The Last Pre-Raphaelite: Edward Burne-Jones and the Victorian Imagination
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.
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The Last Pre-Raphaelite: Edward Burne-Jones and the Victorian Imagination
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.
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The Last Pre-Raphaelite: Edward Burne-Jones and the Victorian Imagination
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.
Fiona MacCarthy is one of Britain’s most acclaimed biographers, a Fellow of the Royal Society of Literature, and the author of numerous books, including William Morris: A Life for Our Time.
Read an Excerpt
Chapter 13: The Grange, Two
1872
Burne-Jones returned from Italy with a surge of energy. His own optimistic record of the designs and paintings on which he was working in 1872 is now in the Burne-Jones papers at the Fitzwilliam Museum in Cambridge. There are thirty-four projects on the list and they include ideas and early versions of many of the paintings that are now considered quintessential Burne-Jones. The Sleeping Beauty series; The Days of Creation; The Beguiling of Merlin; The Golden Stairs; an enlarged oil version of Le Chant d’Amour for William Graham. These were all conceived in what seems an unstoppable outpouring of ideas. This work-in-progress list gives us a fascinating insight into his way of working. He liked to have a multitude of projects, in varying stages of completion, on the go at once. ‘I have sixty pictures, oil and water, in my studio and every day I would gladly begin a new one,’ he wrote exultantly soon after he was home. He moved easily from pencil drawing to oil and watercolour painting, shifted almost without thinking from one scale to another. He was concentrating on the niggling detail of a little triptych of Pyramus and Thisbe painted in watercolour on vellum. At the same time he had started on the first of his large-scale decorative cycles, returning to the story of ‘Cupid and Psyche’ for the dining room of the Howards’ new house, 1 Palace Green. Burne-Jones was the master of the uncompleted project and many of these works took years and years to finish, often going through numerous versions. The Golden Stairs, for instance, was not finally completed until 1880. The Troy Triptych, the pictorial epic of the Trojan Wars which had started life at Red House and to which Burne-Jones now returned with a new vigour, even producing a large quasi-Renaissance three-dimensional model, never saw the light of day. William Morris gave up waiting for Burne-Jones’s contribution to his new long poem Love is Enough, though ‘Many designs’ for it are listed in the records. Love is Enough was published in 1872 without Burne-Jones’s illustration.
This was not, of course, the way to make a living as an artist and although Burne-Jones by this time had opened his first bank account, introduced by William Morris to his own bank, Praed’s of Fleet Street, he found it convenient to ignore financial realities. He told Fairfax Murray on his return from Italy, ‘all my affairs are in their accustomed muddle’. It was to be many years before the family became financially secure.
Contents List of Illustrations Family Tree Preface 1. Birmingham 1833–52 2. Oxford 1853–5 3. Northern France 1855 4. Early London 1856–7 5. Little Holland House 1858 6. First Italian Journey 1859 7. Russell Place 1860–2 8. Second Italian Journey 1862 9. Great Russell Street 1862–4 10. Kensington Square 1865–7 11. The Grange, One 1868–71 12. Third Italian Journey 1871 13. The Grange, Two 1872 14. Fourth Italian Journey 1873 15. The Grange, Three 1874 16. The Grosvenor Gallery 1877–80 17. Rottingdean, One 1881–2 18. The Grange, Four 1883 19. The Grange, Five 1884 20. Rome 1885 21. The Royal Academy 1885–7 22. Rottingdean, Two 1888–9 23. Mells 1890–3 24. Kelmscott, One 1894–5 25. Kelmscott, Two 1895–6 26. Avalon 1897–8 27. Memorials 1898–1916 Epilogue: The Return of King Arthur 2008 Sources and References Acknowledgements Index
