This morning I shared on the Pre-Raphaelite Sisterhood Facebook page Edward Poynter’s portrait of Georgiana Burne-Jones, wife of Sir Edward Burne-Jones who was an important figure in the second wave of Pre-Raphaelitism. In ‘The Last Pre-Raphaelite’ biographer Fiona MacCarthy describes the watch Georgie’s wearing on a chain as a “ball-shaped gold watch studded with chrysolites…
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Georgiana Burne-Jones, wife of artist Edward Burne-Jones, was a devoted wife and mother. Her love for her husband and children is obvious when reading any account of the Burne-Jones family. Despite her joy at becoming a mother, Georgie poignantly described a sense of exile once she was no longer in the studio with her…
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I am guilty of often overlooking Burne-Jones’ portrait work in favor of his narrative paintings. However, this morning I read a passage in which his wife discusses the artist’s opinions of the use of expression in his portraits: Another portrait painted this year, that of Miss Fitzgerald, a young American girl. The art of portraiture…
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“I was ushered into one of the prettiest and most curiously furnished old-fashioned parlours that I had ever seen. Mirrors and looking-glasses of all shapes, sizes and design lined the walls. Whichever way I looked I saw myself gazing at myself.”–Recollections of Dante Gabriel Rossetti and his circle (Cheyne walk life), Henry Treffry Dunn. Henry…
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Women are central figures in Pre-Raphaelite art and this has given us the concept of a “Pre-Raphaelite Woman”. I frequently see the term ‘Pre-Raphaelite’ in occasional news articles, usually describing an actress or singer with long curly hair. Florence Welch is often described as Pre-Raphaelite and it’s definitely a look she has embraced. But was there…
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Seven years after her death, the coffin of Elizabeth Siddal was exhumed so that her husband, Dante Gabriel Rossetti, could publish the poetry he had buried with her. It happened in secret, yet eventually, the deed came to be known and has added a macabre tinge to the tale of Elizabeth Siddal. Rossetti was…
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Georgiana Burne-Jones, photographed by Frederick Hollyer. Circa 1890.
In this previous post, I mentioned a mirror seen in Fair Rosamund and Queen Eleanor by Burne-Jones and also in The Return of Tibullus to Delia by Dante Gabriel Rossetti. This seemingly mundane object has captured my attention, mainly because I have this nagging feeling that I’ve also seen it elsewhere, but can’t remember where….
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Drawn in 1860 by Dante Gabriel Rossetti, this portrait was probably intended to commemorate the wedding of Georgie and Ned (Sir Edward Coley Burne-Jones).
‘A Circle of Sisters’: Eminent Victorians (from Amanda Foreman, the author of ”Georgiana, Duchess of Devonshire,”) link via New York Times Online.
Georgiana MacDonald Burne-Jones (1840-1920) Georgiana MacDonald came from a strict, God-fearing family. Both her father and grandfather were Methodist ministers. According to Jan Marsh in Pre-Raphaelite Sisterhood, reading the works of Shakespeare and attending the theater were forbidden and considered sinful in their family on the grounds of morality. ‘Georgie’, as she was known,…
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