The Art Studies of Edward Burne-Jones: Part I

“Even in these preliminary drawings he was in complete control of the pencil or crayon. Whereas many artists treated the study as a form of discovering the accident of the hand’s mark-making, Burne-Jones made sure that the marks were precisely as his creative sensibilities wanted.”

MARTIN HARRISON AND BILL WATERS, BURNE-JONES, 1989, P. 145. (Sotheby's)

Art studies reflect the evolution of an artist's ideas, the growth of their technique, and the shifting influences throughout their career and the pivotal moments in their life. Thankfully, there is a large collection of surviving Edward Burne-Jones sketches to give us a better understanding of his process, insight into his decision making of his final masterpieces, and a look at some of his uncompleted works.

Edward Burne-Jones at work on the Star of Bethlehem, 1890. Victoria and Albert Museum

In an effort to be more decisive this year, I declare here and now that Edward Burne-Jones is my favorite artist. I will give a more detailed explanation of why in a later post, but for now, let’s dive into this diverse selection of art studies. Let me know in the comments which one you are drawn to the most. 𓇗

The Masque of Cupid by Sir Edward Burne-Jones. Amgueddfa Cymru- Museum Wales

Venus Discordia by Sir Edward Burne-Jones, 1873. Amgueddfa Cymru- Museum Wales

The Masque of Cupid by Sir Edward Burne-Jones. Amgueddfa Cymru- Museum Wales

The Garden Court by Edward Burne-Jones, 1870–75. Graphite and watercolor, heightened with white gouache. The Cleveland Museum of Art

Masque of Cupid by Edward Coley Burne-Jones (1833-1898). The Morgan Library & Museum

Perseus and Andromeda; verso: Organ-pipe cluster(?) and console, 1875 Watercolor, white gouache, shell gold, and colored chalks on off-white card. Fogg Art Museum

A seated couple, embracing by Sir Edward Burne-Jones, 1865. White chalk with touches of graphite on brown paper. Met Museum

Seated Woman by Sir Edward Burne-Jones, 1864. Graphite. Met Museum

Drawings of Birds by Sir Edward Burne-Jones. National Museum by Cardiff

Nymphs of the Stars by Sir Edward Burne-Jones, 1896. Bodycolour, gold pigment and pastel on prepared paper. Burne-Jones Catalogue Raisonné

Study for “The King and The Shepherd”, c. 1887-1888. Watercolor, gouache, pastel and metallic paint over charcoal. Carnegie Museum of Art

Study of a Girl’s Head, 1866. Graphite on paper. Tate

Head of a Young Man (1833-1898) Coloured chalk with watercolour. Sotheby’s

Studies for Perseus and the Graiae (1833 - 1898). Black chalk on brown paper. Sotheby’s

Bath of Venus by Sir Edward Burne-Jones, 1890s. Metallic paint over graphite. Met Museum

Studies for The Pilgrim Outside the Garden of Idleness (1833 - 1898). Bodycolour, chalk and charcoal on brown paper. Sotheby’s

Study of Architecture for “The Sleep of Arthur at Avalon”, 1881. Pencil, watercolor and bodycolor on a prepared ground. Carnegie Museum of Art

Study Establishing the Disposition of the Central Group Figures in “The Sleep of Arthur at Avalon”, 1881. Pencil, watercolor and bodycolor on a prepared ground Carnegie Museum of Art

Figure Studies for Perseus and the Graiae (1833 - 1898). Black and white chalks on red paper. Sotheby’s

The Briar Rose Series: Study of a Sleeping Maiden for The Garden Court, 1882 – 1885. Birmingham Museums

Study for ‘The Call of Perseus’ (1833-1898). Red crayon, white chalk and pencil on brown paper. Sotheby’s

Study for the Head of Hope (1833-1898). Black, red and white chalk on red paper. Sotheby’s

Study for ‘The Last Sleep of Arthur in Avalon’ (1833–1898). Watercolour with bodycolour. Sotheby’s

St Dorothea and St Barbara (1833-1898). Pencil, watercolour and bodycolour on paper. Chrisite’s

Study for the Head of Perseus in ‘The Death of Medusa’ (1833-1898). Pencil. Sotheby’s

Study of a Female Head by Edward Burne-Jones, 1890. Yellow, red, and green pastel with fabricated black crayon on red paper. Met Museum

Study for the figure of Minerva in ‘The Call of Perseus’ (1833–1898). Black and white chalk on brown paper. Sotheby’s

Study for the Valiant Knight (1833 - 1898). Pastel on paper mounted on board. Sotheby’s

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Further Reading

Sotheby's. "Preparatory Sketches by Pre-Raphaelite Artist Edward Burne-Jones Offer Fascinating Insight." Victorian, Pre-Raphaelite & British Impressionist Art, 2018

The Radical Vision of Edward Burne-Jones by Andrea Wolk Rager

Hidden Burne-Jones: Works on Paper by Edward Burne-Jones from Birmingham Museums and Art Gallery by Elisa Korb and John Christian