When we speak of the Victorian art scene, the name Edward Burne-Jones invariably emerges as a pivotal figure, a bridge between the foundational principles of the Pre-Raphaelite Brotherhood and the nascent stirrings of Symbolism. His career, spanning the latter half of the 19th century, was one of sustained creative output and immense influence, leaving an indelible mark on painting, design, and the very concept of the artist’s role in society. To understand Burne-Jones is to understand a significant facet of British aesthetic history, an artist whose impact resonated far beyond the canvas.
The Genesis of an Artist: From Birmingham to Oxford
Edward Coley Burne-Jones was born in 1833 in industrial Birmingham, a city then synonymous with manufacturing and commerce rather than artistic endeavour. This unpromising start, however, belied the artistic temperament that would later blossom. His early life was marked by the absence of his mother, who died shortly after his birth, and a rather austere upbringing by his father. This environment may well have fuelled an innate desire for escapism and beauty, themes that would dominate his artistic output.
Early Life and Education
Burne-Jones’s initial trajectory was not towards art but theology. He enrolled at Exeter College, Oxford, in 1853, with the intention of entering the church. It was at Oxford that a fateful meeting occurred, one that would irrevocably alter the course of his life and indeed, British art. Here, he met William Morris, a fellow student with a similarly fervent interest in medievalism, poetry, and art. This encounter was a chemical reaction, sparking a lifelong friendship and a formidable creative partnership. They became immersed in the works of Tennyson, Malory, and Ruskin, the latter’s championing of Gothic art and the craft aesthetic profoundly influencing their developing sensibilities.
The Call to Art
Despite their theological studies, both Burne-Jones and Morris found themselves increasingly drawn to creative pursuits. The discovery of Pre-Raphaelite paintings, particularly those of Dante Gabriel Rossetti, proved to be a turning point. Rossetti’s blend of intense colour, emotional depth, and literary subject matter resonated deeply with their burgeoning artistic ideals. Burne-Jones, almost entirely self-taught in art until this point, sought out Rossetti, who became a mentor figure. This mentorship, while brief in its direct instruction, was crucial in validating Burne-Jones’s artistic inclinations and providing him with an initial direction. He abandoned his theological studies, a decision that speaks volumes about the compelling nature of his artistic vocation.
For those interested in exploring the works of other notable artists from the same period, you may find it enlightening to read our article on Nicolaes Maes, a prominent figure in the Dutch Golden Age. His mastery of portraiture and genre scenes offers a fascinating contrast to Edward Burne-Jones’s Pre-Raphaelite style. You can delve into the intricacies of Maes’s artistry by visiting this link: An in-depth guide to the artist Nicolaes Maes.
Artistic Evolution: From Watercolour to Symbolism
Burne-Jones’s artistic practice underwent a significant evolution throughout his career, marked by a shift in medium and a deepening of his thematic concerns. He was never one to rest on laurels, constantly pushing the boundaries of his aesthetic.
Early Mediums and Meticulousness
Initially, Burne-Jones worked predominantly in watercolour. This medium, with its luminous quality and capacity for intricate detail, was well-suited to his burgeoning style. His early works often displayed a naive charm coupled with an intense focus on narrative and symbolic elements. However, he gradually transitioned to oil painting, a move that allowed for greater scale, richness of colour, and textural complexity. Regardless of the medium, a hallmark of Burne-Jones’s approach was his almost obsessive meticulousness. His paintings were not dashed off; they were carefully constructed, often taking years to complete. This extended engagement with a single work allowed for an extraordinary level of detail and a profound immersion in the subject matter, akin to a composer crafting a symphony over many seasons.
The Lure of Myth and Legend
Burne-Jones’s thematic concerns were deeply rooted in a rich tapestry of medieval legend, classical mythology, and biblical sources. He drew inspiration from Arthurian romance, the tales of Chaucer, and the myths of ancient Greece, seeing in these narratives universal truths about love, loss, heroism, and humanity’s spiritual condition. Works such as The Beguiling of Merlin and The Mirror of Venus, both exhibited to critical acclaim at the Grosvenor Gallery in 1877, exemplify his profound engagement with these subjects. These were not mere illustrations; they were reinterpretations, infused with a distinct melancholy and an ethereal beauty that became his signature.
For those interested in exploring the rich tapestry of artistic movements, a related article on the life of Nicolaes Berchem offers fascinating insights into another influential figure of the period. Berchem’s work, much like that of Edward Burne-Jones, reflects the intricate interplay of nature and human emotion, making it a compelling read for art enthusiasts. To delve deeper into Berchem’s story, you can find the article here.
Shifting Towards Symbolism
Perhaps Burne-Jones’s most significant contribution to the broader art historical narrative was his pivotal role in shifting the Pre-Raphaelite movement towards Symbolist directions. While the earlier Pre-Raphaelites, such as Holman Hunt and Millais, emphasized a granular realism rooted in nature, Burne-Jones moved beyond this, prioritising mood, ideas, and internal psychological states over a strictly mimetic rendering of the external world. His figures, while anatomically precise, often possess a dreamlike quality, their gazes inward, their gestures imbued with a quiet contemplation. The emotional resonance of his work stemmed not from dramatic action but from a profound sense of atmosphere and psychological nuance. He became a conduit, his canvases portals to an inner world where allegory and emotion held sway.
The Architect of the Arts and Crafts Ideal: Morris & Co.
Burne-Jones was not merely a painter; he was a polymath, an artist-craftsman who embodied the very essence of the Arts and Crafts movement. His collaboration with William Morris extended far beyond shared intellectual interests, culminating in the establishment of a revolutionary design firm.
Founding Morris & Co.
In 1861, Burne-Jones, alongside William Morris, Dante Gabriel Rossetti, Philip Webb, Ford Madox Brown, and Charles Faulkner, founded Morris, Marshall, Faulkner & Co., later known as Morris & Co. The firm’s ethos was born from a dissatisfaction with the industrialised production of the Victorian era, which they believed sacrificed quality and artistic integrity for efficiency. Their aim was to resurrect the spirit of medieval craftsmanship, where beauty and utility were inextricably linked. Burne-Jones was a vital creative force within the company, designing an astonishing array of objects that ranged from the monumental to the intimate.
Embracing Diverse Media
His design work for Morris & Co. spanned an impressive breadth of media. He created furniture, imbuing functional objects with a sense of refined artistry. His designs for tapestries were particularly celebrated, showcasing his masterful compositional skills and his understanding of decorative pattern. Ceramic tiles and illustrated books also bore his distinctive hand, each object a testament to his belief in the democratisation of beauty through well-designed, handcrafted goods. The underlying principle was that everyday objects should be as aesthetically pleasing and thoughtfully conceived as a painting.
The Stained Glass Revival
Perhaps Burne-Jones’s most prolific and enduring contribution to design was in the field of stained glass. He became integral to the Victorian stained-glass revival, designing countless ‘cartoons’ – the full-scale drawings from which the stained glass panels were made – for churches and secular structures across England and beyond. His stained-glass designs are characterised by their vibrant colours, elegant drapery, and emotionally resonant figures, bringing a monumental gravitas to the medium. He effectively reimagined stained glass, transforming it from a purely devotional art form into a powerfully expressive medium capable of conveying complex narratives and symbolic meanings.
Recognition and Legacy: A Lasting Influence
Burne-Jones achieved significant recognition during his lifetime, culminating in national honours, and his influence radiated outwards, shaping subsequent artistic and design movements.
Public Acclaim and Baronetcy
The exhibition at the Grosvenor Gallery in 1877 marked a watershed moment in Burne-Jones’s career, establishing him as a leading figure in Victorian art. His dreamlike canvases resonated with a public yearning for beauty and spiritual uplift amidst the rapid industrialisation of the age. He was showered with accolades and honours, including a baronetcy in 1894, a testament to his high standing within the cultural establishment. His international fame was considerable, a final flourish for the Pre-Raphaelite sensibility.
Influence on British and European Art
Burne-Jones’s work cast a long shadow over both British and European art. His emphasis on mood, symbolism, and a refined aesthetic fed directly into the Symbolist movements that emerged across the continent. Artists in France, Belgium, and beyond admired his ethereal figures, his complex allegories, and his departure from strict realism. He was a harbinger of a broader European shift towards art that prioritised inner vision and subjective experience.
The Artist-Craftsman Ideal and Modern Design
Perhaps his most profound and enduring legacy lies in his pioneering of the “artist-craftsman” ideal. Through Morris & Co., Burne-Jones demonstrated that there need be no rigid hierarchy between fine art and the crafts. This concept, that an artist could and should engage with the design and production of everyday objects, was revolutionary. It laid crucial groundwork for the Arts and Crafts movement’s enduring impact and subsequently influenced 20th-century industrial design. The belief that beauty and quality should be inherent in manufactured goods, that objects should be made with integrity and artistic consideration, can be traced back in part to the principles championed by Burne-Jones and his collaborators. He serves as a powerful reminder that the division between artist and artisan is often a modern construct, and that true artistic vision can enrich every aspect of our material world. His work continues to captivate, offering a window into a world of poetic beauty and profound contemplation, a testament to the enduring power of his artistic vision.
FAQs
Who was Edward Burne-Jones?
Edward Burne-Jones was a British artist and designer closely associated with the Pre-Raphaelite Brotherhood and the later Arts and Crafts Movement. He is renowned for his romantic and medieval-inspired paintings, stained glass designs, and illustrations.
What are some of Edward Burne-Jones’s most famous works?
Some of Burne-Jones’s most celebrated works include “The Beguiling of Merlin,” “The Golden Stairs,” and his series of paintings inspired by Arthurian legends such as “The Last Sleep of Arthur in Avalon.” He also contributed significantly to stained glass art, notably for churches and public buildings.
How did Edward Burne-Jones influence the Arts and Crafts Movement?
Burne-Jones collaborated closely with William Morris and others in the Arts and Crafts Movement, emphasising handcrafted artistry and medieval aesthetics. His designs for tapestries, stained glass, and decorative arts helped shape the movement’s ideals of beauty and craftsmanship.
What themes are commonly found in Burne-Jones’s artwork?
Burne-Jones’s artwork often explores themes of mythology, legend, romance, and medieval chivalry. His paintings frequently depict ethereal figures, mythical narratives, and a dreamlike atmosphere, reflecting his fascination with medieval literature and symbolism.
Where can one view Edward Burne-Jones’s art today?
Burne-Jones’s works are held in major museums and galleries across the UK and internationally, including the Tate Britain in London, the Birmingham Museum and Art Gallery, and the Victoria and Albert Museum. Some of his stained glass works can also be seen in various churches and public buildings.
