丨董橋：鏡花緣
2016-02-20 迷楼
那兩年倫敦隱隱吹起先拉斐爾派風尚，繪畫、瓷磚、掛毯都有人賣，也有人買。戴立克說有個收藏家收了伯恩瓊斯一批彩繪瓷磚，年紀大了不想要，約他去看看，要我和李儂陪他去一趟。房子在城西，又老又舊，鐵柵斑駁，很重，推進去窄窄一條石板路，兩邊花木葱蘢，不剪不修，右邊老樹下長滿野生茉莉，風裏飄香。正門石階兩邊薔薇也多，高高矮矮花開花謝沒人管。
大門裝了門環，銅雕龍頭，都生銹了，很像書上寫的羅塞蒂宅院。客廳不小，十九世紀桃木家具一大堆。牆上油畫水彩大幅小幅都蒙塵，都是先拉斐爾派，一幅仕女圖看了眼熟，書上似乎登過，仕女眼神濃髮美極了。老藏家真老，很健談，見了我說他早年做中國茶葉瓷器生意，北平上海香港到處走，在紐約還見過顧維鈞，好帥的外交官。老先生鬚髮全白，臉很瘦，眼睛很藍，眼角皺紋裏藏着一粒黃豆那麼大的朱砂痣，下巴也長一粒，也朱砂，李儂悄聲說像中國字畫上鈐的印章。伯恩瓊斯彩繪瓷磚一組十多塊，花卉線條很細緻，彩色鮮麗，簽了名，開價高，戴立克嫌貴買不成。老先生找出一對白瓷圖章給我看，瑞獸印鈕，都刻了字，一枚刻「玉奴」，另一枚忘了刻什麼，說是乾隆官窰，開價好幾百英鎊，我沒興趣。戴立克隨口還了價，老先生搖了搖頭收回去。過不了幾年戴立克聽說老先生下世了，藏品都歸了女兒嫁到美國去。還是李儂有緣，一九七六、七七年買到羅塞蒂一幅水彩花卉，信紙那麼大，畫百合，先拉斐爾派風格，色彩濃鬱，構圖古典，說是叔叔老情人的舊藏，遊說好多年才相讓，藝林瓌寶了。我們幾個朋友合伙請她到一家意大利餐館慶賀，聊到深宵還捨不得散。
李儂說老情人還有一幅羅塞蒂妻子半身炭筆肖像，美得神奇，布朗F. Madox Brown畫的。羅塞蒂妻子叫依麗莎白Elizabeth Siddall，先拉斐爾派畫家都愛畫她，一八六二年自殺死了，羅塞蒂悔恨生前虧負她，整理一盒情詩原稿陪葬，七年後生計艱困，想起情詩可以出書換錢，挖土開棺取回原稿。棺木一開，依麗莎白屍骨微腐了，一頭秀髮還在滋長，比去世的時候長了許多。晚宴那天李儂的好朋友莉蓮也在。名門閨秀，讀文學，精品店經理，賣畫賣畫冊賣美術書籍，研究先拉斐爾派，也寫詩，寫短篇小說，寫藝評。她說牛津大學出版社剛出版一本羅塞蒂和珍妮的通信集，很好看。珍妮是維廉．莫里斯夫人，羅塞蒂的情人，先拉斐爾派名畫不少是畫她的。莉蓮說那些畫家都愛跟朋友的妻子偷情，伯恩瓊斯夫人喬治亞娜跟維廉．莫里斯交情也不同一般，莫里斯一輩子愛慕她依戀她，說她又美麗又賢淑又有學問，跟她談書談畫談人生百談不厭。喬治亞娜的書信文章我讀過，寫得真摯，文字好。伯恩瓊斯晚年畫了一組花卉冊《The Flower Book》，一八九八年六十五歲去世後喬治亞娜悉心守護這套冊頁，說是伯恩瓊斯最滿意的消遣之作，全組三十八幅團扇形水彩畫，用三十八種花卉隱喻三十八段亞瑟王傳奇和古代神話及聖經故事，筆風沉鬱，老練，用色濃烈，典型的先拉斐爾風格，摒棄了裝飾藝術包袱一心歸真，是他顛峯之作。喬治亞娜說十九世紀末葉印刷技術還不能精確體現原畫色彩，二十世紀初彩印技術進步，不難印出這個《花卉冊》的神髓。
一九○五年她讓倫敦美藝社承印，限印三百冊，每冊編號簽名，不得再版重印。冊子一出藏書家美術家都要，很快售清，七十年代倫敦舊書店一冊難求。李儂八十年代買得一冊，戴立克九十年代也找到一冊。前幾年紐約書商告訴我說他們搜得一函，不齊全，缺了兩幅畫。倫敦舊書商書妃早兩年也遇見一冊，也不齊。上個月倫敦開舊書展銷會，書妃來電郵說蘇格蘭一家小舊書商帶來了一冊，編號九十九，齊全，不破不爛，Douglas Cockerell綠皮裝幀，連書盒銀扣都完好，索價低過倫敦紐約的市價。
我回電要了。伯恩瓊斯是十九世紀英國復興中世紀美術工藝的先驅，二十世紀工藝美術設計受他影響深廣。牛津大學畢業，一八五六年結識羅塞蒂，亦師亦友，深受啟迪。潛研十五世紀意大利畫家李皮和波提切利作品，下筆境界如夢，氣氛神秘，人物造型森幽典雅。一八九四年封爵。他的金屬、瓷磚、石膏浮雕裝飾設計影響力比繪畫還要大。李儂說莉蓮家裏掛了一幅伯恩瓊斯掛毯，圖案新穎，配色高貴，早年花大錢買進來。伯恩瓊斯書籍插圖也有名，為喬叟故事集畫的八十七幅精品至今還在翻印。維廉．莫里斯的Kelmscott出版社他晚年好像也入了股，設計出版許多經典古籍。英國藝術評論大家羅斯金John Ruskin是他的好朋友。兒子菲立普爵士是肖像畫家，一九二六年去世。老倫敦蕭先生說一九三五、三六年間，蘇格蘭一位鄉紳的公子天生愛畫畫，十七、八歲臨摹先拉斐爾派作品一絲不差，可以亂真。蕭先生的英國朋友跟鄉紳熟，結伴到鄉紳的老宅院看畫：「宅院陰森，畫也陰森，畫中仕女個個是先拉斐爾派裝扮，絲毫分辨不出真假，」蕭先生說。「那位年輕畫家叫伊恩，俊美像拜倫，沉默寡言，他父親說他晚上不睡覺，一邊畫畫一邊喃喃自語，天亮了才拉上窗簾養神。」蕭先生他們想買伊恩的畫，鄉紳說一幅都不賣。一九四〇納粹德國空襲倫敦那年伊恩割脈自殺，遺書說阿斯塔蒂Astarte在天上等他。醫生說那是神經錯亂。阿斯塔蒂是古閃米特神話中管生育管愛情的女神，羅塞蒂畫過一幅，珍妮做模特兒，一八七八年賣了兩千一百英鎊，是羅塞蒂最貴的畫，至今還藏在曼徹斯特市立美術館。
蕭先生說伊恩安葬祖宅後園，他的畫全燒了，鄉紳一家搬進城裏住，說老宅院鬧鬼鬧得厲害。莉蓮推介的那本羅塞蒂、珍妮通信集我還珍存一冊，信中寫人寫事寫情都好看，王爾德出版第一本詩集羅塞蒂信上駡他年輕人亂寫破詩，「簡直垃圾」。珍妮後來變心不回羅塞蒂的信了，一八八二年他重病快死她也不去探病。羅塞蒂那年復活節去世，才五十四歲。珍妮抱恙延年，活到一九一四年七十五歲謝世，名作家亨利．詹姆斯說她其實很蒼白，很瘦，不說話，風韻倒婉約，高貴，秀髮尤其誘人。《花卉冊》裏維納斯梳妝鏡Venus' Looking Glass是花名，屬鏡花植物，暗喻滿月做了珍妮的鏡子："The full moon is made her mirror"。倫敦珍藏瓷磚的老先生也迷珍妮，他說她是先拉斐爾畫派裏一輪秋月，料峭晚風中連荒山上的野鬼都甘心為她守夜：「一九二七年我賣掉康熙花瓶買下布朗畫她的一幅淡彩畫，都說我瘋了，瘋了活該！」
- 2015.12.24 平安夜
- http://www.tate.org.uk/art/artworks/burne-jones-love-and-the-pilgrim-n05381
- Pour ce jour d'Épiphanie : "L'Adoration des mages" une tapisserie de l'artiste britannique Edward Burne-Jones.⋯⋯
http://bit.ly/1S3uJZC
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On this Epiphany day: "The Adoration of the Magi", a tapestry by Edward Burne-Jones.
http://bit.ly/1IQd7h6 - 很謝謝Tate美術館附了Chaucer的詩。此畫是作者過世前一年完成。
Sir Edward Coley Burne-Jones, Bt
Love and the Pilgrim 1896–7
Sir Edward Coley Burne-Jones, Bt, Love and the Pilgrim 1896–7Display caption
This painting was the last major work that Burne-Jones completed. The idea of the God of Love guiding a Pilgrim on his quest comes from The Romaunt of the Rose by the medieval poet Geoffrey Chaucer, a book that Burne-Jones had read while a student at Oxford. Though not an illustration of a particular episode in the story, the figure of Love is based on Chaucer's description:
And also on his heed was setOf roses rede a chapelet.But nightingales, a ful gret route,That flyen over his heed aboute.- 英語
尼特山被創造了作為19世紀英奇房地產開發的一部分。[2]號 11尼特山為是著名的發源地畫家愛德華·伯恩-瓊斯在1855年有一個藍色的牌匾紀念他的誕生。大衛·巴尼特和塞繆爾新城共享相鄰的房子，第10號尼特山。他們都是猶太人的珠寶商家。
作為一個孩子，年輕的愛德華·伯恩-瓊斯打了孩子隔壁。年輕的愛德華共享娛樂與鄰近的家庭，甚至在參加猶太人的節日。對於普珥節，愛德華早早趕到，穿偽裝成其他的孩子一樣。
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 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 works include the windows of 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, Christ Church, Oxford and in St. Anne's Church, Brown Edge, Staffordshire Moorlands. 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 (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, mosaics and book illustration, most famously designing woodcuts for the Kelmscott Press's Chaucer in 1896.
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 plaquecommemorates 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 humorless 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 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 and Tennyson, visited churches, and worshipped the Middle Ages. At this time Burne-Jones discoveredThomas Malory's Le Morte d'Arthur which was to be so influential in his life. At that time neither Burne-Jones nor Morris knew 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
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 woodcutsand became a close friend of George Eliot. (Another MacDonald sister married the artist SirEdward 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 Road, 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 to the property and which became the inspiration and setting for her play The Chalk Garden).
His troubled son Philip became a successful portrait painter and 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 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."
Burne-Jones 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 equipment 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 1856's Waxen Image is one of the earliest and best examples. Although 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 forBradfield 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 Sienesemore 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]
Main article: Morris & Co.
In 1861, William Morris founded the decorative arts firm of Morris, Marshall, Faulkner & Co. with Rossetti, Burne-Jones, Ford Madox Brown and Philip Webb as partners, together withCharles 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 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.[14]
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 windows in the Christ Church cathedral and other buildings in Oxford are by William Morris & Co. with designs by Burne-Jones[15][16]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 for the dining room, with figures by Burne-Jones.[17]
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:[18]
- The Fairy Family by Archibald Maclaren (1857)
- The Earthly Paradise by William Morris (not completed)
- The Works of Geoffrey Chaucer by Geoffrey Chaucer (1896)
- Bible Gallery by Dalziel (1881)
Painting[edit]
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 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."[19]
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 beautifulLove 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 Pygmalionseries, 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.[20]
At last, in May 1877, the day of recognition came, with the opening of the first exhibition of theGrosvenor 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 theAnnunciation 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 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 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 commissioned Burne-Jones to design sets and costumes for the Lyceum Theatreproduction 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 as Guinevere, and toured America following its London run.[21][22][23]Burne-Jones accepted the commission with some enthuisiasm, 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."[24]
Aesthetics[edit]
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.[25]
Burne-Jones's aim in art is best given in some of his own words, written to a friend:
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]
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.[26] 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[27] 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,[28] but remained unhappy about accepting the honour, which disgusted his socialist friend Morris and was scorned by his equally socialist wife Georgiana.[26][27] Only his son Philip, who mixed with the set of the Prince of Wales and would inherit the title, truly wanted it.[27]
Morris died in 1896, and the devastated Burne-Jones's health declined substantially. In 1898 he had an attack of influenza, and had apparently recovered, when he was again taken suddenly ill, and died on 17 June 1898.[11][29] 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,[30] a place he knew through summer family holidays.
Influence[edit]
Burne-Jones exerted a considerable influence on French painting. Burne-Jones was also highly influential among French symbolist painters, from 1889.[31] His work inspired poetry bySwinburne — 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.[32]
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 in London. In his opening speech at the exhibition, Mr Baldwin expressed what the art of Burne-Jones stood for:
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.[34] It was not until the mid-1970s that his work began to be re-assessed and once again acclaimed. 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 in 1997 explored the links between British Aestheticism and Symbolism.[31]
A second lavish centenary exhibit—this time marking the 100th anniversary of Burne-Jones's death—was held at the Metropolitan Museum of Art in New York in 1998, before traveling to the Birmingham Museum and Art Gallery and the Musée d'Orsay, Paris.[35]
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."[36]
Early years: Rossetti and Morris[edit]
愛德華·伯恩 - 瓊斯 愛德華·伯恩 - 瓊斯 愛德華·伯恩 - 瓊斯照相Hollyer.jpg 愛德華·伯恩- 瓊斯的肖像（菲利普·伯恩- 瓊斯圖片） 分娩 愛德華·克雷伯恩- 英國旗 瓊斯，1833年8月28日英國伯明翰 死亡日期 1898年6月17日（64歲）英國倫敦 英國旗 族 英國旗 聯合王國 突出的表現 畫家設計師 代表作 睡美人 運動和趨勢 拉斐爾前派兄弟會 “愛在廢墟愛在廢墟” 威廉·莫里斯彩色玻璃勾結“大衛的收費所羅門”（1882），馬薩諸塞州波士頓是在三一教堂 威廉·莫里斯的窗口中（1882年），三一堂，描繪的“牧羊人的崇拜”的合作的精裝修 “Cophetua和乞丐的女兒王Cophetua和女丐”（1884年），目前倫敦的泰特美術館和展出 伯明翰，本尼特山藍色牌匾 主男爵，愛德華·科萊伯恩- 瓊斯爵士（愛德華·科萊伯恩- 瓊斯爵士，第1位小男爵，1833年8月28日 - 1898年6月17日），在英國的的藝術家。前拉斐爾派有著密切的關係設計中，我推了拉斐爾前派兄弟成為英國藝術世界的主流。同時，自己創造的藝術美麗的作品了一些闡述。菲利普·伯恩- 瓊斯是父親。 目錄 [隱藏] 1工作和生活 2死後 3畫廊 4參考 5參見 6外部鏈接 工作和生活[編輯] 伯恩- 瓊斯伯明翰在尼特山，出生作為電鍍護士的兒子。他的出生地，慶祝誕生的藍色牌匾已經掛。他去世的母親雖然他並不差，出生6日，由他的父親和冷若冰霜的管家[1] [2]。伯明翰國王愛德華六世文法學校去了[3]，1852年進一步從1848年牛津大學埃克塞特學院的神學學習[4]。在牛津大學，威廉莫里斯成為朋友，約翰·羅斯金，並啟發。大約在同一時間，這會給以後的他的生活，會產生很大影響托馬斯·馬洛禮“的亞瑟王之死遭到了”。 然後伯恩- 瓊斯但丁·加布里埃爾·羅塞蒂成為下學習，並開發了他獨特的風格，而在美國拉斯金的意大利是因為出差路數。他要成為一名牧師，但決定要成為一名藝術家，莫里斯的影響下，設計師。他畢業於牛津大學，而不畢竟獲得學位。他是英國的彩色玻璃開始致力於傳統藝術的復興。他的彩色玻璃作品，菲利普·韋伯的目的是坎布里亞郡的賓頓有如聖馬丁教堂的窗口。 1856年，伯恩 -瓊斯，女兒喬治亞娜·麥克唐納（1840至1920年），麥當勞的姐姐是訂婚。她的畫家如果你正在學習成為，伯恩-瓊斯的妹妹是一個同學從舊天。1860雖然兩人結婚，此後她也木刻繪製，喬治·艾略特的三個女人的先生，是一個偉大的最好的朋友（麥當勞姐姐愛德華波因特娶四個女人的鋼鐵生產國阿爾弗雷德·鮑德溫結婚，成為首相斯坦利·鮑德溫生產。此外長女吉卜林的母親。換句話說，吉卜林和斯坦利·鮑德溫打伯恩-瓊斯的侄子）。 1867年，伯恩 - 瓊斯和他的妻子在倫敦的富勒姆佔去了住所研究。大多數19世紀70年代，伯恩-瓊斯沒開展覽。伯恩-瓊斯已經離開了原來的妻子變成了婚外情是一個模範希臘人瑪麗亞Zanbako，那是因為他一直被人詬病的報紙說。他們的關係是密切的大幕在自殺未遂的她在公眾的存在[5] [6]。威廉·莫里斯的妻子在同一時間簡莫里斯是但丁·加布里埃爾·羅塞蒂已成為與厚愛，喬治亞娜和莫里斯去了逐漸加深彼此的友誼。最後，伯恩- 瓊斯和他的妻子也莫里斯和他的妻子也，但它不是要分開，喬治亞娜和莫里斯交往已為Chikashii朋友的生活[7]。 1877年，Guroubuna畫廊（皇家藝術學院有一個新的敵人），“梅林被騙梅林的欺騙的，包括”，就可以知道8點展覽的油畫。這是完美的時機。他的新唯美主義本來是要佔用的先驅和明星。 繪畫同樣，他的陶瓷的瓷磚，首飾，掛毯還製作各種工藝品，如。除了書的插圖（1896年喬叟的書，出版凱爾姆斯科特出版社），我處理，如舞台服飾。 1880，伯恩 - 瓊斯蘇塞克斯布賴頓在郊區，開槽院長購買了展望樓，是別墅。此外，由於北尾樓的建設，奧布里山寨的下一個1923年也得到了（幾年後（Hontaku富勒姆的事實是，在北尾路命名），路透社主席先生羅德里克·瓊斯和他的妻子小說家劇作家Eniddo-拜格諾是自己的這個別墅以及Jitsuzuki的哥特式的房子，如果拍成電影的拜格諾的戲劇“粉筆花園”（日本冠軍“蒼井空花弗”）的構想，也成為舞台）。 從牛津大學，在1881年和授予榮譽學位，並進一步在1883年時，它成為了一個獎學金，校友。1885年，他被任命為藝術家的伯明翰學會理事長。1894年的晚上，我們在何塞。1896年，獲得了精神上的打擊，莫里斯去世的朋友，也伯恩 -瓊斯自己的身體狀況逐漸繼續惡化。無需恢復，因為它是1898年6月17日，去世[8] [9]。6天之後，威爾士親王的，調解威斯敏斯特教堂的葬禮隆重舉行。藝術家一直是這樣的榮譽以及這是第一件事情。葬禮一直以來，它是開槽院長教堂包括墓地，已經度過了一個家庭的節日。[10] 逝世後[編輯] 現代和當代藝術，抽象表現相識於藝術世界已經成為主流，伯恩但瓊斯成為一個長期過時的，成為70年代中期，這項工作目前重新評估工作完成，因此決定再次獲得好評。在這對英國繪畫不是少數，特別是衝擊1989年倫敦倫敦巴比肯美術館的大型展覽的庫存，這是在已經做了詳細的描述舉行。（例如，“最後的浪漫”1989年約翰基督教）。 此外，自1889年以來法國象徵主義有重要的影響。此外，阿爾杰農斯溫伯恩我的靈感詩歌。在1886年的詩“詩與歌謠”的斯威本致力於伯恩-瓊斯。 兒子，他曾受到關心未來菲利普是作為一個成功的肖像畫家。溺愛和女兒瑪格麗特（1866年至1953年）是莫里斯的朋友和傳記作家，他曾擔任詩歌教授在牛津大學1911年至1916年由約翰·威廉·麥克凱爾（1850年至1945年）和婚姻這是。 查爾斯·費爾法克斯穆雷的伯恩- 瓊斯誰是在車間助理是死亡後繼續被畫，而不僅僅是成功作為一個畫家，而此前，重要的收藏家，一位受人尊敬的藝術品經銷商，也是這是。1903年至1907年，他是一個大的數字，在相當的價格比市場價格低了畫的伯恩- 瓊斯和拉斐爾前派兄弟的作品藝術伯明翰博物館賣給了。目前，伯明翰藝術博物館擁有最多的伯恩-瓊斯收藏在世界上。其中，它被畫在委員會的博物館在1897年，一個巨大的水彩畫“伯利恆之星伯利恆之星”也包括在內。圖片年輕，那生長在土地·J··R··R·
愛德華·伯恩 - 瓊斯
| 愛德華·伯恩 - 瓊斯 | |
|---|---|
愛德華·伯恩-
瓊斯的肖像（菲利普·伯恩- 瓊斯圖片） | |
| 分娩 | 愛德華·克雷伯恩-  瓊斯，1833年8月28日英國伯明翰 |
| 死亡日期 | 1898年6月17日（64歲）英國倫敦 |
| 族 | 聯合王國 |
| 突出的表現 | 畫家設計師 |
| 代表作 | 睡美人 |
| 運動和趨勢 | 拉斐爾前派兄弟會 |
主男爵，愛德華·科萊伯恩- 瓊斯爵士（愛德華·科萊伯恩- 瓊斯爵士，第1位小男爵，1833年8月28日 - 1898年6月17日），在英國的的藝術家。前拉斐爾派有著密切的關係設計中，我推了拉斐爾前派兄弟成為英國藝術世界的主流。同時，自己創造的藝術美麗的作品了一些闡述。菲利普·伯恩- 瓊斯是父親。
工作和生活[編輯]
伯恩- 瓊斯伯明翰在尼特山，出生作為電鍍護士的兒子。他的出生地，慶祝誕生的藍色牌匾已經掛。他去世的母親雖然他並不差，出生6日，由他的父親和冷若冰霜的管家[1] [2]。伯明翰國王愛德華六世文法學校去了[3]，1852年進一步從1848年牛津大學埃克塞特學院的神學學習[4]。在牛津大學，威廉莫里斯成為朋友，約翰·羅斯金，並啟發。大約在同一時間，這會給以後的他的生活，會產生很大影響托馬斯·馬洛禮“的亞瑟王之死遭到了”。
然後伯恩- 瓊斯但丁·加布里埃爾·羅塞蒂成為下學習，並開發了他獨特的風格，而在美國拉斯金的意大利是因為出差路數。他要成為一名牧師，但決定要成為一名藝術家，莫里斯的影響下，設計師。他畢業於牛津大學，而不畢竟獲得學位。他是英國的彩色玻璃開始致力於傳統藝術的復興。他的彩色玻璃作品，菲利普·韋伯的目的是坎布里亞郡的賓頓有如聖馬丁教堂的窗口。
1856年，伯恩 -瓊斯，女兒喬治亞娜·麥克唐納（1840至1920年），麥當勞的姐姐是訂婚。她的畫家如果你正在學習成為，伯恩-瓊斯的妹妹是一個同學從舊天。1860雖然兩人結婚，此後她也木刻繪製，喬治·艾略特的三個女人的先生，是一個偉大的最好的朋友（麥當勞姐姐愛德華波因特娶四個女人的鋼鐵生產國阿爾弗雷德·鮑德溫結婚，成為首相斯坦利·鮑德溫生產。此外長女吉卜林的母親。換句話說，吉卜林和斯坦利·鮑德溫打伯恩-瓊斯的侄子）。
1867年，伯恩 - 瓊斯和他的妻子在倫敦的富勒姆佔去了住所研究。大多數19世紀70年代，伯恩-瓊斯沒開展覽。伯恩-瓊斯已經離開了原來的妻子變成了婚外情是一個模範希臘人瑪麗亞Zanbako，那是因為他一直被人詬病的報紙說。他們的關係是密切的大幕在自殺未遂的她在公眾的存在[5] [6]。威廉·莫里斯的妻子在同一時間簡莫里斯是但丁·加布里埃爾·羅塞蒂已成為與厚愛，喬治亞娜和莫里斯去了逐漸加深彼此的友誼。最後，伯恩- 瓊斯和他的妻子也莫里斯和他的妻子也，但它不是要分開，喬治亞娜和莫里斯交往已為Chikashii朋友的生活[7]。
1880，伯恩 - 瓊斯蘇塞克斯布賴頓在郊區，開槽院長購買了展望樓，是別墅。此外，由於北尾樓的建設，奧布里山寨的下一個1923年也得到了（幾年後（Hontaku富勒姆的事實是，在北尾路命名），路透社主席先生羅德里克·瓊斯和他的妻子小說家劇作家Eniddo-拜格諾是自己的這個別墅以及Jitsuzuki的哥特式的房子，如果拍成電影的拜格諾的戲劇“粉筆花園”（日本冠軍“蒼井空花弗”）的構想，也成為舞台）。
從牛津大學，在1881年和授予榮譽學位，並進一步在1883年時，它成為了一個獎學金，校友。1885年，他被任命為藝術家的伯明翰學會理事長。1894年的晚上，我們在何塞。1896年，獲得了精神上的打擊，莫里斯去世的朋友，也伯恩 -瓊斯自己的身體狀況逐漸繼續惡化。無需恢復，因為它是1898年6月17日，去世[8] [9]。6天之後，威爾士親王的，調解威斯敏斯特教堂的葬禮隆重舉行。藝術家一直是這樣的榮譽以及這是第一件事情。葬禮一直以來，它是開槽院長教堂包括墓地，已經度過了一個家庭的節日。[10]
逝世後[編輯]
現代和當代藝術，抽象表現相識於藝術世界已經成為主流，伯恩但瓊斯成為一個長期過時的，成為70年代中期，這項工作目前重新評估工作完成，因此決定再次獲得好評。在這對英國繪畫不是少數，特別是衝擊1989年倫敦倫敦巴比肯美術館的大型展覽的庫存，這是在已經做了詳細的描述舉行。（例如，“最後的浪漫”1989年約翰基督教）。
兒子，他曾受到關心未來菲利普是作為一個成功的肖像畫家。溺愛和女兒瑪格麗特（1866年至1953年）是莫里斯的朋友和傳記作家，他曾擔任詩歌教授在牛津大學1911年至1916年由約翰·威廉·麥克凱爾（1850年至1945年）和婚姻這是。
查爾斯·費爾法克斯穆雷的伯恩- 瓊斯誰是在車間助理是死亡後繼續被畫，而不僅僅是成功作為一個畫家，而此前，重要的收藏家，一位受人尊敬的藝術品經銷商，也是這是。1903年至1907年，他是一個大的數字，在相當的價格比市場價格低了畫的伯恩- 瓊斯和拉斐爾前派兄弟的作品藝術伯明翰博物館賣給了。目前，伯明翰藝術博物館擁有最多的伯恩-瓊斯收藏在世界上。其中，它被畫在委員會的博物館在1897年，一個巨大的水彩畫“伯利恆之星伯利恆之星”也包括在內。圖片年輕，那生長在土地·J··R··R·
Cupid finds Psyche in this watercolour by Edward Burne-Jones, who died #onthisday in 1898 http://ow.ly/ObA3d
![[JONES1]](http://si.wsj.net/public/resources/images/RV-AF902_JONES1_A_20120209235305.jpg)
A Penchant for Dreaming
"The Last Pre-Raphaelite" tells the story of Edward Burne-Jones, a painter and artistic figure who, along with William Morris, championed the power of art in Victorian England.
Edward Burne-Jones, Love in a tangle, a watercolour
England, AD 1882-98
An image from 'The Flower Book'
This small jewel-like watercolour with traces of gold was pasted directly onto a leaf in an album Burne-Jones titled 'The Flower Book', containing his fantasies inspired by the names of flowers. He added to it periodically from 1882 until his death.
The scene suggests the story of Ariadne, who gave Theseus a ball of golden thread to unwind as he wandered through a labyrinth in search of the minotaur (a mythological creature, half-man and half-bull). Here she waits anxiously for her lover to follow the thread back out of the maze.
The melancholy title is a colloquial name for a flower (probably either Clematis vitalba or Nigella damascena), which suggested the image of a maze. It may also allude to the disappointing outcome of Ariadne's love: she was abandoned by Theseus on the island of Naxos.
Burne-Jones delved deeply into classical and medieval legend for subjects for his art, sometimes (as here) using only the barest hint of a narrative as the stimulus for his rich imagination.
S. Wildman and J. Christian, Edward Burne-Jones, Victorian(Metropolitan Museum of Art, New York, 1998)
J.A Gere, Pre-Raphaelite drawings in the (London, The British Museum Press, 1994)
Pre-Raphaelite artist Edward Burne-Jones was born #onthisday in 1833http://ow.ly/ANueg
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