Term Papers on Edward Coley Burne

Term Paper Title	Edward Coley Burne
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# of Pages (250 words per page double spaced)	4.48

Edward Coley Burne

Burne-Jones, Sir Edward Coley, professional name of EDWARD COLEY JONES (1833-1898), English painter, designer, and illustrator, born in Birmingham and educated at the University of Oxford. Trained by the Pre-Raphaelite painter Dante Gabriel Rossetti, Burne-Jones shared the Pre-Raphaelites' concern with restoring to art what they considered the purity of form, stylization, and high moral tone of medieval painting and design. His paintings, inspired by medieval, classical, and biblical themes, are noted for their sentimentality and dreamlike romanticized style; they are generally considered among the finest works of the Pre-Raphaelite school. They include King Cophetua and the Beggar Maid (1884, Tate Gallery, London).

Burne-Jones was also prominent in the revival of medieval applied arts led by his Oxford friend the poet and artist William Morris. For Morris's firm he designed stained-glass windows, mosaics, and tapestries. His windows can be seen in many English churches, including Christ Church, Oxford, and Birmingham Cathedral. He also illustrated books of Morris's Kelmscott Press, notably Chaucer (1896). Burne-Jones was knighted in 1894

Although the public might have assumed that an artist who created large, solemn oils of such soulful Pre-Raphaelite maidens would have been a man of gloomy temperament, Burne-Jones was in fact playful and irreverent. He loved nothing better than to poke fun at himself, especially through the long series of self-caricatures that he shared with relatives and friends. These quite charming sketches usually depicted a shabby, stooping figure with owlish eyes, scruffy facial hair, and an expression of permanent surprise. Very different in spirit, however, was the portrait of him done by George Howard, an aristocrat whose enthusiasm for art drove him to become both a patron of the later Pre-Raphaelites and an accomplished amateur painter. Howard's version of Burne-Jones emphasized the artist's identity as a serious, no-nonsense professional, engrossed in his work and seemingly oblivious even to the presence of someone drawing him a few feet away.

Edward Coley Burne-Jones, born in Birmingham, showed little inclination towards art as a young man, and went up to Oxford to study theology. There he met William Morris, in the same year, at the same college, studying for the same degree, and they became lifelong friends.

Both of the young men gradually became less sure of their future as clergymen, and after seeing some work by Rossetti, Burne-Jones resolved to become a painter. However, he studied on for two years until he finally met Rossetti in person and asked his advice. Rossetti unhesitatingly advised him to drop the theology and become an artist. Burne-Jones became Rossetti's pupil in 1855, and Rossetti acted as his mentor in many ways, introducing him to influential friends and helping him gain commissions. One commission passed to Burne-Jones by Rossetti was for a stained-glass window, and he subsequently became a master in this art.

Burne-Jones's early paintings were very Rossetti-like, but he developed his own style after travelling to Italy in 1859 and 1862. On one trip to Italy, he was accompanied by John Ruskin. As well as paintings, he also produced decorative work for William Morris's company - book illustrations, tapestries, stained-glass windows and other craf...

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