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diff --git a/41583-8.txt b/41583-8.txt deleted file mode 100644 index f8fc95d..0000000 --- a/41583-8.txt +++ /dev/null @@ -1,1316 +0,0 @@ -The Project Gutenberg eBook, Burne-Jones, by A. L. (Alfred Lys) Baldry - - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - - - - -Title: Burne-Jones - Masterpieces in Colour Series - - -Author: A. L. (Alfred Lys) Baldry - - - -Release Date: December 9, 2012 [eBook #41583] - -Language: English - -Character set encoding: ISO-8859-1 - - -***START OF THE PROJECT GUTENBERG EBOOK BURNE-JONES*** - - -E-text prepared by Paul Clark, sp1nd, and the Online Distributed -Proofreading Team (http://www.pgdp.net) from page images generously made -available by Internet Archive (http://archive.org) - - - -Note: Project Gutenberg also has an HTML version of this - file which includes the original illustrations. - See 41583-h.htm or 41583-h.zip: - (http://www.gutenberg.org/files/41583/41583-h/41583-h.htm) - or - (http://www.gutenberg.org/files/41583/41583-h.zip) - - - Images of the original pages are available through - Internet Archive. See - http://archive.org/details/burnejonesocad00balduoft - - -Transcriber's Note: - - Text enclosed by underscores is in italics (_italics_). - - Every effort has been made to replicate this text as - faithfully as possible. - - - - - -Masterpieces in Colour -Edited by - - -T. Leman Hare - -BURNE-JONES -1833-1898 - - * * * * * - -"MASTERPIECES IN COLOUR" SERIES - - - ARTIST. AUTHOR. - - VELAZQUEZ. S. L. BENSUSAN. - REYNOLDS. S. L. BENSUSAN. - TURNER. C. LEWIS HIND. - ROMNEY. C. LEWIS HIND. - GREUZE. ALYS EYRE MACKLIN. - BOTTICELLI. HENRY B. BINNS. - ROSSETTI. LUCIEN PISSARRO. - BELLINI. GEORGE HAY. - FRA ANGELICO. JAMES MASON. - REMBRANDT. JOSEF ISRAELS. - LEIGHTON. A. LYS BALDRY. - RAPHAEL. PAUL G. KONODY. - HOLMAN HUNT. MARY E. COLERIDGE. - TITIAN. S. L. BENSUSAN. - MILLAIS. A. LYS BALDRY. - CARLO DOLCI. GEORGE HAY. - GAINSBOROUGH. MAX ROTHSCHILD. - TINTORETTO. S. L. BENSUSAN. - LUINI. JAMES MASON. - FRANZ HALS. EDGCUMBE STALEY. - VAN DYCK. PERCY M. TURNER. - LEONARDO DA VINCI. M. W. BROCKWELL. - RUBENS. S. L. BENSUSAN. - WHISTLER. T. MARTIN WOOD. - HOLBEIN. S. L. BENSUSAN. - BURNE-JONES. A. LYS BALDRY. - VIGÉE LE BRUN. C. HALDANE MACFALL. - CHARDIN. PAUL G. KONODY. - FRAGONARD. C. HALDANE MACFALL. - MEMLINC. W. H. J. & J. C. WEALE. - CONSTABLE. C. LEWIS HIND. - RAEBURN. JAMES L. CAW. - JOHN S. SARGENT. T. MARTIN WOOD. - LAWRENCE. S. L. BENSUSAN. - DÜRER. H. E. A. FURST. - MILLET. PERCY M. TURNER. - WATTEAU. C. LEWIS HIND. - COROT. SIDNEY ALLNUTT. - -_Others in Preparation_. - - * * * * * - - -[Illustration: PLATE I.--THE DEPTHS OF THE SEA. Frontispiece - -(In the possession of R. H. Benson, Esq.) - -Apart from its technical beauty and its charm of design, this picture -has a special interest as the only contribution which the artist ever -made to the exhibitions of the Royal Academy. It was shown at Burlington -House in 1886, and was painted purposely, during the months that -intervened between his election as an Associate in the summer of 1885 -and the opening of the 1886 exhibition. In the treatment of the subject -there is a touch of slightly grim humour, unusual in the art of -Burne-Jones, a humour which finds expression particularly in the face of -the mermaid, who drags a human being to her cave at the bottom of the -sea without thinking or caring that her sport means death to him.] - - -BURNE-JONES - -by - -A. LYS BALDRY - -Illustrated with Eight Reproductions in Colour - -[Illustration: IN SEMPITERNUM.] - - - - - - - -London: T. C. & E. C. Jack -New York: Frederick A. Stokes Co. - - - - -LIST OF ILLUSTRATIONS - - - Plate - - I. The Depths of the Sea Frontispiece - In the possession of R. H. Benson, Esq. - Page - II. Sidonia von Bork 14 - In the possession of W. Graham Robertson, Esq. - - III. Sponsa di Libano 24 - Walker Art Gallery, Liverpool - - IV. Sibylla Delphica 34 - Manchester Art Gallery - - V. The Mill 40 - South Kensington Museum - - VI. King Cophetua and the Beggar Maid 50 - The Tate Gallery - - VII. Danae (The Tower of Brass) 60 - Glasgow Corporation Art Gallery - - VIII. The Enchantments of Nimue 70 - South Kensington Museum - -[Illustration: Drawing of Burne-Jones] - -The place which should be assigned to Sir Edward Burne-Jones in the -history of modern art is by no means easy to define, for his work with -its unusual qualities of intention and achievement does not lend itself -readily to classification. At the outset of his career he might with -some justice have been numbered with the Pre-Raphaelites, because the -first influences to which he responded were those which directed the -Pre-Raphaelite movement, and because in his earliest productions he -showed that these influences had counted for much in the shaping of his -æsthetic inclinations. But as he developed he made plainer and more -convincing the assertion of his individuality, he ceased to be simply a -follower of a movement, and evolved for himself a system of æsthetic -practice which was personal both in aim and in manner of expression. -That in formulating this system he borrowed much from early Italian art, -that he based himself upon certain remote masters, with whose primitive -methods he was deeply in sympathy, can scarcely be denied; but in this -reference to the past he did not show the blind readiness to imitate -which is the vice of the copyist; he altered and adapted, varied this -principle and modified that detail, until he had with the material he -collected built up a quite complete superstructure, which was Italian -only in its foundation. And in this process of building up he was guided -surely enough by a right instinct for decorative propriety, an instinct -which was partly innate, partly the outcome of associations by which he -was largely affected throughout his life. If his personality had been -less strong, or his æsthetic preference less defined, these associations -might easily have cramped his imagination and narrowed him into the -repetition of a set formula; but his intelligence was so keen and his -conviction concerning his artistic mission was so clear, that he was -able to overcome all the obstacles by which he might have been turned -from his right course. His career, thanks to the consistency with which -he worked, became a record of continuous effort to realise an ideal that -lacked neither nobility nor intellectual variety. - -[Illustration: PLATE II.--SIDONIA VON BORK - -(In the possession of W. Graham Robertson, Esq.) - -As an early picture, painted while Burne-Jones was still under the -influence of Rossetti, "Sidonia von Bork" illustrates characteristically -a particular phase of the artist's practice; one of much importance in -the evolution of his art. "Sidonia von Bork" was one of the characters -in a romance called "Sidonia the Sorceress," which was written by a -Swiss clergyman. The book was a favourite of Rossetti's, so that -evidently Burne-Jones was influenced by his master both in his choice -and in his treatment of a subject from its pages. A reprint of the story -was issued by William Morris from the Kelmscott Press.] - -It is probable that some of his consistency, and a very large part of -his artistic conviction, came from the manner of his preparation for the -profession in which he attained such exceptional success. Unlike most -artists he did not begin by acquiring a knowledge of the mechanism of -painting, and did not proceed to apply trained technical skill in -experiments intended to determine the direction in which he might -practise profitably in after life. In his case the process was reversed, -for his direction was settled before he had learned even the -rudiments of pictorial practice, and the time which other men would have -given to experiment he devoted to seeking how he would best realise the -ideas that were finally formed in his mind. Tentative work, to test the -popular point of view, he never produced; he began straight away with -what he knew to be his right material, and the only difference which is -to be noticed between his first and his last paintings is a difference -in technical facility. The uncertainties of handling in his earlier -pictures disappeared in those which he painted in later life, but of -mental uncertainty no trace is at any time to be discovered. - -Yet the curious fact must be noted that this artist, with his strong -personality, his great gifts, and his absorbing devotion to a splendid -ideal, chose his profession by a kind of afterthought--almost by -accident. There is no record in his case of a boyhood spent in struggles -against a fate which seemed to forbid him all satisfaction of his -dearest aspirations; there is not even evidence that he had any artistic -aspirations at all. He grew up, practically to manhood, before he -discovered that he had either the wish or the capacity to attempt any -form of æsthetic expression, and his powers lay completely dormant -through all those youthful years which have been to most other artists a -time of longing after the apparently unattainable and of striving to -follow the promptings of nature and temperament. - -This strange torpidity of the artistic side of his intelligence was, no -doubt, due to the surroundings among which he passed his childhood. He -was born on August 28, 1833, at Birmingham, where there was in those -days little enough to foster a love of art, and in the respectable but -dull atmosphere of a middle-class home he had no chance of any -awakening. His mental activity, however, was shown in the zest with -which he threw himself into the study of the classics during the seven -or eight years that he spent at King Edward's School. He gained at that -time a very thorough knowledge of the classic writings in general and of -classic mythology in particular, which was amplified in after life by -constant reading; and he acquired a student-like habit of research into -the learning of the past which served him well when the time came for -him to picture the fancies that were forming in his mind. - -But at first the purpose of his education was to fit him for the walk of -life which his father wished him to follow. He was, it was decided, to -enter the Church, and in 1853, having won a scholarship at Exeter -College, he went up to Oxford ready and willing enough to work for -success in the profession which seemed so well suited to him. He had at -that time no feeling that his real vocation lay in quite another -direction, or that there was any different way in which his studious -mind might be exercised. The idea of taking orders was not uncongenial -to him, and he began his Oxford life in no spirit of rebellion against -the career which had been mapped out by his elders. - -At Oxford, however, came his awakening. He found himself in contact -there with quite a new phase of existence, in an atmosphere which was -made doubly impressive by its unlikeness to any that he had previously -known, and among surroundings which by their novelty had a great power -to stimulate his imagination. Under such conditions the expansion of his -mind was unusually rapid, and the arousing of his dormant æsthetic -instincts followed immediately. This latter development of a side of his -nature, of which previously he could have been, at best, only dimly -conscious, was greatly assisted by his friendship with a remarkable man -who had entered Exeter College on the same day that he did, and who had -come to Oxford with the same intention of eventually taking holy orders. -This man, William Morris, was destined to play a most important part in -British art activities, and by his militant æstheticism to bring about -many momentous changes in the public taste; and the chance which brought -him and Edward Burne-Jones together, when they were both at the most -impressionable period of life, was especially fortunate. - -The association between the two undergraduates quickly became one of the -closest intimacy. They had mentally much in common, and in them both was -a strain of enthusiasm and poetic fantasy which was an inheritance from -a Celtic ancestry--they were both Welshmen by descent--and by which -their whole attitude to modern existence was determined. Morris had, -perhaps, the more vehement personality and the greater share of the -fighting instinct, while Burne-Jones was more of a dreamer and readier -to occupy himself with abstract fancies; but these small differences of -temperament made their friendship the more mutually valuable, and -helped appreciably to increase the influence which the one had on the -other. At any rate, these days at Oxford saw the beginning of a kind of -mental partnership which gave ultimately to the world a great artist and -a brilliant leader of a wide art movement which has since done much to -alter the whole spirit of domestic decoration in this country. - -A more immediate effect of the intimacy between Morris and Burne-Jones -was, however, the weakening of the intention which had brought them to -the university. The more they dreamed and talked the further their idea -of finding a career in the Church receded, and the stronger grew the -desire which both of them felt for the pursuit of some form of art. -While they were thus hesitating over their plans for the future, -Burne-Jones received a sort of revelation which fixed finally his -half-formed intention to become a painter. He saw by chance some works -by Rossetti, an illustration to a poem by William Allingham and a -water-colour, "Dante's celebration of Beatrice's Birthday," and these, -with some notable Pre-Raphaelite pictures, like Holman Hunt's "Light of -the World" and "The Christian Priest escaping from the Druids," which -were then at Oxford, gave him a veritable inspiration. For Rossetti in -particular he conceived immediately a passionate adoration, and to sit -at the feet of such a master seemed to him the noblest aim in life. From -that moment, indeed, his fate was decided, though some little time had -yet to elapse before his dreams could be realised and his plans -could be put into working shape. - -[Illustration: PLATE III.--SPONSA DI LIBANO - -(Walker Art Gallery, Liverpool) - -The first idea for the "Sponsa di Libano" was embodied in one of a -series of pencil designs from the "Song of Solomon," which were prepared -by Burne-Jones in 1876. This picture, the only one out of the series -which he actually completed pictorially, was exhibited at the New -Gallery in 1891. The motive of the composition is explained in the text -which the original drawing illustrated: "Awake, O North Wind; and come, -thou South; blow upon my garden that the spices thereof may flow out." -In the treatment of the subject the artist's poetic fancy and sense of -decorative arrangement are particularly well displayed.] - -For the abandonment of all the ideas which had brought him to the -university was no small matter and not to be lightly undertaken. He had -to think of the disappointment at home which such action on his part -would cause, and he had also to consider what would be his own position -while he was preparing himself for a profession of which he had not so -far had the smallest practical experience. So, with little heart in his -work, he went on reading for his degree until the winter of 1855, when -he came up to London with the intention of seeing in the flesh the man -whom he had hitherto worshipped afar off. He was introduced to Rossetti -at the house of Mr. Vernon Lushington, and by the kindly painter, who -discerned the promise in the young man's tentative drawings, he was -given the heartiest encouragement. A little later he laid before -Rossetti all his hopes and fears, his doubts whether or not he would be -right in leaving Oxford with the purpose which had taken him there still -unfulfilled, and his desire to devote himself irrevocably to the -artistic calling; and instead of suggestions of such compromises as -prudence might have dictated, he received advice to lose no time in -entering upon the career for which he was plainly destined by nature and -inclination. - -Rossetti's interest in his young admirer was no momentary matter; he -backed up the advice he had offered by taking him as a pupil and by -aiding him in many ways to gain a footing in the art world. When -Burne-Jones, having at last shaken the dust of Oxford off his feet, -settled in London early in 1856, he found Rossetti quite ready to -supervise his education and to lead him to that fuller knowledge of art -practice which he so sorely lacked. The method of education adopted -departed very definitely from accustomed lines; it did not involve -attendance at any art school, and it imposed no prolonged course of -drawing from antique figures or of painting still-life studies from -groups of ill-assorted objects. On the contrary, the pupil was -encouraged to begin at what would be considered by academic teachers -the wrong end of things--to struggle, all unversed as he was in -technicalities, with the difficulties of creative effort. Rossetti's -studio was thrown open to him so that he might watch the progress of -the pictures which were on the easel, and a number of the master's -drawings and studies were lent to him to help him in his work at home; -but what training he received was more in the nature of sympathetic -guidance in his attempts at self-expression than of formal direction -along the lines of a recognised school system. Its good effects were -shown in the manner of the young man's development and in the rapid -growth of his individuality; its bad effects in the persistence of -defects of draughtsmanship and brushwork, which were overcome at last by -his extraordinary industry and dogged determination to master all the -difficulties of his craft. - -To his care and advice concerning his pupil's manner of working Rossetti -added consideration for his financial position. Burne-Jones, with but -slender resources and with little chance as yet of earning the means of -support, was having a somewhat hard struggle, which Rossetti did his -best to relieve by introducing him to friends who would interest -themselves in him, and by helping him to get such work as he was capable -of carrying out. One important commission was obtained about the end of -1856, and this commission deserves special mention because it gave -Burne-Jones his first experience in a branch of design in which he was -destined to become an acknowledged master. Messrs. Powell, the -glass-makers, who were making great efforts to improve the quality of -stained glass, had applied to Rossetti for a design for a window. He -declined to undertake this work, and recommended his pupil instead; and -Burne-Jones accordingly prepared a design which was not only accepted -by the firm but enthusiastically approved by Ruskin, who was, so -Rossetti declared in a letter written at the time, "driven wild with -joy" by the merit and quality of the work. This cartoon was followed -during the next three or four years by several others drawn for the same -firm. - -Much that is important in the record of the painter's life is to be -assigned to this short period between the beginning of 1857 and the end -of 1860. In addition to his designs for stained glass, he produced a -large number of pen-and-ink and water-colour drawings, and made his -first experiments in oil-painting; and he took part in the decoration of -the library of the Oxford Union, an ambitious scheme entered into by -Rossetti at the suggestion of Mr. Woodward, the architect of the -building, and carried out, despite many unexpected difficulties, by -Rossetti himself and a band of enthusiastic young artists. These -decorations, which unfortunately fell into a condition of hopeless decay -soon after they were completed, took some six months to execute, and he -was engaged upon his share of the work until the early part of 1859. In -the autumn of that year he paid his first visit to Italy and studied -those early Italian masters with whom, as his after work proved, he was -so deeply and intelligently in sympathy. This visit, indeed, brought -about a marked change in his artistic outlook and helped to lead him -away from the Gothic tendencies which he had first shown--probably as a -result of his association with Morris--into a far more pronounced -inclination for the Italian manner of design. He was married in the -summer of 1860 to Miss Georgina Macdonald, about a month after -Rossetti's marriage to Miss Siddal; and in taking this step he certainly -showed that he had confidence in his professional prospects, a -confidence which was justified by the position he had already made for -himself. - -[Illustration: PLATE IV.--SIBYLLA DELPHICA - -(Manchester Art Gallery) - -In this painting of the Delphic oracle Burne-Jones made no attempt to -reconstruct archæologically an incident from classic times. The -symbolism of the subject appealed to him rather than its possibilities -of being represented realistically, and he treated it in a manner -entirely personal, with strength and decision, but with exquisite -tenderness of poetic sentiment as well. The picture has a certain -intensity of feeling that is especially convincing, and its fine -draughtsmanship, splendid colour, and well-considered suggestion of -movement make it technically of very great importance.] - -The year 1861 must be particularly noted because it marks the -commencement of an undertaking with which Burne-Jones was closely -associated for the rest of his life. William Morris, who had also left -Oxford in 1856 without waiting to take his degree, had gone for rather -less than a year into the office of George Edmund Street, the well-known -architect, with some idea of adopting that profession; and then, -becoming quickly disillusioned, had after some experiments in painting -settled down for a while to literary work. In 1859 he married and went -to live in a house which had been built for him at Bexley Heath; and it -is said that the difficulty he experienced in getting, for the fitting -up of this house, things which would please his fastidious taste and -gratify his intense love of beauty, induced him to consider whether he -could not actively intervene in the much-needed reformation of the -decorative arts. At any rate, less than two years after his marriage, he -was busy with the details of a scheme which was ambitious enough to -satisfy even his love of big things and in which there were endless -possibilities. - -This scheme took definite form towards the end of 1861, when the firm -of Morris, Marshall, Faulkner, and Co. was started in Red Lion Square. -Burne-Jones, naturally enough, was an active sympathiser with the plans -of William Morris, and he showed his sympathy in the most practical -manner by putting his talents as a designer at the disposal of the firm. -From that time onwards he produced in ever-increasing numbers designs -for all kinds of decorative work, stained glass, tapestries, -embroideries, book illustration, &c., in which his amazing fertility of -imagination and exquisite powers of expression had the fullest scope. -The sum total of the work, for which he was responsible during the -period of nearly forty years over which his intimate connection with the -Morris business extended, was almost incredibly large, and proves -convincingly the strenuousness of his lifelong effort. - -For it must be remembered that this mass of decorative work did not by -any means represent the whole of his achievement, but was, in fact, -brought into existence in the intervals of his not less remarkable -activity as a picture painter. The number of his finished pictures in -different mediums was about two hundred, and his cartoons for stained -glass alone make a list of a thousand or more; when to these are added -his designs for other purposes, his sketches and studies, and the rough -notes by which he gave the first visible shape to the mental images -which he proposed to put later on into a completed form, the result -arrived at is simply bewildering. Only by the most unremitting industry -could he have done so much, and only a man with an abnormally prolific -imagination and extraordinary powers of invention could have kept up as -he did the high standard of his art. - -[Illustration: PLATE V.--THE MILL - -(South Kensington Museum) - -This picture is one of those on which Burne-Jones worked at intervals -for several years. Commenced in 1870, and taken up and set aside time -after time, it was not exhibited until 1882, when it appeared at the -Grosvenor Gallery. It is an example, and a very attractive one, of the -daintier side of the artist's practice, a decorative composition planned -with masterly restraint and with a wholly sympathetic understanding of -the charm of pure and unforced sentiment. It has both grace and -distinction.] - -The pictorial work of Burne-Jones during the earlier 'sixties marked -well the manner in which he was finding his way to the full avowal of -his artistic creed. At first he was, as might have been expected, -frankly inclined to imitate Rossetti, and to follow closely in methods -and sentiment the master whom he worshipped and from whom he had -received such invaluable assistance. But gradually this influence waned, -as increasing confidence in his own powers enabled him to assert more -clearly his individual view of his æsthetic responsibilities, and as the -widening of his experience opened up to him fresh aspects of the -artistic problems with which he had to deal. His development was, no -doubt, much assisted by a second visit which he paid to Italy in the -spring of 1862, a visit in which he had as his companion Ruskin, with -whom he was by then on terms of intimacy. He stayed first at Milan and -then went on to Venice, where he remained for some while making copies -of Tintoretto and other masters for Ruskin, and studying for his own -instruction and enjoyment the works of the earlier masters generally and -of Carpaccio particularly. - -During these earlier years he confined himself almost entirely to -working in water-colours, though by his way of using the medium he -gained technical results which had more the strength and richness of -oils than the delicate transparency of water-colour. The few essays he -made in oil-painting at this time were not pictures for exhibition -purposes but pure decorations, like the panels for a painted coffer -designed by William Morris, and a triptych, with the "Annunciation" as -the central panel, and the "Adoration of the Magi" on the wings, which -was commissioned by Mr. Bodley for St. Paul's Church at Brighton. -Definite recognition of the position he had gained among the younger -water-colourists came at the beginning of 1864, when he was elected, -with Fred Walker, an associate of the Royal Society of Painters in Water -Colours. He was advanced to full membership of the Society in 1868, but -resigned in 1870 because a foolish accusation of impropriety was brought -against one of the compositions he exhibited. He returned, however, in -1886 and remained a member till his death. - -By the paintings he showed in the gallery of the "Old Society" he much -increased his reputation among discriminating art lovers as an artist of -no ordinary importance. People who had known nothing of his work before -found something so new in manner and so distinctive in purpose in the -achievements of this creator of poetic fantasies that he was given more -attention than usually comes to a man who sets before the public -things of an unaccustomed type. That he amply deserved this attention -cannot be questioned, for already he had acquired sufficient command -over the technicalities of water-colour to enable him to put into -a quite convincing form fancies which needed particular delicacy of -interpretation. Of course, he had still very much to learn--no one knew -better than he did how necessary was strenuous labour to overcome his -deficiencies as a craftsman--but his deep sincerity gave character and -meaning to his paintings, and the poetic beauty of his pictorial -inventions fully excused what defects there were in his executive -methods. - -Indeed, to this early period can be assigned several of the works on -which his reputation rests most securely to-day--his "Fair Rosamond," -for instance, his first painting of "The Annunciation," a subject which -he treated more than once, and his exquisite picture of "The Merciful -Knight," in which there was no trace left of Rossetti's direction, but -instead a clear expression of a quite personal view of art. No better -proof could have been given of the strength of his character than was -afforded by the rapidity with which he found his own way, and by the -completeness of his emancipation from the influence of a man who was -both his master and his friend--an influence which plainly dominated him -when he painted his earliest water-colours of "Clara von Bork" and -"Sidonia von Bork," both of which were entirely in Rossetti's manner. -But in the three or four years which intervened between the production -of these two little pictures and the completion of the far more -ambitious composition, "The Merciful Knight," he had learned the secret -of his own powers, and he had found how unnecessary it was for him to -lean for support upon any one else. - -With this knowledge of himself, and with this consciousness of his -capacity to take an independent position in the art world, came an -increase of his activity as a painter. His water-colours became more -numerous and more important, and he began to paint in oils several large -pictures which he worked at with characteristic patience, setting them -aside often for quite considerable periods and returning to them every -now and again as opportunity offered. His manner of working, indeed, -showed plainly the fertility of his mind; new ideas occurred to him in -rapid succession, and his habit was to put them into a first rough shape -on paper or canvas and to leave them to be carried to completion by slow -stages with often long intervals between. One result of his method was -that he frequently repeated the same subject with variations in -treatment that were the outcome of some fresh consideration of the -motive--each repetition, however, was an independent conception, not a -mere reproduction of what he had done before. - -But there was another result which must be noted, because it has to be -taken into account in any attempt to make a chronological list of his -paintings or to define the character of his art at different -periods--the works he exhibited were not put before the public in -anything like the order of their production. Sometimes a picture which -had been painted only a few months before was shown with one which had -been for years in his studio awaiting some comparatively small additions -to bring it to absolute completeness; sometimes all the things he -exhibited in a particular year were new works; sometimes old ones which -had been taken up and put aside over and over again. Consequently, it -is useless to try to classify his productions exactly, and it is -hopeless to base any theories about his development as an artist upon -the sequence of his public appearances. All that can be said is that his -evolution was steady and progressive, and that his apparent reversions -now and again to his earlier manner were due not to any halting in his -conviction but simply to the fact that some piece of work which had been -lying by, possibly for years, had at last been finished and exhibited. -Practically the only periods which can be recognised in his art are the -comparatively brief one when he was definitely under Rossetti's -influence, and the far longer one when he was working out his own -destiny unassisted. A certain inclination towards Rossetti's colour -feeling he retained for some while after he had freed himself of the -technical mannerisms which he derived from his master, and for nearly -twenty years traces of this colour sympathy can be detected, but for the -rest of his career he was as individual in his management of colour as -he was in design or in the sentiment of his work. - -[Illustration: PLATE VI.--KING COPHETUA AND THE BEGGAR MAID - -(The Tate Gallery) - -The old story of the king who succumbed to the charms of a simple beggar -maid has inspired many artists, but none have rivalled Burne-Jones in -appreciation of the artistic possibilities of the subject. His picture -on its appearance at the Grosvenor Gallery in 1884 set the seal on his -reputation, and put an end to whatever doubts remained then in the -public mind as to his right to serious consideration. It is in many ways -the finest of all his works, the most ambitious and the most exacting in -the technical problems presented, and it is certainly the most notable -in accomplishment.] - -This point needs to be elaborated for the sake of clearing up any -misapprehensions which might arise from his more or less erratic way of -exhibiting his work. As an example, when he exhibited for the first time -in 1864 in the gallery of the Royal Society of Painters in Water -Colours, he showed the "Fair Rosamond," painted in 1862, with the -"Annunciation" and "The Merciful Knight," both of which belong to 1863; -but in 1865 he sent "A Knight and a Lady," finished just before the -exhibition opened, "Green Summer," painted in 1863, and "The -Enchantments of Nimue," which was one of the things he produced in 1861 -while he was still frankly and unreservedly an imitator of Rossetti. -Such an inversion in the order in which his works were set before the -public might cause some perplexity to students of his art if they did -not realise what was his custom in this matter. - -He exhibited in the gallery of the Royal Water Colour Society in 1869 a -painting, "The Wine of Circe," which was not only the most important -work he had produced up to that time but is also to be counted as one of -the most admirable of all his performances; and he showed there in 1870 -two other notable works, "Love Disguised as Reason" and "Phyllis and -Demophoon." It was over this last painting that the dispute arose which -led to his resignation of his membership of the Society; and one of the -results of this dispute was that for a space of seven years hardly any -of his pictures were seen in public. Indeed, the only things he -exhibited during this period were a couple of water-colours, "The Garden -of the Hesperides" and "Love among the Ruins," which appeared at the -Dudley Gallery in 1873. Both were important additions to the list of his -achievements, and the "Love among the Ruins" especially was a painting -of exquisite beauty and significance. He repeated this subject in oil -some twenty years later, because the original water-colour had been -damaged somewhat seriously, and was not, as he considered, capable of -repair. - -The opening of the Grosvenor Gallery in 1877 gave him his first great -opportunity of setting before the mass of art lovers his claims to -special attention. Hitherto he had counted in the minds of a few men of -taste and sound judgment as an artist of remarkable gifts who promised -before long to take high rank in his profession, but by the larger -public interested in art matters he was practically undiscovered. That -he would have won his way step by step to the position he deserved -cannot be doubted; if there had been no break in his activity as an -exhibiting painter his successive contributions to the Royal Water -Colour Gallery could not have failed to make him widely known. But his -reappearance at the Grosvenor Gallery was so dramatic, and so convincing -in its proof of the amazing development of his powers, that he leaped -at one bound into the place among the greatest of his artistic -contemporaries, which he was able to hold for the rest of his life -without the possibility of dispute. - -For he had not been idle during this seven years of abstention from -exhibitions; the period had been rather one of strenuous activity and -unceasing production. It saw the completion of several important -canvases on which he had laboured long and earnestly, and it saw the -commencement of many others which were in later years to be added to the -list of his more memorable achievements. In some ways, indeed, it was a -fortunate break; it saved him from the need to strive year by year to -get pictures finished for specific exhibitions, and it allowed him time -for calm reflection about the schemes he desired to work out. It freed -him, too, from the temptation--one to which all artists are exposed--to -modify the character of his art so that his pictures might be -sufficiently effective in the incongruous atmosphere of the ordinary -public gallery. He was able to form his style and develop his -individuality in the manner he thought best; and then at last to come -before the public fully matured and with his æsthetic purpose absolutely -defined. - -When the first fruits of this long spell of assiduous effort were seen -at the Grosvenor Gallery, Burne-Jones became instantly a power in the -art world. The judgment of the few connoisseurs who had hailed "The -Wine of Circe" and "Love among the Ruins" as works of the utmost -significance, and as revelations of real genius, received wide -endorsement; and though some people who were out of sympathy with the -spirit of his art were quite ready to attack what they did not -understand, their voices were scarcely heard amid the general chorus of -approval. Indeed, for such pictures as "The Days of Creation," "The -Mirror of Venus," and "The Beguiling of Merlin," exhibited in 1877; -"Laus Veneris," "Chant d'Amour," and "Pan and Psyche," which with some -others were shown in 1878; the series of four subjects from the story of -"Pygmalion and the Image," and the magnificent "Annunciation," in 1879; -and that exquisite composition, "The Golden Stairs," which was his sole -contribution to the Grosvenor Gallery in 1880, nothing but enthusiastic -approval was to be expected from all sincere art lovers; to carp at work -so noble in conception and so personal in manner implied an entire want -of artistic discretion. - -There were two exhibitions at the Grosvenor Gallery in 1881. In the -summer one Burne-Jones was not represented, but the winter show included -a number of his studies and decorative drawings, among them the large -circular panel, "Dies Domini," a water-colour of rare beauty which can -be reckoned as one of the most admirable of his designs. In 1882, -however, he showed "The Mill," "The Tree of Forgiveness," "The Feast of -Peleus," and several smaller paintings; and in 1883 that splendid piece -of symbolism, "The Wheel of Fortune," and "The Hours." The following -year is memorable for the appearance of the important canvas, "King -Cophetua and the Beggar Maid," and the less ambitious but even more -fascinating "Wood Nymph," in both of which the artist touched quite his -highest level of achievement, and gave the most ample proof of the -maturity of his powers. - -[Illustration: PLATE VII.--DANAE (The Tower of Brass) - -(Glasgow Corporation Art Gallery) - -Like the "Sibylla Delphica" this canvas shows how Burne-Jones was -accustomed to treat subjects from the classic myths in the mediæval -spirit to which he inclined by habit and association. In his -illustration of a subject from the story of Danae, where she stands -watching in wonder the building of the tower of brass which was to be -her prison, he has looked at Greek tradition in a way that was partly -his own and partly a reflection of William Morris; but the result is -none the less persuasive because it does not conform to the Greek -convention.] - -His election as an Associate of the Royal Academy came in 1885. That he -coveted this particular distinction can scarcely be said; indeed, he was -at first unwilling to accept it, and it was only in response to a -personal request from Leighton that he finally decided to take his place -in the ranks of the Associates. But he exhibited a picture at Burlington -House in 1886, "The Depths of the Sea," and then, feeling that his work -was unsuited for the Academy galleries, he sent nothing else there, and -in 1893 resigned his Associateship. His contributions to the Grosvenor -Gallery in 1886 were "The Morning of the Resurrection," "Sibylla -Delphica," and "Flamma Vestalis"; and in 1887 "The Baleful Head," "The -Garden of Pan," and some other canvases. - -After this year he ceased to exhibit at the Grosvenor Gallery, as he was -one of the chief members of the group of artists who supported Mr. -Comyns Carr and Mr. C. E. Hallé in the founding of the New Gallery, and -he sent there nearly all the works he produced during the rest of his -life. The most important exceptions were the magnificent "Briar Rose" -series of pictures, which were shown in 1890 by Messrs. Agnew at their -gallery in Bond Street, and "The Bath of Venus," which went straight -from the artist's studio to the Glasgow Institute in 1888. - -The first exhibition at the New Gallery was opened in 1888, and it -included several of his oil-paintings, among them "The Tower of Brass," -an enlarged repetition of an earlier picture, and two canvases, "The -Rock of Doom" and "The Doom Fulfilled," from the "Story of Perseus" -series, to which also belonged "The Baleful Head," shown in the previous -year. To the succeeding shows there he sent much besides that can be -taken as representing his soundest convictions. There were the large -water-colour, "The Star of Bethlehem," and the "Sponsa di Libano," in -1891; "The Pilgrim at the Gate of Idleness" and "The Heart of the Rose" -in 1893; "Vespertina Quies" and the oil version of "Love among the -Ruins" in 1894; "The Wedding of Psyche" in 1895; "Aurora" and "The Dream -of Launcelot at the Chapel of the San Graal" in 1896; "The Pilgrim of -Love" in 1897; and "The Prioress' Tale" and "St. George" in 1898. In all -of these his consistent pursuit of definite ideals, his love of poetic -fantasy, and his admirable perception of the decorative possibilities of -the subjects he selected are as evident as in any of his earlier works; -as years went on he relaxed neither his steadfastness of purpose nor his -sincerity of method. To the last he remained unspoiled by success and -unaffected by the popularity which came to him in such ample measure--it -may be safely said that with his temperament and his artistic creed he -would have continued on the course he had marked out for himself even if -the effect of his persistence had been to rouse the bitterest opposition -of the public, and he was as little inclined to trade on his success as -he would have been to tout for attention if his efforts had been -ignored. - -There was no waning of his powers as his career drew towards its close. -It was not his fate to be compelled by failing vitality to be content -with achievements that lacked the force and freshness by which the work -of his vigorous maturity was distinguished, for he died before advancing -years had begun in any way to dull his faculties. Only a few weeks after -the opening of the 1898 exhibition at the New Gallery he was seized with -a sudden illness, which had a fatal termination on the morning of June -17. Really robust health he had never enjoyed, and on several occasions -serious breakdowns had hampered his activity; but his devotion to his -art was so sincere, and his determination so strong, that these -interruptions did not perceptibly affect the continuity of his work. -Towards the end of his life, however, he suffered from an affection of -the heart, and the demands which he made upon his strength helped, no -doubt, to exhaust his vitality. At the time of his death he was striving -to complete one of the most important and ambitious pictures he ever -planned--"Arthur in Avalon," a vast canvas which, even in its unfinished -condition, must be reckoned as an amazing performance, and worthy of a -distinguished place in the record of modern art. - -One of the most interesting things in the life-story of Edward -Burne-Jones is the manner of his advance, within some twenty years only, -from a position of obscurity to one of exceptional authority in the -British school. The young student, who in 1855 had just discovered his -vocation and was beginning to feel his way under the guidance of -Rossetti, had become in 1877 one of the most discussed of British -artists, and had with dramatic suddenness entered into the company of -the greatest of the nineteenth-century painters. With no effort on his -part to attract attention, without having recourse to any of those -devices by which in the ordinary way popularity is won, he secured, -practically at the first time of asking, all that other men have had to -strive for laboriously through a long period of probation. Although the -few things he exhibited while he was a member of the Royal Water Colour -Society were sufficient to rouse in the few real judges a deep -interest in his future achievement, it was the singular merit of his -contributions to the first exhibition at Grosvenor Gallery that made -him instantly famous. The wider public realised then, and realised most -forcibly, that he was an artist to be reckoned with, and that his work, -whether people liked it or not, could by no means be ignored. - -[Illustration: PLATE VIII.--THE ENCHANTMENTS OF NIMUE - -(South Kensington Museum) - -Painted, like the "Sidonia von Bork," while Burne-Jones was still under -the influence of Rossetti, "The Enchantments of Nimue" is interesting as -an example of his earliest methods. It was finished in 1861, but it was -not exhibited until 1865, when it was hung in the Gallery of the Royal -Society of Painters in Water Colours; it was bought for the South -Kensington Museum in 1896. The painting shows how Nimue "caused Merlin -to pass under a heaving-stone into a grave" by the power of her -enchantments.] - -From that time onwards there was for him no looking back. The twenty -years of preparation, which were spent mainly in ceaseless seeking after -completer knowledge and in careful study of the practical details of his -profession, were followed by another twenty years of strenuous -production, in which he worked out more and more effectively the ideas -formed in his extraordinarily active mind. In the series of his -paintings there is a very perceptible advance year by year in technical -facility, but to suggest that they show also a growth of imaginative -power would scarcely be correct, because there seems to have been no -moment in his career when he did not possess in fullest measure the -faculty of poetic invention and the capacity to put his mental images -into an exquisite and persuasive shape. What he acquired as a result of -his exhaustive study was a closer agreement between mind and hand, the -skill to convey to others what he himself felt. But he had no need to -labour to make his intelligence more keen or his fancies more varied; -nature had endowed him with a temperament perfectly adapted for every -demand which he could make upon it in the pursuit of his art. - -That he did not at first secure the unanimous approval of art lovers is -scarcely surprising. The markedly individual artist who cares nothing -for popular favour and is more anxious to satisfy his own conscience -than to gather round him possible clients is never likely to become a -favourite offhand. Burne-Jones by the brilliancy of his ability silenced -all opposition long before his death, and gained over the bulk of the -doubters who questioned his right to the admiration he received when he -first began to exhibit at the Grosvenor Gallery. But for some while the -unusual character of his art caused it to be much misunderstood by -people who had not taken the trouble to analyse his intentions. He was -accused of affectation, of deliberate imitation of the early Italians; -he was attacked for his indifference to realism and for his decorative -preferences. Even the genuineness of his poetic feeling was suspected, -and his love of symbolism was ridiculed as the aberration of a warped -mind. Much of this misconception was cleared away by the collected -exhibition of his works which was held at the New Gallery in the winter -of 1892-1893, for this show, by bringing together the best of his -productions and by summing up all phases of his practice, proved -emphatically that he had been as sincere and logical in his aims as he -had been consistent in his expression. It was no longer possible to -attack him out of mere prejudice; the verdict given fifteen years before -on his art by those who understood him best was seen to be just. When a -second collection was shown at the New Gallery--a memorial exhibition -arranged in 1898, a few months after his death--few people remained who -were prepared to dispute his mastery. - -It is fortunate that justice should have been done to him by his -contemporaries and that there should have been really so little delay in -the wider acknowledgment of his claims. If appreciation had been -withheld from him while he lived, if it had been his fate to secure only -a posthumous reputation, there would have been some diminution of his -influence, and his art would have lost some of its authority. But as a -right estimate of his position was arrived at during his lifetime, when -he was at the height of his activity as an exponent of an exceptionally -intelligent æsthetic creed, he was able to make his beliefs effective in -bringing about the conversion of a large section of the public to a -truer understanding of the value of decorative qualities in pictorial -art. He proved emphatically that decoration does not imply, as is -popularly supposed, the abandonment of the characteristics which make a -picture interesting; he showed that a subject can be legitimately -treated so that it engages fully the sympathies of the average man, and -yet can be kept from any descent into obviousness or commonplace -conventionality. The painted story in his hands was no trivial anecdote; -it was a motive by means of which he conveyed not only moral lessons but -artistic truths as well, something didactically valuable but at the same -time capable of appealing to the senses with exquisite daintiness and -charm. - -Indeed, he can best be summed up as a teacher who clothed the lessons of -life with noble beauty and with dignity that was commanding without -being forbidding. There was human sympathy in everything he painted--a -tender, gentle sentiment which escaped entirely the taint of -sentimentality and which, tinged as it always was with a kind of quiet -sadness, never became morbid or unwholesome. He was too truly a poet to -dwell upon the ugly side of existence, just as he was too sincerely a -decorator to insist unnecessarily upon common realities. That he -searched deeply into facts is made clear by the mass of preparatory work -he produced to guide him in his paintings, by the enormous array of -drawings and studies which he executed to satisfy the demand he made -upon himself for exactness and accuracy in the building up of his -designs. But in his studies, as in his pictures, the intention to -express a personal feeling is never absent. He selected, modified, -re-arranged as his temperament suggested; he omitted unimportant things -and amplified those which were of dominant interest; he sought for what -was helpful to his artistic purpose and passed by what would have seemed -in wrong relation, consistently keeping in view the lesson which he -desired to teach. It can be frankly admitted that a certain mannerism -resulted from his way of working, but this mannerism was by no means the -dull formality into which many artists descend when they substitute a -convention for inspiration; it was rather a revelation of his -personality and of that belief in the rightness of his own judgment -which counts for so much in the development of the really strong man. -Except for the short time in which he was influenced by Rossetti, his -life was spent in illustrating an entirely independent view of artistic -responsibilities; and it would be difficult now to question this -independence with the wonderful series of his paintings available to -prove how earnestly and how seriously he strove to realise his ideals in -art. - - - The plates are printed by BEMROSE & SONS, LTD., Derby and London - The text at the BALLANTYNE PRESS, Edinburgh - - - -***END OF THE PROJECT GUTENBERG EBOOK BURNE-JONES*** - - -******* This file should be named 41583-8.txt or 41583-8.zip ******* - - -This and all associated files of various formats will be found in: -http://www.gutenberg.org/dirs/4/1/5/8/41583 - - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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