The Last Pre-Raphaelite : : Edward Burne-Jones and the Victorian Imagination / / Fiona MacCarthy.

• Superior document: Title is part of eBook package: De Gruyter Harvard University Press eBook Package Backlist 2000-2013
• VerfasserIn: MacCarthy, Fiona,
• Place / Publishing House: Cambridge, MA : : Harvard University Press, , [2012]; ©2012
• Year of Publication: 2012
• Language: English
• Physical Description: 1 online resource (656 p.) :; 24 color illustrations, 47 halftones

While still a student at Oxford, Edward Burne-Jones formed a friendship and made a renunciation that would shape art history. The friendship was with William Morris, with whom he would occupy the social and intellectual center of the era’s cult of beauty. The renunciation was of his intention to enter the clergy, when he—together with Morris—vowed to throw over the Church in favor of art. In Fiona MacCarthy’s riveting account of Burne-Jones’s life, that exchange of faith for art places him at the intersection of the nineteenth century and the Modern, as he leads us forward from Victorian mores and attitudes to the psychological, sexual, and artistic audacity that would characterize the early twentieth century.In MacCarthy’s hands, Burne-Jones emerges as a great visionary painter, a master of mystic reverie, and a pivotal late nineteenth-century cultural and artistic figure. Lavishly illustrated with color plates, The Last Pre-Raphaelite shows that Burne-Jones’s influence extended far beyond his own circle to Freudian Vienna and the delicately gilded erotic dream paintings of Gustav Klimt, the Swiss Symbolist painter Ferdinand Hodler, and the young Pablo Picasso and the Catalan painters.Drawing on extensive research, MacCarthy offers a fresh perspective on the achievement of Burne-Jones, a precursor to the Modern, and tells the dramatic, fascinating story of this peculiarly captivating and elusive man.

Table of Contents

Frontmatter -- Contents -- Illustrations -- The Burne-Jones Macdonald Family Tree -- Preface -- One. Birmingham 1833–52 -- Two. Oxford 1853–5 -- Three. Northern France 1855 -- Four. Early London 1856–7 -- Five. Little Holland House 1858 -- Six. First Italian Journey 1859 -- Seven. Russell Place 1860–2 -- Eight. Second Italian Journey 1862 -- Nine. Great Russell Street 1862–4 -- Ten. Kensington Square 1865–7 -- Eleven. The Grange, One 1868–71 -- Twelve. Third Italian Journey 1871 -- Thirteen. The Grange, Two 1872 -- Fourteen. Fourth Italian Journey 1873 -- Fifteen. The Grange, Three 1874–6 -- Sixteen. The Grosvenor Gallery 1877–80 -- Seventeen. Rottingdean, One 1881–2 -- Eighteen. The Grange, Four 1883 -- Nineteen. The Grange, Five 1884 -- Twenty. Rome 1885 -- Twenty-One. The Royal Academy 1885–7 -- Twenty-Two. Rottingdean, Two 1888–9 -- Twenty-Three. Mells 1890–3 -- Twenty-Four. Kelmscott, One 1894–5 -- Twenty-Five. Kelmscott, Two 1895–6 -- Twenty-Six. Avalon 1897–8 -- Twenty-Seven. Memorials 1898–1916 -- Epilogue -- Sources and References -- Acknowledgements -- Index