colonna’s text.
F. Rio’s Poetry of Christian Art, a book written originally in French (1832) and translated into English in 1845. 3 The second significant appraisal of Botticelli came from the writings of J. A. Crowe and Giovanni Battista 6 Chapter Two Cavalcaselle, published in A History of Painting In Italy in 1864. Burne-Jones knew these volumes, as he referred to them in conversations with his assistant, T. M. ”8 Under this English Botticellian spell, during his discipleship to Dante Gabriel Rossetti, Edward Burne-Jones becomes acquainted with the artistic and literary tradition of Italian Renaissance art as well as with Botticelli’s paintings.
Farewell,” said Barbara Allen. He turned his face unto the wall As deadly pangs he fell in. “Adieu! Adieu! Adieu to you all!