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Encyclopedia Britannica - Main :: BUN-CAL |
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BURN, RICHARD (1709-1785) , English legal writer, was born at Winton, Westmorland, in 1709. Educated at Queen's College, Oxford, he entered the Church, and in 1736 became vicar of Orton in Westmorland. He was a justice of the peace for the counties of Westmorland and Cumberland, and devoted himself to the study of law. He was appointed chancellor of the diocese of Carlisle in 1765, an office which he held till his death at Orton on the 12th of November 1785. Burn's Justice of the Peace and Parish Officer, first published in 1755, was for many years the standard authority on the law relating to justices of the peace. It has passed through innumerable editions. His Ecclesiastical Law (176o), a work of much research,' was the foundation upon which were built many modern commentaries on ecclesiastical law. The best edition is that by R. Phillimore (4 vols., 1842). mutually stimulated. Burne-Jones resumed his early love of drawing and designing. With Morris he read Modern Painters and the Morte d' Arthur. He studied the Italian pictures in the University galleries, and Diirer's engravings; but his keenest enthusiasm was kindled by the sight of two works by a living man, Rossetti. One of these was a woodcut in Allingham's poems, " The Maids of Elfinmere "; the other was the water-colour " Dante drawing an Angel
As Burne-Jones once said, he " found himself at five-andtwenty what he ought to have been at fifteen." He had had no regular training as a draughtsman, and lacked the confidence of science. But his extraordinary faculty of invention as a designer was already ripening; his mind, rich in knowledge of classical story and medieval romance, teemed with pictorial subjects; and he set himself to complete his equipment by resolute labour, witnessed by innumerable drawings. The works of this first period are all more or less tinged by the influence of Rossetti; but they are already differentiated from the elder master's style by their more facile though less intensely felt elaboration of imaginative detail. Many are pen-and-ink drawings on vellum, exquisitely finished, of which the " Waxen Image " is one of the earliest and best examples; it is dated 1856. Although subject, medium and manner derive from Rossetti's inspiration, it is not the hand of a pupil merely, but of a potential master. This was recognized by Rossetti himself, who before long avowed that he had nothing more to teach him. Burne-Jones's first sketch in oils dates from this same year, 1856; and during 1857 he made for Bradfield College the first of what was to be an immense series of cartoons for stained glass. In 1858 he decorated a cabinet with the " Prioress's Tale" from Chaucer, his first direct illustration
In the autumn of 1857 Bume-Jones joined in Rossetti's ill-fated scheme to decorate the walls of the Oxford Union. None of the painters had mastered the technique of fresco, and their pictures had begun to peel from the walls before they were completed. In 1859 Burne-Jones made his first journey to Italy. He saw Florence, Pisa, Siena, Venice and other places, and appears to have found the gentle and romantic Sienese more attractive than any other school. Rossetti's influence still persisted; and its impress is visible, more strongly perhaps than ever before, in the two water-colours " Sidonia von Bork " and " Clara von Bork," painted in 186o. These little masterpieces have a directness of execution rare with the artist. In powerful characterization, combined with a decorative motive, they rival Rossetti at his best. In June of this year Burne-Jones was married to Miss Georgiana Macdonald, two of whose sisters were the wives of Sir E. Poynter and Mr J. L. Kipling, and they settled in Bloomsbury. Five years later he moved to Kensington Square, and shortly afterwards to the Grange, Fulham, an old house with a garden, where he resided till his death. In 1862 the artist and his wife accompanied Ruskin to Italy, visiting Milan and Venice.In 1864 he was elected an associate of the Society of Painters in Water-Colours, and exhibited, among other works, " The Merciful Knight," the first picture which fully revealed his ripened personality as an artist. The next six years saw a series of fine water-colours at the same gallery; but in 1870, owing . to a misunderstanding, Burne-Jones resigned his membershipof the society. He was re-elected in 1886. During the next seven years, 1870-1877, only two works of the painter's were exhibited. These were two water-colours, shown at the Dudley Gallery in 1873, one of them being the beautiful " Love among the Ruins," destroyed twenty years later by a cleaner who supposed it to be an oil painting, but afterwards reproduced in oils by the painter. This silent period was, however, one of unremitting production. Hitherto Burne-Jones had worked almost entirely in water-colours. He now began a number of large pictures in oils, working at them in turn, and having always several on hand. The " Briar Rose " series, "Laus Veneris," the " Golden Stairs," the " Pygmalion " series, and " The Mirror of Venus " are among the works planned and completed, or carried far towards completion, during these years. At last, in May 1877, the day of recognition came, with the opening of the first exhibition of the Grosvenor Gallery, when the " Days, of Creation," the " Beguiling of Merlin," and the " Mirror of Venus " were all shown. Burne-Jones followed up the signal success of these pictures with " Laus Veneris," the " Chant d'Amour," " Pan and Psyche," and other works, exhibited in 1878. Most of these pictures are painted in gay and brilliant colours. A change is noticeable next year, 1879, in the " Annunciation" and in the four pictures called "Pygmalion and the Image "; the former of these, one of the simplest and most perfect of the artist's works, is subdued and sober; in the latter a scheme of soft and delicate tints was attempted, not with entire success. A similar temperance of colours marks the " Golden Stairs," first exhibited in 1880. In 1884, following the almost sombre " Wheel of Fortune " of the preceding year, appeared " King Cophetua and the Beggar Maid," in which Burne-Jones once more indulged his love of gorgeous colour, refined by the period of self-restraint. This masterpiece is now in the National collection. He next turned to two important sets of pictures, " The Briar Rose " and " The Story of Perseus," though these were not completed for some years to come. In 1886, having been elected A.R.A. the previous year, he exhibited (for the only time) at the Royal Academy " The Depths of the Sea," a mermaid carrying down with her a youth whom she has unconsciously drowned in the impetuosity of her love. This picture adds to the habitual haunting charm a tragic irony of conception and a felicity of execution which give it a place apart among Burne-Jones's works. He resigned his Associateship in 1893. One of the " Perseus " series was exhibited in 1887, two more in 1888, with " The Brazen Tower," inspired by the same legend. In 1890 the four pictures of " The Briar Rose " were exhibited by themselves, and won the widest admiration. The huge tempera picture, " The Star of Bethlehem," painted for the corporation of Birmingham, was exhibited in 1891. A long illness for some time checked the painter's activity, which, when resumed, was much occupied with decorative schemes. An exhibition of his work was held at the New Gallery in the winter of 1892-1893. To this period belong several of his comparatively few portraits. In 1894 Burne-Jones was made a baronet Ill-health again interrupted the progress of his works, chief
His son and successor in the baronetcy, Sir Philip Burne-Jones (b. 1861), also became well known as an artist. The only daughter, Margaret, married Mr J. W. Mackail. Burne-Jones's influence has been exercised far less in painting than in the wide field of decorative design. Here it has been enormous. His first designs for stained glass, 1857-1861, were made for Messrs Powell, but after 1861 he worked exclusively for Morris & Co. Windows executed from his cartoons are to be found all over England; others exist in churches abroad. For the American Church in Rome he designed a number of mosaics. Reliefs in metal, tiles, gesso-work, decorations for pianos and organs, and cartoons for tapestry represent his manifold activity. In all works, however, which were only designed and not carried out by him, a decided loss of delicacy is to be noted. The colouring of the tapestries (of which the " Adoration of the Magi " at Exeter College is the best-known) is more brilliant than successful. The range and fertility of Burne-Jones as a decorative inventor calf be perhaps most conveniently studied in the sketch-book, 18851895, which he bequeathed to the British Museum. The artist's influence on book- illustration
Burne-Jones's aim in art is best given in some of his own words, written to a friend: " I mean by a picture a beautiful, romantic dream of something that never was, never will bein a light better than any light that ever shonein a land no one can define or remember, only desireand the forms divinely beautifuland then I wake
original
gift . Whatever faults his paintings may have, they have always the fundamental virtue of design; they are always pictures. His fame might rest on his purely decorative work. But his designs were informed with a mind of romantic temper, apt in the discovery of beautiful subjects, and impassioned with a delight in pure and variegated colour. These splendid gifts were directed in a critical and fortunate moment by the genius of Rossetti. Hence a career which shows little waste or misdirection of power, and, granted the aim proposed, a rare level of real success.AUT11oRIT1Es.In 1904 was published Memorials of Edward Burne-Jones, by his widow, two volumes of extreme interest
See also Catalogue to Burlington Club Exhibition of Drawings by Burne-Jones, with Introduction by Cosmo Monkhouse (1899; Sir E. Burne-Jones: a Record and a Review, by Malcolm Bell (1898); Sir E. Burne-Jones, his Life and Work, by Julia Cartwright (Mrs Ady) (1894); The Life of William Morris, by J. W. Mackail (1899). (L. B.) End of Article: BURN, RICHARD (1709-1785) If you wish, you can link directly to this article.
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