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| Sir Edward Burne-Jones: Love among the Ruins |
I will finish my round up of the Pre-Raphaelite exhibition at Tate Britain with a piece about the artist, who, I must confess at the outset, I consider to be one of the very great artists of the world, Sir Edward Burne-Jones (1833-1898). This estimate depends to a certain extent on what one considers to be the purpose of art and its role in the life of society and I will be discussing this in a bit more detail in later posts. Purely in technical terms though, that is to say, the skills necessary to produce any worthwhile artwork, there are few in the history of art who can surpass him in the range and extent of his abilities. You may, reasonably enough, doubt my credentials to make such a statement, but you would be foolish to ignore the opinion of such a considerable artist as G.F.Watts so I can't resist quoting a passage from the memoirs of Charles Hallé who records the following conversation in which Watts asks "whereabouts in art do you place Burne-Jones?" "Amongst the first 12 or 15" I [Hallé] replied, "I place him first of all" said Watts. "Do you really mean that you place him above Michaelangelo, Raphael, Titian and Leonardo?" "No", was the answer; "I do not mean that the men you have mentioned were not greater in many ways, but that no artist who has ever lived at any time has united in himself so many gifts of the highest order - imagination, design, drawing, colour and manipulation". Praise indeed, and one thing is for sure, if that was true in the 1890's it is certainly still true today!
There are one or two small early works of Burne-Jones in the first rooms at the exhibition, but, quite rightly, they are dominated by the works of the PRB painters themselves and their early associates and friends. The work of the later period, of Burne-Jones and Morris, are left to the last two rooms. The penultimate one contains work in the applied arts, tapestry, embroidery, stained glass and the like but it is the last room where Burne-Jones' pictures can really be seen in all their glory.
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| Sir Edward Burne-Jones: The Rock of Doom |
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| Sir Edward Burne-Jones: The Doom Fulfilled |
The special attraction of this exhibition are three works from the Perseus series which normally live in Stuttgart and are rarely seen in Britain, It is perhaps not widely enough known that the complete series of gouache paintings, 10 in all, though in various states of completion, can be seen in Southampton Art Gallery, hung together in one room and a wonderful experience it is too, to be able to absorb the whole series at one sitting. Here though we have 3 of the oils, 8 were planned, only 4 of which were brought to completion. Poor Arthur Balfour, philosopher and future prime minister, meekly went along with Burne-Jones' recomendation to re-panel his drawing room to better suit the pictures only to wait 15 years and see the artist die before the commission was completed. Along side these works we have other masterpieces from the painters's mature years; "King Cophetua and the Beggar Maid" and the "Golden Stairs" from the Tate's own collection plus the wonderful "Laus Veneris" and "Love Among the Ruins". Burne-Jones is one of those artists who are at their best when seen in large quantity, many artists suffer in those circumstances, but Burne-Jones creates an imaginary world for the spectator to enter and when literally surrounded by his work the effect, I might have said "the spell", is hypnotic.
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| Sir Edward Burne-Jones Laus Veneris |
As my previous posts have made clear, I dearly love the paintings of the Pre-Rapahelites, I mean those paintings which truly merit that tag, the work of the Brotherhood and others such as Hughes and Brown, but looking at several rooms of their work and then passing on to these magnificent Burne-Jones's was a shock and I want to try and examine the nature of the this shock because it tells me a lot about what art can do and will I hope be instructive for others. So, my first reaction, completely unpremeditated, and catching me somewhat by surprise having bowed the knee before Millais and the others was something to the effect of "now this is
real art". I was aware suddenly that I had been looking at descriptions of the physical world and now I was contemplating something which went beyond the physical, which used the physical world as a reference point but somehow hinted that the actual material appearance of things could be just a cipher for some kind of greater and more profound truth. I know this will seem a bit airy-fairy for some and yet it
is what I felt and I felt it very forcibly too, in a moment all the truthful realism of the earlier rooms, beautiful though it often was, suddenly seemed rather thin and literally superficial. I hang on to the power of that first perception because I believe it to be very important. Of course with later reflection I was aware that many of the earlier works, especially some of Millais work, "Autumn Leaves" and "The Blind Girl" to name only two of many could be categorised as being much more than just a material description of the physical world but the strength and power of Burne-Jones' work was such as to make these pictures fade from my mind.
How Burne-Jones does this, how he achieves what du Maurier called the "Burne-Jonesiness of Burne-Jones" I will discuss in a later post, insofar as it is possible to analyse at all. But for now, the point I wish to make is that it struck me, not for the first time of course but with an unusual sharpness and clarity that if art
could do this, if it could lift the veil of the material world and give us hints of something more profoundly spiritual, if it can raise our eyes from the mud and give us even a hint of a better and fairer land (a land in Burne-Jones' own words, "more true than real"), then, simply, shouldn't it? Can there be a more valuable purpose for art than as a repository for and conduit to, the highest ideals of mankind, and if the answer is, as it surely must be, no, then doesn't it follow that the greatest art is that which fulfills that purpose to the highest degree? Of course this is not to say that all artists should try and paint pictures of this sort or that sort, each must paint whatever he or she feels compelled to do. In Ruskin's words "you can't tell a secret if you don't know it". Not everyone has a real sense of the immaterial, I adore Veronese for example but it was clearly
this world in all its mundane physicality which delighted him, and with that delight to help and guide him he produced some of the world's most lovely pictures. I would maintain my belief though that it is reasonable to reserve the highest category of art, that which is most valuable to the spiritual being which is man, for that art which goes beyond the
facts of the material world and provokes a sense of and reverence for the unnameable immaterial realm which we sometimes sense but can never fully grasp. I am led back to Burne-Jones' own famous definition of his art which is so superbly illustrated by the pictures in this exhibition: "I mean by a picture a beautiful romantic dream, of something that never was and never will be, in a light better than any light that ever shone, in a land no-one can define or remember, only desire"
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| Sir Edward Burne-Jones: The Baleful Head |
