By Liana De Girolami Cheney
This e-book makes a speciality of Sir Edward Burne-Jones’ legendary work from 1868 to 1886. His inventive education and touring stories, his love for the Greek-sculptress, Maria Zambaco, and his aesthetic sensibility supplied the heritage for those legendary work. This ebook analyzes major ideas: Burne-Jones’ assimilation of Neoplatonic perfect good looks 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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Additional info for Edward Burne-Jones' Mythical Paintings: The Pygmalion of the Pre-Raphaelite Painters
Example text
2 My studies on Renaissance aesthetics or Neoplatonism also demonstrate the impact of this philosophy of art, not only in the imagery of Renaissance painters, such as Botticelli, but also in its assimilation by the Pre-Raphaelite painters such as Burne-Jones. Burne-Jones’ knowledge of Botticelli’s paintings comprised four types of awareness: 1) acquaintance with contemporary writings on Botticelli’s art; 2) familiarity with the Renaissance master’s work in British collections; 3) personal experience of seeing original works and drawing them during his four trips to Italy in 1859, 1862, 1871, and 1873; and (4) his own collecting of Botticelli’s paintings.
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. This intensifies when he cultivates the intelligentsia of the time through his acquaintance with John Ruskin, who also fosters this Italian revival. 10 However, the greatest instrument in the revival of interest in Italian Renaissance art occurs with the foundation of the National Gallery in London.
In 1871, Burne-Jones undertakes his third trip to Italy, stopping in Turin, Genova, Sestri Levante, Lepanto, Pisa, Siena, Florence, Orvieto, Viterbo, and Rome. Among the first sketches in his notebook from this trip are Botticelli’s Tobit and Triumph of Chastity. ”20 When Burne-Jones is asked by J. A. 22 In this letter Burne-Jones also comments on his irritation with the Alinari photographic company for not quickly Chapter Two 9 supplying him with copies of Botticelli’s works. 23 Burne-Jones’ sketchbooks and drawings clearly demonstrate his love for Botticelli’s linear, lyrical, and mythical quality as observed in the Fitzwilliam sketchbook No.