Edward Burne-Jonesイギリス, 1833–1898Day
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ハーバード美術館群
ケンブリッジ, アメリカ合衆国
コレクションに属していますが、現在は展示されていません。
- 確認
- この状態になった日
- 出典
- 美術館自身の所蔵データ
作品データ
- 収蔵番号
- 1943.460
カタログ収録
出典
- ハーバード美術館群: the museum's own open data · 6 日前に取得
- 画像： ハーバード美術館群 — © President and Fellows of Harvard College
その頃、Edward Burne-Jonesの人生では
生涯をすべて見る1870
The “Phyllis and Demophoön” scandal: he quits the Society
Maria Zambaco’s features were clearly recognisable in the barely draped Phyllis, and Demophoön’s nakedness offended Victorian sensibilities. Asked to make a slight alteration, Burne-Jones instead withdrew not only the picture from the walls but himself from the Society.
1870–1877
Seven years away from exhibitions: turning to oils
After bitterly hostile attacks in the press he exhibited only two works in these years, yet worked unremittingly: he turned from watercolour to oils and planned the first “Briar Rose” series, “Laus Veneris”, “The Golden Stairs”, the “Pygmalion” series and “The Mirror of Venus”. His partnership with the photographer Frederick Hollyer, whose reproductions brought his work to a wide audience, also began then.
1870s
Georgiana grows close to Morris
In these difficult years Georgiana developed a friendship with Morris, whose wife Jane had fallen in love with Rossetti. If he asked her to leave her husband, she refused: both couples stayed together, and Georgiana and Morris remained close for the rest of their lives.
1871
Windows at All Saints for Alfred Baldwin
Morris’s firm made the windows at All Saints, designed by Burne-Jones for Alfred Baldwin, his wife’s brother-in-law.
