The Info List - Edward Burne-Jones

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Sir Edward Coley Burne-Jones, 1st Baronet
ARA (28 August 1833 – 17 June 1898) was a British artist and designer closely associated with the later phase of the Pre-Raphaelite movement, who worked closely with William Morris
William Morris
on a wide range of decorative arts as a founding partner in Morris, Marshall, Faulkner & Co. Burne-Jones was closely involved in the rejuvenation of the tradition of stained glass art in Britain; his stained-glass include windows in St. Philip's Cathedral, Birmingham, St Martin in the Bull Ring, Birmingham, Holy Trinity Church, Sloane Square, Chelsea, St Martin's Church in Brampton, Cumbria
(the church designed by Philip Webb), St Michael's Church, Brighton, All Saints, Jesus Lane, Cambridge, St Edmund Hall and Christ Church, two colleges of the University of Oxford. His stained glass works also feature in St. Anne's Church, Brown Edge, Staffordshire Moorlands and St.Edward the Confessor church at Cheddleton Staffordshire. 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
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. In addition to painting and stained glass, Burne-Jones
worked in a variety of crafts; including designing ceramic tiles, jewellery, tapestries, and mosaics.


1 Early life 2 Marriage and family 3 Artistic career

3.1 Early years: Rossetti and Morris 3.2 Decorative arts: Morris & Co. 3.3 Illustration work 3.4 Painting 3.5 Design for the theatre 3.6 Aesthetics

4 Honours 5 Influence 6 Neglect and rediscovery 7 Gallery

7.1 Stained and painted glass 7.2 Drawings 7.3 Paintings 7.4 Decorative arts 7.5 Theatre 7.6 Photographs

8 See also 9 References 10 External links

Early life[edit]

with William Morris, 1874, by Frederick Hollyer.

Edward Coley Burne Jones (the hyphen came later) was born in Birmingham, the son of a Welshman, Edward Richard Jones, a frame-maker at Bennetts Hill, where a blue plaque commemorates the painter's childhood. His mother Elizabeth Coley Jones died within six days of his birth, and he was raised by his grieving father and the family housekeeper, Ann Sampson, an obsessively affectionate but humourless and unintellectual local girl.[1][2] He attended Birmingham's King Edward VI grammar school from 1844[3] and the Birmingham
School of Art from 1848 to 1852, before studying theology at Exeter College, Oxford.[4] At Oxford
he became a friend of William Morris
William Morris
as a consequence of a mutual interest in poetry. The two Exeter undergraduates, together with a small group of Jones' friends from Birmingham
known as the Birmingham
Set,[5] speedily formed a very close and intimate society, which they called "The Brotherhood". The members of the Brotherhood read John Ruskin
John Ruskin
and Tennyson, visited churches, and worshipped the Middle Ages. At this time Burne-Jones discovered Thomas Malory's Le Morte d'Arthur
Le Morte d'Arthur
which was to be so influential in his life. At that time neither Burne-Jones
nor Morris knew Gabriele Rossetti
Gabriele 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.[3][6] 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.[3]

Marriage and family[edit]

Portrait of Georgiana Burne-Jones, with Philip and Margaret, 1883

Margaret, daughter of Burne-Jones

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 by marriage). 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.[7] In 1867 Burne-Jones
and his family settled at the Grange, an 18th-century house set in a large garden in North End, Fulham, London. For much of the 1870s Burne-Jones
did not exhibit, following a spate of bitterly hostile attacks in the press, and a passionate affair (described as the "emotional climax of his life"[8]) with his Greek model Maria Zambaco, which ended with her trying to commit suicide by throwing herself in Regent's Canal.[8][9] 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.[10] 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
Gothic House
to the property, which became the inspiration and setting for her play The Chalk Garden). His troubled son Philip, who became a successful portrait painter, 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
Angela Thirkell
and Denis Mackail. In an edition of the boys' magazine, Chums (No. 227, Vol.  V, 13 January 1897), an article on Burne-Jones
stated that "....his pet grandson used to be punished by being sent to stand in a corner with his face to the wall. One day on being sent there he was delighted to find the wall prettily decorated with fairies, flowers, birds, and bunnies. His indulgent grandfather had utilised his talent to alleviate the tedium of his favourite's period of penance." Artistic career[edit] Early years: Rossetti and Morris[edit]

Sidonia von Borcke, 1860

once admitted that after leaving Oxford
he "found himself at five-and-twenty what he ought to have been at fifteen". 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 set of skills 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 his Waxen Image (1856) is one of the earliest and best examples. Although the 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.[11] Burne-Jones's first sketch in oils dates from this same year, 1856, and during 1857 he made for Bradfield College
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.[11] In the autumn of 1857 Burne-Jones
joined Morris, Valentine Prinsep, J. R. Spencer Stanhope[12] 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.[11] Both paintings illustrate the 1849 gothic novel Sidonia the Sorceress by Lady Wilde, a translation of Sidonia Von Bork: Die Klosterhexe (1847) by Johann Wilhelm Meinhold.[13] Decorative arts: Morris & Co.[edit]

Cecilia, c. 1900, Princeton University Art Museum, one of nearly thirty versions of a window designed by Burne-Jones
and executed by Morris & Co.[14]

Main article: Morris & Co. In 1861, William Morris
William Morris
founded the decorative arts firm of Morris, Marshall, Faulkner & Co. with Rossetti, Burne-Jones, Ford Madox Brown and Philip Webb
Philip Webb
as partners, together with Charles Faulkner and Peter Paul Marshall, the former of whom was a member of the Oxford Brotherhood, and the latter a friend of Brown and Rossetti.[6] The prospectus set forth that the firm would undertake carving, stained glass, metal-work, paper-hangings, chintzes (printed fabrics), and carpets.[11] 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
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.[15] 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. Stained glass
Stained glass
windows in the Christ Church cathedral and other buildings in Oxford
are by Morris & Co. with designs by Burne-Jones[16][17] 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
Holy Grail
for the dining room, with figures by Burne-Jones.[18] In 1891 Jones was elected a member of the Art Workers Guild. Illustration work[edit] Although known primarily as a painter, Burne-Jones
was also an illustrator, helping the Pre-Raphaelite aesthetic to enter mainstream awareness. In addition, he designed books for the Kelmscott Press between 1892 and 1898. His illustrations appeared in the following books, among others:[19]

The Fairy Family by Archibald Maclaren (1857) The Rubaiyat of Omar Khayyam
The Rubaiyat of Omar Khayyam
by William Morris
William Morris
(1872) The Earthly Paradise
The Earthly Paradise
by William Morris
William Morris
(not completed) The Works of Geoffrey Chaucer
Geoffrey Chaucer
by Geoffrey Chaucer
Geoffrey Chaucer
(1896) Bible
Gallery by Dalziel (1881)


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.[11] In 1866 Mrs Cassavetti commissioned Burne-Jones
to paint her daughter, Maria Zambaco, in Cupid finding Psyche, an introduction which led to their tragic affair. In 1870, Burne-Jones resigned his membership following a controversy over his painting Phyllis and Demophoön. The features of Maria Zambaco
Maria Zambaco
were clearly recognizable in the barely draped Phyllis (as they are in several of Burne-Jones's finest works), and the undraped nakedness of Demophoön coupled with the suggestion of female sexual assertiveness offended Victorian sensibilities. Burne-Jones
was asked to make a slight alteration, but instead "withdrew not only the picture from the walls, but himself from the Society."[20][21] 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 first 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.[11] 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.[22]

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 the next year, 1879, in the Annunciation and in the four pictures making up the second series of 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.[11] Burne-Jones
was elected an Associate of the Royal Academy
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 second series of The Legend of Briar Rose
The Legend of Briar Rose
were exhibited by themselves, and won the widest admiration. The huge watercolor, 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.[11] Design for the theatre[edit] In 1894, theatrical manager and actor Henry Irving
Henry Irving
commissioned Burne-Jones
to design sets and costumes for the Lyceum Theatre production of King Arthur by J. Comyns Carr, who was Burne-Jones's patron and the director of the New Gallery as well as a playwright. The play starred Irving as King Arthur and Ellen Terry
Ellen Terry
as Guinevere, and toured America following its London
run.[23][24][25] Burne-Jones accepted the commission with some enthusiasm, but was disappointed with much of the final result. He wrote confidentially to his friend Helen Mary Gaskell (known as May), "The armour is good—they have taken pains with it ... Perceval looked the one romantic thing in it ... I hate the stage, don't tell—but I do."[26] Aesthetics[edit]

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.[27] 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.[11]

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.[11] Honours[edit]

Burne-Jones' The last sleep of Arthur at Museo de Arte de Ponce, Ponce, Puerto Rico

In 1881 Burne-Jones
received an honorary degree from Oxford, and was made an Honorary Fellow in 1882.[3] In 1885 he became the President of the Birmingham
Society of Artists. At about that time he began hyphenating his name, merely—as he wrote later—to avoid "annihilation" in the mass of Joneses.[28] In November 1893, he was approached to see if he would accept a Baronetcy on the recommendation of the outgoing Prime Minister William Ewart Gladstone, the following February he legally changed his name to Burne-Jones[29] He was formally created a baronet of Rottingdean, in the county of Sussex, and of the Grange, in the parish of Fulham, in the county of London
in the baronetage of the United Kingdom on 3 May 1894,[30] but remained unhappy about accepting the honour, which disgusted his socialist friend Morris and was scorned by his equally socialist wife Georgiana.[28][29] Only his son Philip, who mixed with the set of the Prince of Wales and would inherit the title, truly wanted it.[29] Morris died in 1896, and the health of the devastated Burne-Jones declined substantially. In 1898 he suffered an attack of influenza, and had apparently recovered when he was again taken suddenly ill, and died on 17 June 1898.[11][31] 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 the churchyard at St Margaret's Church, Rottingdean,[32] a place he knew through summer family holidays. Elected member of the Royal Academy
Royal Academy
of Science, Letters and Fine Arts of Belgium in 1897.[33] Influence[edit]

Blue plaque
Blue plaque
on Bennetts Hill, Birmingham

exerted a considerable influence on French painting. He was also highly influential among French symbolist painters, from 1889.[34] His work inspired poetry by Swinburne – Swinburne's 1866 Poems & Ballads is dedicated to Burne-Jones. Three of Burne-Jones's studio assistants, John Melhuish Strudwick, T. M. Rooke and Charles Fairfax Murray, went on to successful painting careers. 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.[35] Burne-Jones
was also a very strong influence on the Birmingham
Group of artists, from the 1890s onwards. Neglect and rediscovery[edit] On 16 June 1933, Prime Minister Stanley Baldwin, a nephew of Burne-Jones, officially opened the centenary exhibition featuring Burne-Jones's drawings and paintings at the Tate Gallery
Tate Gallery
in London. In his opening speech at the exhibition, Baldwin 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.[36]

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.[37] It was not until the mid-1970s that his work began to be re-assessed and once again acclaimed. Penelope Fitzgerald
Penelope Fitzgerald
published a biography of him in 1975, her first book.[38] A major exhibit in 1989 at the Barbican Art Gallery, London
(in book form as: John Christian, The Last Romantics, 1989), traced Burne-Jones's influence on the next generation of artists, and another at Tate Britain
Tate Britain
in 1997 explored the links between British Aestheticism
and Symbolism.[34] A second lavish centenary exhibit – this time marking the 100th anniversary of Burne-Jones's death – was held at the Metropolitan Museum of Art
Metropolitan Museum of Art
in New York in 1998, before traveling to the Birmingham
Museum and Art Gallery and the Musée d'Orsay, Paris.[39] Fiona MacCarthy, in a review of Burne-Jones's legacy, notes that he was "a painter who, while quintessentially Victorian, leads us forward to the psychological and sexual introspection of the early twentieth century".[40] Gallery[edit] Stained and painted glass[edit]

Cartoon for Daniel window, St. Martin's-on-the-Hill, Scarborough, 1873

Edward Burne-Jones
and William Morris' Nativity windows (1882), Trinity Church, Boston

The Worship of the Magi window (1882), Trinity Church, Boston.

The Worship of the Shepherds window (1882), Trinity Church, Boston

Nativity scene in St Mary's Church, Huish Episcopi, Somerset

David 1872, in St Michael and All Angels, Waterford, Hertfordshire

Miriam, 1872 in St Michael and All Angels, Waterford, Hertfordshire

Miriam, 1886 in St Giles' Cathedral, Edinburgh

Christ as Salvator Mundi, 1896 in St Michael and All Angels, Waterford, Hertfordshire

St. Cecilia window, Second Presbyterian Church (Chicago, Illinois)

Crucifixion window in St James's Church, Staveley, Cumbria

Angel window in St. James's Church, Staveley, Cumbria

Faith in the Old West Kirk, Greenock

Music in the Old West Kirk, Greenock


The Knight's Farewell, 1858, pen-and-ink on vellum, 1858

Going to the Battle, pen-and-ink with gray wash on vellum, 1858

King Sigurd, woodcut engraving by the Dalziel Bros. after a pen-and-ink drawing, 1862

Portrait of Ignacy Jan Paderewski, 1892

Paintings[edit] Early works

The Princess Sabra Led to the Dragon, 1866

Portrait of Maria Zambaco, 1870

Phyllis and Demophoön, 1870

Temperantia, 1872

Pygmalion (first series)

The Heart Desires, 1868–70

The Hand Refrains, 1868-1870

The Godhead Fires, 1868–70

The Soul Attains, 1868–70

Pygmalion and the Image (second series)

The Heart Desires, 1878

The Hand Refrains, 1878

The Godhead Fires, 1878

The Soul Attains, 1878

The Grosvenor Gallery
Grosvenor Gallery

Pan and Psyche, 1874

The Annunciation, 1879

The Angel, 1881

The Mill, 1882

An Angel Playing a Flageolet - Sudley House, Liverpool, England

The Legend of Briar Rose
The Legend of Briar Rose
(second series) Main article: The Legend of Briar Rose

The Briar Wood, completed 1890

The Council Chamber, 1890

The Garden Court, 1890

The Rose Bower, 1890

Later works

The Doom Fulfilled, 1888 (Perseus Cycle 7)

The Baleful Head, 1887 (Perseus Cycle 8)

The Star of Bethlehem, 1890

Vespertina Quies, 1893

Love Among the Ruins, 1894 recreation in oils

The Last Sleep of Arthur in Avalon
The Last Sleep of Arthur in Avalon

Decorative arts[edit]

Illuminated manuscript of the Rubaiyat of Omar Khayyam
Rubaiyat of Omar Khayyam
by William Morris, illustrated by Burne-Jones
with a variant of Love Among the Ruins, 1870s

The Arming and Departure of the Knights, one of the Holy Grail tapestries, 1890s, figures by Burne-Jones.

A page from the Kelmscott Chaucer, decoration by Morris and illustration by Burne-Jones, 1896


Scene from King Arthur, sets by Burne-Jones, 1895

Ellen Terry
Ellen Terry
as Guinevere, costume by Burne-Jones, 1894


The Burne-Jones
and Morris families in the garden at the Grange, 1874, photograph by Frederick Hollyer

Edward Burne-Jones, c. 1882 (Hollyer)

Georgiana Burne-Jones, c. 1882 (Hollyer)

Burne-Jones's garden studio at the Grange, 1887 (Hollyer)

External video

Burne-Jones' King Cophetua and the Beggar Maid

Burne Jones's The Golden Stairs

Burne-Jones's Hope, All at Smarthistory[41]

See also[edit]

List of paintings by Edward Burne-Jones The Flower Book Stained Glass Designs for the Vinland House, 1881



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Dictionary of National Biography
(1909), "Edward Burne-Jones" ^ Newall, Christopher (2004). "Jones, Sir Edward Coley Burne-, first baronet (1833–1898)". Oxford
Dictionary of National Biography. Oxford: Oxford
University Press. doi:10.1093/ref:odnb/4051. (Subscription required (help)).  ^ Rose 1981, p. 78. ^ a b Dictionary of National Biography
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(1901), "William Morris" ^ Wildman 1998, p. 107. ^ a b Wildman 1998, p. 114. ^ Flanders 2001, pp. 118-120. ^ Flanders 2001, p. 136. ^ a b c d e f g h i j k  One or more of the preceding sentences incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Burne-Jones, Sir Edward Burne". Encyclopædia Britannica. 4 (11th ed.). Cambridge
University Press. pp. 848–850.  ^ Marsh, Letters and Diaries, p. 110 ^ Wildman 1998, p. 66. ^ " Saint Cecilia
Saint Cecilia
(y1974-84)". Princeton University Art Museum. Princeton University.  ^ Linda Parry, "Domestic Decoration." In Parry, William Morris, p. 139-140 ^ Edward Burne-Jones[permanent dead link] Southgate Green Association "His work included both stained-glass windows for Christ Church in Oxford
and the stained glass windows for Christ Church on Southgate Green." ^ PreRaphaelite Painting and Design Archived 14 October 2008 at the Wayback Machine. University of Texas ^ Linda Parry, "Domestic Decoration." In Parry, William Morris, p. 146-147 ^ Souter & Souter 2012, p. 19. ^ J. J. Roget, A History of the "Old" Water-Colour Society, (1891) ^ Wildman 1998, p. 138. ^ Wildman 1998, pp. 197-198. ^ Wildman 1998, p. 315. ^ Wood 1999, p. 119. ^ "Miss Terry as Guinevere; In a Play by Comyns Carr, Dressed by Sir Edward Burne-Jones". New York Times. 5 November 1895. Retrieved 8 August 2008.  ^ Wood 1999, p. 120. ^ Wildman 1998, pp. 112-113. ^ a b Taylor 1987, pp. 150-151. ^ a b c Flanders 2001, p. 258. ^ "No. 26509". The London
Gazette. 4 May 1894. p. 2613.  ^ "No. 26988". The London
Gazette. 19 July 1898. p. 4396.  ^ Dale 1989, p. 212. ^ Index biographique des membres et associés de l'Académie royale de Belgique (1769-2005). p 44 ^ a b "The Age of Rossetti, Burne-Jones
and Watts: Symbolism in Britain 1860-1910". Archived from the original on 28 March 2006. Retrieved 12 September 2008.  ^ Bracken, Pamela (4 March 2006). "Echoes of Fellowship: The PRB and the Inklings". Conference paper, C. S. Lewis & the Inklings. Retrieved 23 June 2014.  ^ "Centenary exhibition of Sir Edward Burne-Jones
at London
Tate Gallery". Straits Times. 24 July 1933. p. 6.  ^ Wildman 1998, p. 1. ^ Fitzgerald, Penelope (1975). Edward Burne-Jones: a biography. London: Joseph. ISBN 0718113675.  ^ Wildman 1998, Front matter. ^ Tate: "A Visionary Oddity: Fiona MacCarthy on Edward Burne-Jones" ^ "Burne-Jones's Hope". Smarthistory
at Khan Academy. Retrieved December 22, 2013. 


Dale, Antony (1989). Brighton
churches. London: Routledge. ISBN 0-415-00863-8.  Daly, Gay (1989). Pre-Raphaelites
in Love. Ticknor & Fields. ISBN 978-0-89919-450-9.  Flanders, Judith (2001). A Circle of Sisters: Alice Kipling, Georgiana Burne-Jones, Agnes Poynter and Louisa Baldwin. W.W. Norton. ISBN 978-0-393-05210-7.   Mackail, J. W. (1901). "Morris, William (1834-1896)". In Lee, Sidney. Dictionary of National Biography, 1901 supplement​. 3. London: Smith, Elder & Co. pp. 197–203.  Marsh, Jan: The Pre-Raphaelites: Their Lives in Letters and Diaries, Trafalgar Square, 1997, ISBN 1-85585-246-2 Parry, Linda, ed., William Morris, Abrams, 1996, ISBN 0-8109-4282-8 Rose, Andrea (1981). Pre-Raphaelite portraits. Oxford: Oxford Illustrated Press. ISBN 0-902280-82-1.  Taylor, Ina (1987). Victorian Sisters. Weidenfeld and Nicholson. ISBN 978-0-297-79065-5.  Todd, Pamela, Pre-Raphaelites
at Home, New York, Watson-Guptill Publications, 2001, ISBN 0-8230-4285-5 Wildman, Stephen (1998). Edward Burne-Jones: Victorian Artist-Dreamer. Metropolitan Museum of Art. ISBN 0-87099-859-5.  Wood, Christopher (1999). Burne-Jones : the life and works of Sir Edward Burne-Jones
(1833-1898). London: Phoenix Illustrated. ISBN 0-7538-0727-0.  Souter, Tessa; Souter, Nick (2012). "The Illustration Handbook: A guide to the world's greatest illustrators". Oceana. ISBN 9781845734732.  Missing or empty url= (help) This article also incorporates text from the Dictionary of National Biography, supplemental volume 3 (1901) and volume 22 (1909), publications now in the public domain

Further reading

MacCarthy, Fiona (2011). The Last Pre-Raphaelite: Edward Burne-Jones and the Victorian Imagination. Faber & Faber. ISBN 978-0-571-22861-4.  Arscott, Caroline. William Morris
William Morris
and Edward Burne-Jones: Interlacings, (New Haven and London: Yale University Press (Published for the Paul Mellon Centre for Studies in British Art), 2008). ISBN 978-0-300-14093-4. Mackail, J. W., The Life of William Morris
William Morris
in two volumes, London, New York and Bombay: Longmans, Green and Co., 1899.

Google Books edition of Volume I and Volume II (1911 reprint) retrieved 16 August 2008.

Marsh, Jan, Jane and May Morris: A Biographical Story 1839–1938, London, Pandora Press, 1986 ISBN 0-86358-026-2. Marsh, Jan, Jane and May Morris: A Biographical Story 1839–1938 (updated edition, privately published by author), London, 2000. Robinson, Duncan (1982). William Morris, Edward Burne-Jones
and the Kelmscott Chaucer. London: Gordon Fraser.  Spalding, Frances (1978). Magnificent Dreams: Burne-Jones
and the Late Victorians. Oxford: Phaidon. ISBN 0-7148-1827-5. 

External links[edit]

Wikimedia Commons has media related to Sir Edward Burne-Jones.

has the text of the Dictionary of National Biography
Dictionary of National Biography
1901 supplement's article about Sir Edward Coley Burne-Jones.

84 Painting(s) by or after Edward Burne-Jones
at the Art UK
Art UK
site Profile on Royal Academy
Royal Academy
of Arts Collections The Age of Rossetti, Burne-Jones
and Watts: Symbolism in Britain 1860-1910 Online version of exhibit at the Tate Britain
Tate Britain
16 October 1997 – 4 January 1998, with 100 works by Burne-Jones, at Art Magick Birmingham
Museums and Art Gallery's Pre-Raphaelite Online Resource Large online collection of the works of Edward Burne Jones Lady Lever Art Gallery The Last Sleep of Arthur in Avalon
The Last Sleep of Arthur in Avalon
(1881) in the Museo de Arte de Ponce Pre-Raphaelite online resource project website at the Birmingham Museums & Art Gallery, with about a thousand paintings on canvas and works on paper by Edward Burne-Jones Burne-Jones
Stained Glass Windows in Cumbria The Pre-Raphaelite Church - Brampton Some Burne-Jones
stained glass designs Stained Glass Window Designs for the Vinland Estate, Newport, Rhode Island, 1881. Speldhurst Church Phryne's list of pictures in public galleries in the UK Mary Lago Collection at the University of Missouri
University of Missouri
Libraries. Personal papers of a Burne-Jones

Baronetage of the United Kingdom

New creation Baronet (of Rottingdean
and of the Grange) 1894–1898 Succeeded by Philip Burne-Jones

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Edward Burne-Jones

List of paintings


Oxford Union
Oxford Union
murals The Merciful Knight Pygmalion and the Image series The Beguiling of Merlin The Golden Stairs The Last Sleep of Arthur in Avalon The Flower Book The Mill King Cophetua and the Beggar Maid The Legend of Briar Rose The Garden of Pan The Nativity Star of Bethlehem Sponsa de Libano Hope


Adoration of the Magi Holy Grail
Holy Grail


Georgiana Burne-Jones
Georgiana Burne-Jones
(wife) Philip Burne-Jones
Philip Burne-Jones
(son) Pre-Raphaelite Brotherhood Morris & Co. Tristram and Isoude stained glass panels Great Bookcase

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The Pre-Raphaelite Brotherhood
Pre-Raphaelite Brotherhood

William Holman Hunt John Everett Millais Dante Gabriel Rossetti James Collinson William Michael Rossetti Frederic George Stephens Thomas Woolner

Associated artists and figures

George Price Boyce John Brett Ford Madox Brown Richard Burchett Edward Burne-Jones Georgiana Burne-Jones John Collier Charles Allston Collins Frank Cadogan Cowper Evelyn De Morgan Walter Deverell Henry Treffry Dunn William Dyce Henry Holiday Arthur Hughes Edward Robert Hughes Frederic Leighton Robert Braithwaite Martineau Louisa Beresford, Marchioness of Waterford William Morris Alexander Munro Joseph Noel Paton Valentine Cameron Prinsep Christina Rossetti John Ruskin Frederick Sandys Thomas Seddon Elizabeth Siddal James Smetham Rebecca Solomon Simeon Solomon John Roddam Spencer Stanhope Marie Spartali Stillman Algernon Charles Swinburne Henry Wallis John William Waterhouse William Lindsay Windus

Some well-known works (period and post-period)

Ophelia Proserpine Christ in the House of His Parents A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids Ecce Ancilla Domini Mariana The Light of the World Our English Coasts ('Strayed Sheep') The Scapegoat Paolo and Francesca da Rimini The Last of England Work The Awakening Conscience The Hireling Shepherd April Love Found Bocca Baciata Oxford Union
Oxford Union
murals Lady Lilith Mary Magdalene The Finding of the Saviour in the Temple Beata Beatrix The Shadow of Death A Vision of Fiammetta Pygmalion and the Image series The Beloved Flaming June Cymon and Iphigenia King Cophetua and the Beggar Maid The Day Dream Dante and Beatrice Love's Messenger The Magic Circle The Legend of Briar Rose Lilith The Lady of Shalott Hylas and the Nymphs Lady Godiva


Elizabeth Siddal Fanny Cornforth Effie Gray Sophy Gray Annie Miller Jane Morris Marie Spartali Stillman Alexa Wilding Maria Zambaco Dorothy Dene Fanny Eaton Ruth Herbert


The Germ Hogarth Club Morris & Co. Rossetti and His Circle
Rossetti and His Circle
(1922 book) Dante's Inferno (1967 film) The Love School (1975 series) Desperate Romantics
Desperate Romantics
(2009 series) Effie Gray
Effie Gray
(2014 film)

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Rudyard Kipling


The Light that Failed
The Light that Failed
(1891) Captains Courageous
Captains Courageous
(1896) Kim (1901)


Plain Tales from the Hills (1888) Soldiers Three
Soldiers Three
(1888) The Story of the Gadsbys
The Story of the Gadsbys
(1888) In Black and White (1888) The Phantom 'Rickshaw and other Eerie Tales
The Phantom 'Rickshaw and other Eerie Tales
(1888) Under the Deodars
Under the Deodars
(1888) Wee Willie Winkie and Other Child Stories
Wee Willie Winkie and Other Child Stories
(1888) From Sea to Sea and Other Sketches, Letters of Travel (1889) Barrack-Room Ballads
Barrack-Room Ballads
(1892, poetry) Many Inventions (1893) The Jungle Book
The Jungle Book

"Mowgli's Brothers" "Kaa's Hunting" "Tiger! Tiger!" "Rikki-Tikki-Tavi"

The Second Jungle Book
The Second Jungle Book

"Letting in the Jungle" "Red Dog"

All the Mowgli Stories (c. 1895) The Seven Seas (1896, poetry) The Day's Work (1898) Stalky & Co. (1899) Just So Stories
Just So Stories
(1902) The Five Nations
The Five Nations
(1903, poetry) Puck of Pook's Hill
Puck of Pook's Hill
(1906) Rewards and Fairies
Rewards and Fairies
(1910) The Fringes of the Fleet
The Fringes of the Fleet
(1915, non-fiction) Debits and Credits (1926) Limits and Renewals (1932) Rudyard Kipling's Verse: Definitive Edition (1940) A Choice of Kipling's Verse
A Choice of Kipling's Verse
(by T. S. Eliot, 1941)


"The Absent-Minded Beggar" "The Ballad of the "Clampherdown"" "The Ballad of East and West" "The Beginnings" "The Bell Buoy" "The Betrothed" "Big Steamers" "Boots" "Cold Iron" "Dane-geld" "Danny Deever" "A Death-Bed" "The Female of the Species" "Fuzzy-Wuzzy" "Gentleman ranker" "The Gods of the Copybook Headings" "Gunga Din" "Hymn Before Action" "If—" "In the Neolithic Age" "The King's Pilgrimage" "The Last of the Light Brigade" "The Lowestoft Boat" "Mandalay" "The Mary Gloster" "McAndrew's Hymn" "My Boy Jack" "Recessional" "A Song in Storm" "The Sons of Martha" "Submarines" "The Sweepers" "Tommy" "Ubique" "The White Man's Burden" "The Widow at Windsor"

Short stories

".007" "The Arrest of Lieutenant Golightly" "Baa Baa, Black Sheep" "Bread upon the Waters" "The Broken Link Handicap" "The Butterfly that Stamped" "Consequences" "The Conversion of Aurelian McGoggin" "Cupid's Arrows" "The Devil and the Deep Sea" "The Drums of the Fore and Aft" "Fairy-Kist" "False Dawn" "A Germ-Destroyer" "His Chance in Life" "His Wedded Wife" "In the House of Suddhoo" "Kidnapped" "Learoyd, Mulvaney and Ortheris" "Lispeth" "The Man Who Would Be King" "A Matter of Fact" "Miss Youghal's Sais" "The Mother Hive" "Ortheris" "The Other Man" "The Rescue of Pluffles" "The Ship that Found Herself" "The Sing-Song of Old Man Kangaroo" "The Taking of Lungtungpen" "Three and – an Extra" "The Three Musketeers" "Thrown Away" "Toomai of the Elephants" "Watches of the Night" "Wireless" "Yoked with an Unbeliever"


Bibliography Bateman's
(house) Indian Railway Library Ritual of the Calling of an Engineer

Iron Ring

Law of the jungle Aerial Board of Control My Boy Jack (1997 play) Rudyard Kipling: A Remembrance Tale (2006 documentary) My Boy Jack (2007 film)


Elsie Bambridge (daughter) John Kipling
John Kipling
(son) John Lockwood Kipling
John Lockwood Kipling
(father) MacDonald sisters
MacDonald sisters
(mother's family) Stanley Baldwin
Stanley Baldwin
(cousin) Georgiana Burne-Jones
Georgiana Burne-Jones
(aunt) Edward Burne-Jones
(uncle) Philip Burne-Jones
Philip Burne-Jones
(cousin) Edward Poynter
Edward Poynter
(uncle) Alfred Baldwin (uncle)

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British and Irish stained glass

British and Irish stained glass (1811–1918)


Architecture of cathedrals and great churches History of stained glass Medieval stained glass Poor Man's Bible Regional characteristics of European cathedral architecture


Artistic movements

Aesthetic Movement Arts and Crafts Movement Biblia pauperum Cambridge
Camden Society Classicism Early Renaissance Exoticism Gothic Revival Oxford
Movement Romanticism


The Glass House Hogarth Club Pre-Raphaelite Brotherhood



John Loughborough Pearson Augustus Pugin George Gilbert Scott Alexander Thomson


Edward Liddall Armitage Hugh Arnold William Burges Alfred E. Child Margaret Chilton Harry Clarke Walter Francis Clokey Charles Edmund Clutterbuck Trena Cox Louis Davis


Rachel de Montmorency Alfred Drury Mabel Esplin Moira Forsyth Wilhelmina Geddes Jane Gray Reginald Hallward


Herbert Hendrie James Humphries Hogan Evie Hone Joan Howson


Marjorie Kemp Charles Eamer Kempe Mary Lowndes William Morris Catherine Amelia O’Brien Karl Parsons


Henry Payne


Lilian Josephine Pocock Patrick Pollen Sarah Purser Ethel Rhind Arnold Wathen Robinson


Arild Rosenkrantz Francis Skeat


Caroline Townshend


Christopher Webb Christopher Whall


Veronica Whall


Thomas Willement William Wilson Paul Woodroffe


Edward Woore


British stained-glass artists Irish stained-glass artists


John Ruskin


An Túr Gloine Burlison and Grylls Harry Clarke Clayton and Bell Walter Francis Clokey Daniel Cottier John Hardman & Co. Heaton, Butler and Bayne Hincks and Burnell Lavers, Barraud and Westlake Morris & Co. James Powell and Sons Shrigley and Hunt William Wailes William Warrington


Canterbury Cathedral Coventry Cathedral York Minster


Admiral Apostles Biblical Bishop Fleur-de-lis Heraldry Prophet Saint Virtues


Architectural glass Art glass Beveled glass Came glasswork Cathedral glass Curvilinear coordinates Float glass Glass art Glass beadmaking Glassblowing Grisaille Lancet window Leadlight Mandorla Mullion Pontil Quatrefoil Rose window Roundel Stained glass
Stained glass
conservation Studio glass Tracery

Authority control

WorldCat Identities VIAF: 59120251 LCCN: n79120945 ISNI: 0000 0001 0905 4660 GND: 118517767 SELIBR: 208125 SUDOC: 027627853 BNF: cb12142507q (data) ULAN: 500001381 NLA: 36538712 NDL: 00464033 NKC: xx0079021 BNE: XX1218049 CiNii: DA01562822 RKD: 14