Category Archives: Pre-raphaelite

Edward Burne-Jones – Days of Creation Angels : Oh the Intrigue!

 

Introduction

Pre-raphaelite artist Edward Burne-Jones was fascinated with two mythic subjects: Sleeping Beauty and the Days of Creation.  He revisited subjects over and over spanning a period of decades and across several media: in oil and gouache, and in designs for stained glass, tile.
http://williammorristile.com/burne_jones_days_of_creation_angels.html

Days of Creation Art Print with restored fourth angel

Days of Creation Art Print with restored fourth angel

The Days of Creation, done in oil and gouache and gold paint is considered one of his greatest works.

Nearly all mythologies have a creation story, one that tells us where humankind comes from and lays the scene for our place in the world.  When this plays out in art, it can be particularly fascinating.

The History

Burne-Jones Days of Creation painting has a colorful history, one with bigger-than-life friends, their children. It is a story with crime and mystery, and a hero’s journey of getting back to wholeness and completeness.

In 1870, Burne-Jones designed six stained glass windows for Morris & Co.; these were installed in the west window of All Saints Church. This was very early  in a period during which Burne-Jones withdrew from exhibition, a period that would last seven years.  Days of Creation designs were thereafter executed in stained glass, in oil, gouache and gold paint.  Additionally,. cartoons were made for tile. Morris and Co. later created tiles based on the original cartoons, but those executions differ considerably from the original designs and appear to have been derived more from the stained glass implementation as an intermediary step.  A later ceramic version made by Morris & Co ceramic workshops in Birkenhead for the Dyfrig Chapel at Llandaff Cathedral, Cardiff, was completed after Burne-Jones’s death in 1898 by Harold Rathbone.

In 1871,Burne-Jones began  work on a study for the Days of Creation oil and gouache panels. He worked on the angels off and on through 1876.  The series consists of six panels, one for each day, with an angel at rest seated at the bottom of the sixth panel for the seventh day.

Days of Creation Angels complete

Days of Creation Angels on Tile, including restored fourth angel

Jenny, William Morris’s elder daughter who was 15 at the time the series was completed, was the primary model for the angels, although her younger sister, May, also appears in some panels. The last of the Days of Creation panels was completed in 1876, the same year that Jenny’s life was changed forever when her health began to deteriorate giving way more and more to epileptic seizures.  Jenny and her father were very close; Jenny had just passed her Cambridge Local examinations and would most likely have attended one of the women’s colleges at either Oxford or Cambridge, had her health permitted it.

Each angel panel  is approximately 42 inches.  A custom frame was designed by Burne-Jones specifically to hold all six angels.

1934 photo of framed Days of Creation

1934 photo of framed Days of Creation

It was shown in May 1977, as the central piece at his celebratory comeback show at the Grosvenor Gallery in London.  The painting met with rave reviews.  Oscar Wilde detailed his visit in an article for the Dublin University Magazine:

The next picture is divided into six compartments, each representing a day in the Creation of the World, under the symbol of an angel holding a crystal globe, within which is shown the work of a day. In the first compartment stands the lonely angel of the First Day, and within the crystal ball Light is being separated from Darkness. In the fourth compartment are four angels, and the crystal glows like a heated opal, for within it the creation of the Sun, Moon, and Stars is passing; the number of the angels increases, and the colours grow more vivid till we reach the sixth compartment, which shines afar off like a rainbow. Within it are the six angels of the Creation, each holding its crystal ball; and within the crystal of the sixth angel one can see Adam’s strong brown limbs and hero form, and the pale, beautiful body of Eve. At the feet also of these six winged messengers of the Creator is sitting the angel of the Seventh Day, who on a harp of gold is singing the glories of that coming day which we have not yet seen. The faces of the angels are pale and oval-shaped, in their eyes is the light of Wisdom and Love, and their lips seem as if they would speak to us; and strength and beauty are in their wings. They stand with naked feet, some on shell-strewn sands whereon tide has never washed nor storm broken, others it seems on pools of water, others on strange flowers; and their hair is like the bright glory round a saint’s head.

Days of Creation Angels, the third and fourth day

*The Fourth Day was cut from its frame during a dinner party in Dunster House at Harvard University in 1970 where the entire series on loan from the Fogg Art Museum. It has never been recovered. The restored fourth angel is derived from black and white platinotypes done by Frederick Hollyer at the end of the nineteenth century, 1934 photos from the Harvard Art Museums archives, and extrapolated from the description of Oscar Wilde and other critics of the day.

 

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Damsels In Distress: Launcelot and Guenevere

Guinevere A'Maying by John Collier

Guinevere A'Maying by John Collier

Bulfinch returned; now he was wearing medieval jousting armor instead of his banker’s wools. He explained to me the story of how Sir Launcelot remained the queen’s lover, his forswearing after his failed quest for the Sangreal notwithstanding.

Guinevere (or La Belle Iseult) by William Morris:

Guinevere (or La Belle Iseult) by William Morris:

He intimated that there had been a plot instigated against him by the rumors of Mordred and his half-brother Sir Agrivaine, to entrap Launcelot while he was with the queen.

Their last hour, Florence Harrison

It was their last hour - Emma Florence Harrison, illustration to Guinevere by Tennyson

Launcelot escaped but the queen was caught and put to trial and then sentenced to burn for her crime. He then told of how Guenever was rescued. Placing one leg upon a stone he declaimed:

Then when Sir Launcelot had thus done, and slain and put to flight all that would withstand him, then he rode straight unto Dame Guenever, and made a kirtle and a gown to be cast upon her; and then he made her to be set behind him, and prayed her to be of good cheer. Wit you well the queen was glad that she was escaped from the death. And then she thanked God and Sir Launcelot; and so he rode his way with the queen, as the French book saith, unto Joyous Gard, and there he kept her as a noble knight should do; and many great lords and some kings sent Sir Launcelot many good knights, and many noble knights drew unto Sir Launcelot.

Lancelot in the Queen's Chamber by Dante Gabriel Rossetti

Lancelot in the Queen's Chamber by Dante Gabriel Rossetti

This was not, of course, the end of the story. But that was all Bulfinch had for me that day. I spun around three times to find myself back in my own time. So putting on my running shoes with dove wings, I began to write this report.


Image Credits: Victorian and Preraphaelite Art, Emma Florence Harrison

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Damsels in Distress: How to Slay a Monster

Being part II of our series on….

Damsels in Distress: The Myth of Perseus and Andromeda

Rapunzel Singing in the Tower by Frank Cadogan Cowper

Rapunzel Singing in the Tower by Frank Cadogan Cowper

And by “agreed,” I meant he walked around a tree, returning immediately wearing a pair of steampunk running shoes with pigeon wings glued on them. Staring at me in confused bemusement, he tossed what appeared to be a stone carving of Godzilla, which landed with a “thunk” at my feet. The creature stared at me as if I were Tokyo.

“Perseus, continuing his flight, arrived at the country of the Etheopians” Bulfinch began, apparently from the middle of the story. He went on to relate how Perseus, looking down while returning from his battle with the Gorgon Medusa, saw far below the small and frail figure of Andromeda chained to a rock.

Perseus and Andromeda

The Rock of Doom by Edward Burne-Jones

Flying down, he asked her why she had been chained there. Out of modesty, she said nothing to the hero at first, but for fear that he would judge her wrongly, she related the tale of how her mother Queen Cassiopeia had, in her pride, boastfully compared her beauty to that of the Sea-Nymphs. In their anger, the nymphs sent a great serpent to ravage the coast of her country. To free themselves from terror, King Cepheus was directed by the Oracle to chain Andromeda, his virgin daughter, to the rock in sacrifice to that monster.

Perseus Slays Medusa by Aubrey Beardsley

Perseus Slays Medusa by Aubrey Beardsley

Just as she was finishing her story, the serpent raised its head out of the water and with great haste moved near to claim his prize. As luck would have it, Perseus was no stranger to great deeds, having defeated the Gorgon Medusa by beheading her. The hero sprang into the air with Mercury’s winged sandals, and landing on the monster’s back plunged his sword again and again into its neck. The monster retreated into the depths of the sea, then broke through the surface and appeared to soar in the air. Springing off the monster’s back, but with his wings now wet he had to wait for it upon a rock. Perseus nimbly evaded its attacks. Weakened by the failure of its repeated attacks, the monster lay still, floating on the waves, its breathing labored. As it passed, Perseus delivered a final death stroke, thus liberating the Etheopeans from the menace they had so long endured. Gratefully, the king and queen granted Perseus’ request to marry Andromeda.

“What about the Sea-nymphs?” I asked Bulfinch, “Weren’t they still angry?”

“Don’t know” he said wandering back into the forest.

Chapel of the Lists by Dante Gabriel Rossetti

Chapel of the Lists by Dante Gabriel Rossetti

I suppose I should have left then, as there seemed little point to any of this, but something told me I was dressed in Victorian attire for a reason. I fumbled for my pocket watch just in case this strange place had any appointments to get to–perhaps a tea party–a Jane Austen scenario–even a Gothic novel. As it turned out, it was a medieval one.

To be continued….


Image credits:  Victorian and Preraphaelite Art, Aubrey Beardsley

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Damsels in Distress: Psyche and Cupid

Being Part One of our series on:

Damsels in Distress

Chivalry by Frank Dicksee

"Chivalry" by Frank Dicksee

Having wandered into the forest, I had sufficiently lost sight of my origins to encounter a strange man who did not seem to be of this place or time.  After saluting me with one raised hand, he then grabbed me by the lapel of my tweed frock coat and began to recite the tale of Cupid and Psyche from memory:  “Psyche teneris et herbosis locis in ipso toro roscidi…”None of which was of much use to me as my Latin is limited to a few inaccurate aphorisms from Cicero, half-remembered catechisms, and assorted classical history references (veni, vidi, vici, etc). Sensing my difficulty, Bulfinch (for that was the man’s name) then switched to his native New England dialect and began the tale of Psyche, a lady who as we all know, had the misfortune of vexing Venus.

Psyche and Cupid

Cupid and Psyche by Edward Burne-Jones

Cupid Delivering Psyche by Eward Burne-Jones

The aforementioned Psyche had been gifted with a great misfortune–possessing great beauty, a beauty so great that no poet knew of any language on this world with words to describe it satisfactorily.

Psyche became so renowned for her beauty that the temples of the Goddess of Beauty herself were soon neglected; and this evoked the ire of that goddess. So Venus asked her son Cupid to place a curse on Psyche by pouring water from her bitter fountains of Love on her mortal lips.

Cupid was, as usual, invisible as he leaned over Psyche in obedience to his mother’s instructions. But as he did so, she suddenly woke and opened her eyes,  appearing to look directly into his.  This so startled Cupid that he accidentally pricked himself with one of his own arrows; and so it was that the son of the goddess fell in love with the most beautiful of mortal maidens.  In his love, he spared her the full bitterness of Venus’ punishment by pouring sweet water from his mother’s other fountain on her golden locks.

Alas, the bitter water had had its effect.  Despite her beauty, Psyche remained unmarried.  No man in the kingdom dared  posses this most beautiful of women.  At Cupid’s request, Apollo sent an oracle to Psyche’s father, instructing him to prepare his daughter for marriage.

Her father, the King, asked the Oracle about the fate of his daughter.  The Oracle revealed that their most beautiful daughter was destined to marry a monster.   The king was to send Psyche to a desolate mountain, where an ugly monster would meet her and take her for his wife.  The king and his queen were distraught and thought to shield their daughter from this fate, but were fearful of angering the gods.  Broken-hearted, Psyche’s father obeyed.

But Psyche very bravely understood that she had somehow incurred the wrath of the goddess.  Standing bravely alone on a rock,  she awaited her fate when a warm and gentle wind began to stir.  Cupid had sent  Zephyr, the West Wind, to bring his beloved out of her country and into his palace. There he bestowed upon her everything a princess could desire, except one thing: She must never look upon him.  Each night she slept with her new husband, not knowing who he was or what he looked like.

Psyche’s  life would get somewhat more complicated after that, including a trip to Hell wherein she places a bit of Proserpine’s beauty into a box.  She had opened the box to borrow some of this beauty only to find it empty and fell into a deep sleep, for the only contents of the box were, in fact, Sleep.

Psyche Opening the Golden Box by John William Waterhouse

"Psyche Opening the Golden Box" by John William Waterhouse

Indeed, this particular damsel needed some additional saving after her initial one. I said as much to Bulfinch, who agreed.  So he made up for this imperfection by telling me another story.

(to be continued)


* Apuleius, Metamorphoses, Book V (1)

Image Credits: Victorian and Pre-raphaelite Art Prints

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