Length1h 12m
About this audiobook
Burne-Jones' oeuvre can be understood as an attempt to create in paint a world of perfect beauty, as far removed from the Birmingham of his youth as possible. At that time Birmingham was a byword for the dire effects of unregulated capitalism – a booming, industrial conglomeration of unimaginable ugliness and squalor. The two great French symbolist painters, Gustave Moreau and Pierre Puvis de Chavannes, immediately recognised Burne-Jones as an artistic fellow traveller. But, it is very unlikely that Burne-Jones would have accepted or even, perhaps, have understood the label of 'symbolist'. Yet he seems to have been one of the most representative figures of the symbolist movement and of that pervasive mood termed "fin-de-siecle". Burne-Jones is usually labelled as a Pre-Raphaelite. In fact he was never a member of the Brotherhood formed in 1848. Burne-Jones' brand of Pre-Raphaelitism derives not from Hunt and Millais but from Dante Gabriel Rossetti. Burne-Jones' work in the late 1850s is, moreover, closely based on Rossetti's style. His feminine ideal is also taken from that of Rossetti, with abundant hair, prominent chins, columnar necks and androgynous bodies hidden by copious medieval gowns. The prominent chins remain a striking feature of both artists' depictions of women. From the 1860s their ideal types diverge. As Rossetti's women balloon into ever more fleshy opulence, Burne-Jones' women become more virginal and ethereal to the point where, in some of the last pictures, the women look anorexic. In the early 1870s Burne-Jones painted several mythical or legendary pictures in which he seems to have been trying to exorcise the traumas of his celebrated affair with Mary Zambaco. No living British painter between Constable and Bacon enjoyed the kind of international acclaim that Burne-Jones was accorded in the early 1890s. This great reputation began to slip in the latter half of the decade, however, and it plummeted after 1900 with the triumph of Modernism. With hindsight we can see this flatness and the turning away from narrative as characteristic of early Modernism and the first hesitant steps towards Abstraction. It is not as odd at it seems that Kandinsky cited Rossetti and Burne-Jones as forerunners of Abstraction in his book, "Concerning the Spiritual in Art".
Audiobook details
Rating★★★★ 4.0 (25)
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GenreOther
Length1 hr 12 mins
Narrated byListen with 1,000+ voices
FormateBook with Audio
Publish dateDec 22, 2011
LanguageEnglish
Table of contents
1BURNE-JONES
2Burne-Jones
3Symbolist and English Pre-Raphaelites.
4most representative figures of the Symbolist movement and of that pervasive mood
52 . The Annunciation
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661 x 53.3 cm. Collection
7Cambridge.
8exemplary reforms of Mayor Joseph Chamberlain in the late nineteenth century, Birmingham
95 . Clara von Bork, 1860.
1067 x 31.5 cm. Museum
11Hanover (Indiana).
12herself to a twenty-three-year-old artist of very uncertain prospects. The marriage
13Galleries, Manchester.
1411 . The Lament, 1866.
15London.
16such as Toorop, Mucha and Munch.
17Morris & Company.
18Museum, London.
1918 . The Briar Rose:
20brotherhood. A comparison of Hunt’s The Awakening Conscience and Burne-Jones’ King
21acceptable pianos.
22Porto Rico.
23sight of Maids of Elfen-Mere.
2423 . The Briar Rose:
25Wilmington (Delaware).
2624 . The Mill (Girls Dancing
27Birmingham.
28wrought surface textures with an embossed pattern of stylised foliage underneath the
29the golden-haired, and the exceedingly mischievous, the sirens with oat-coloured hair.”
30Merseyside, Liverpool.
3135 . Laus Veneris, 1878.
32Newcastle-upon-Tyne.
33sexily body-hugging organic armour, loll in poses suggestive of post-coital exhaustion.
34leaves little doubt about his predominantly heterosexual nature, but the effeminate beauty
35Private collection.
36Nantes.
3740 . The Perseus Series:
38Private collection.
3946 . The Depths of
40Birmingham Museums
4153 . The Challenge in the
42Fulham, London.
43Oil on canvas, 122 x 213.4 cm.
44Karlsruhe.
45BIOGRAPHY
46The Lament, 1866.
47The Hand Refrains, 1875-1878.
48cometh out of the wilderness?”, 1876.
49(The Arming of Perseus), 1877.
50Table on the Quest for the Holy Grail, 1895-1896.
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