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Edward Burne-Jones (1833-1898) began his career as a Pre-Raphaelite and became one of the most influential European Symbolists of the fin de siecle.
Burne-Jones was a brilliant artist whose skills ranged across many decorative arts, including textile design, stained glass and art.
Love among the Ruins, painted between 1870 and 1873 by Edward Coley Burne-Jones, represents the high-water mark of the Pre-Raphaelite style, with its detailed vegetation, archaising scene setting and blue-robed Romantic lovers with their Botticellian faces (Fig.
Cawn lun o'r genedigaeth a Dafydd Frenin ond yn ddiddorol iawn, a fel sydd mor gyffredin gyda'r Cyn-Raffaeliaid, defnyddir wyneb William Morris ar gyfer Dafydd Frenin a wyneb Burne-Jones ar gyfer y bugail sydd yn cyfarch yr Iesu.
She finds Venus's hill "a queer space" which protected the enactment of inexpressible anti-normative desires and traces its permutations from its Germanic origins through the poems of Swinburne and Morris, the paintings of Edward Burne-Jones, and Oscar Wilde's dialogue, "The Critic as Artist." Especially interesting is Huxtable's commentary on Burne-Jones' "Laus Veneris," which she interprets as representing an anguished and abandoned Venus languishing in a female-centered, "highly fashionable Aesthetic interior."
Edward Burne-Jones is the most famous of the Pre-Raphaelite painters, whose highly-colored romantic Victorian idealized portraits in pseudo-Classical dress are still influential in popular art and culture.
Google photographed one of the Laing's most important paintings, Laus Veneris by the Victorian artist Sir Edward Coley Burne-Jones, in 'gigapixel' format.
Beloved and often bizarre, the works of the Victorian painter Edward Burne-Jones evoke oneiric fantasy worlds.
Novelist Padgett Powell won the fiction prize for his book You And I, while Fiona MacCarthy took the biography prize for her book on the British artist and designer Edward Burne-Jones, The Last Pre-Raphaelite: Edward Burne-Jones And The Victorian Imagination.
The peak of his collaboration with professional artists appears to have been the 1890s during which period he worked with John Seymour Lucas to stage the 1890 production of Ravenswood, Ford Maddox Brown, whose sketches inspired the designs produced for the scenery and costume used in the 1892 production of King Lear, and Edward Burne-Jones, who was responsible for designing the set and costumes used in the 1895 production of King Arthur.

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