By Liana De Girolami Cheney
This e-book makes a speciality of Sir Edward Burne-Jones’ legendary work from 1868 to 1886. His creative education and touring studies, his love for the Greek-sculptress, Maria Zambaco, and his aesthetic sensibility supplied the history for those legendary work. This booklet analyzes major recommendations: Burne-Jones’ assimilation of Neoplatonic excellent good looks as depicted in his solo and narrative work, and Burne-Jones’ fusion of the classical and emblematic traditions in his imagery.
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This ebook makes a speciality of Sir Edward Burne-Jones’ legendary work from 1868 to 1886. His inventive education and touring studies, his love for the Greek-sculptress, Maria Zambaco, and his aesthetic sensibility supplied the historical past for those legendary work. This booklet analyzes major techniques: Burne-Jones’ assimilation of Neoplatonic perfect attractiveness as depicted in his solo and narrative work, and Burne-Jones’ fusion of the classical and emblematic traditions in his imagery.
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Additional resources for Edward Burne-Jones' Mythical Paintings: The Pygmalion of the Pre-Raphaelite Painters
Xxxiv Introduction In analyzing Burne-Jones’ Cupid and Psyche, the thematic approach combines iconographical and emblematic. The love saga is a symbol of the voyage of the soul (Psyche) on earth. Psyche’s earthly tribulation and death provide her with a mystical union with the divine Cupid. The use of literary sources known to Burne-Jones, such as Apuleius’ Golden Ass, Francesco Colonna’s Hypnerotomachia Poliphili, and Morris’ poem on the Story of Cupid and Psyche (1868), assist in decoding Burne-Jones’ selected passages in the drawings and paintings.
Colonna’s pageantry and architectural compositions depict a Renaissance notion of Neoplatonic aesthetic about beauty and love. BurneJones’ imagery too sought to “create beauty” according to Neoplatonic aesthetics by creating an image of idealized beauty that would arouse love. 10 An exponent of this philosophy in visual terms is also the Renaissance painter, Botticelli, to whom Burne-Jones is indebted to in his painting. His imagery emphasizes this spiritual concept of ideal beauty vis-a-vis the new physical presence reproduction of beauty, as it exists in nature.
Farewell,” said Barbara Allen. He turned his face unto the wall As deadly pangs he fell in. “Adieu! Adieu! Adieu to you all!